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Just as a classical dancer repeats the same movements again and again, in order to achieve a greater perfection of line and balance, so Degas repeats the same motifs - it was one of the things that gave him so much sympathy with dancers.

Kenneth Clark

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Kenneth Clark
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All great civilisations, in their early stages, are based on success in war.
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A racist system inevitably destroys and damages human beings it brutalizes and dehumanizes them, blacks and whites alike.
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The illustrator is essentially a reporter: his subjects come from the outside, lit by a flash. A subject comes to the classical artist from inside, and when he discovers confirmation of it in the outside world he feels that it has been there all the time.
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All color is no color.
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Devotion to the facts will always give the pleasures of recognition adherence to the rules of design, the pleasures of order and certainty.
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The eye instinctively looks for analogies and amplifies them, so that a face imagined in the pattern of a wallpaper may become more vivid than a photograph.
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The history of art cannot be properly understood without some reference to the history of science. In both we are studying the symbols by which man affirms his mental scheme, and these symbols, be they pictorial or mathematical, a fable or formula, will reflect the same changes.
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I believe in the God-given genius of certain individuals, and I value a society that makes their existence possible.
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Few people can look at a painting longer than it takes to peel an orange and eat it.
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In time of war all countries behave equally badly, because the power of action is handed over to stupid and obstinate men.
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You have no idea what portrait painters suffer from the vanity of their sitters.
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Over and above the political, economic, sociological, and international implications of racial prejudices, their major significance is that they place unnecessary burdens upon human beings.
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I just don't think the moon is going to be an adequate substitute for the fact that we haven't addressed ourselves to clearing up the slums.
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The various parts of the body cannot be perceived as simple units and have no clear relationship to one another. In almost every detail the body is not the shape that art has led us to believe it should be.
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Conventional nudes based on classical originals could bear no burden of thought or inner life without losing their formal completeness.
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The dark ghettos are social, political, educational and-above all-economic colonies. Their inhabitants are subject peoples, victims of the greed, cruelty, insensitivity, guilt, and fear of their masters.
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To hurry through the rise and fall of a fine, full sentence is like defying the role of time in human life.
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The nude does not simply represent the body, but relates it, by analogy, to all structures that have become part of our imaginative experience.
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Children who are treated as if they are uneducable almost invariably become uneducable.
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I wonder if a single thought that has helped forward the human spirit has ever been conceived or written down in an enormous room: except, perhaps, in the reading room of the British Museum.
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