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Conventional nudes based on classical originals could bear no burden of thought or inner life without losing their formal completeness.

Kenneth Clark

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Kenneth Clark
Thought
Conventional
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Nudes
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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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I believe in the God-given genius of certain individuals, and I value a society that makes their existence possible.
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Racial prejudices are indication of a disturbed and potentially unstable society.
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No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even if it be only the faintest shadow - and if it does not do so it is bad art and false morals.
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A visual experience is vitalizing. Whereas to write great poetry, to draw continuously on one's inner life, is not merely exhausting, it is to keep alight a consuming fire.
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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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All color is no color.
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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.
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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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People sometimes tell me that they prefer barbarism to civilisation. I doubt if they have given it a long enough trial. Like the people of Alexandria, they are bored by civilisation but all the evidence suggests that the boredom of barbarism is infinitely greater.
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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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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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One musn't overrate the culture of what used to be called top people before the wars. They had charming manners, but they were as ignorant as swans.
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Only the bad artists of the nineteenth century were frightened by the invention of photography the good ones all welcomed it and used it.
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Art...must do something more than give pleasure: it should relate to our own life so as to increase our energy of spirit.
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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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The great achievement of the Catholic Church lay in harmonizing, civilizing the deepest impulses of ordinary, ignorant people.
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Evidently one cannot look for long at the Last Supper without ceasing to study it as a composition, and beginning to speak of it as a drama. It is the most literary of all great pictures, one of the few of which the effect may largely be conveyed - can even be enhanced - by description.
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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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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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