Kenneth Clark Quotes

52 Sourced Quotes

The recognized achievements of some Negroes, despite rigid racial barriers, indicate that society by its prejudices may be depriving itself of valuable contributions from many others. It is now doubtful whether America can afford the luxury of such a waste of human resources.

Kenneth Clark
It would be unfair to say that I prefer the back of a book to its contents, but it is true that the sight of a lot of books gives me the hope that I may some day read them, which sometimes develops into the belief that I have read them.

Kenneth Clark
Heroes do not easily tolerate the company of other heroes.

Kenneth Clark
This became Delacroix's theme: that the achievements of the spirit — all that a great library contained — were the result of a state of society so delicately balanced that at the least touch they would be crushed beneath an avalanche of pent-up animal forces.

Kenneth Clark
Energy is eternal delight; and from the earliest times human beings have tried to imprison it in some durable hieroglyphic. It is perhaps the first of all the subjects of art.

Kenneth Clark
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.

Kenneth Clark
His long struggle with physical passion was almost over, and, as with many other great sensualists, its place had been taken by an obsession with death.

Kenneth Clark
Great works of art can be produced in barbarous societies — in fact the very narrowness of primitive society gives their ornamental art a peculiar concentration and vitality. At some time in the ninth century one could have looked down the Seine and seen the prow of a Viking ship coming up the river. Looked at today in the British Museum, it is a powerful work of art; but to the mother of a family trying to settle down in her little hut, it would have seemed less agreeable — as menacing to her civilisation as the periscope of a nuclear submarine.

Kenneth Clark
Our universe cannot even be stated symbolically. And this touches us all more directly than one might suppose. For example, artists, who have been very little influenced by social systems, have always responded instinctively to latent assumptions about the shape of the universe. The incomprehensibility of our new cosmos seems to me, ultimately, to be the reason for the chaos of modern art.

Kenneth Clark
Sweeping, confident articles on the future seem to me, intellectually, the most disreputable of all forms of public utterance.

Kenneth Clark
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.

Kenneth Clark
Those who wish, in the interest of morality, to reduce Leonardo, that inexhaustible source of creative power, to a neutral or sexless agency, have a strange idea of doing service to his reputation.

Kenneth Clark
Early artists considered the human body, that forked radish, that defenseless starfish, a poor vehicle for the expression of energy, compared to the muscle-rippling bull and the streamlined antelope. Once more it was the Greeks, by their idealization of man, who turned the human body into an incarnation of energy, to us the most satisfying of all, for although it can never attain the uninhibited physical flow of the animal, its movements concern us more closely. Through art we can relive them in our own bodies, and achieve thereby that enhanced vitality which all thinkers on art, from Goethe to Berenson, have recognized as one of the chief sources of aesthetic pleasure.

Kenneth Clark
However much the various phases of the French Revolution may have modelled themselves on Roman history — the early phase on Republican virtue, the later on Imperial grandeur — the fact remains that classicism depended on a fixed and rational philosophy; whereas the spirit of the Revolution was one of change and of emotion.

Kenneth Clark
Antique art has come down to us in a fragmentary condition, and we have virtuously adapted our taste to this necessity. Almost all our favorite specimens of Greek sculpture, from the sixth century onward, were originally parts of compositions, and if we were faced with the complete group in which the Charioteer of Delphi was once a subsidiary figure, we might well experience a moment of revulsion. We have come to think of the fragment as more vivid, more concentrated, and more authentic.

Kenneth Clark
Bright-minded young people think poorly of existing institutions and want to abolish them. Well, one doesn't need to be young to dislike institutions. But the dreary fact remains that, even in the darkest ages, it was institutions that made society work, and if civilisation is to survive society must somehow be made to work.

Kenneth Clark
Almost all great painters in old age arrive at the same kind of broad, simplified style, as if they wanted to summarise the whole of their experience in a few strokes and blobs of colour.

Kenneth Clark
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.

Kenneth Clark
Only the bad artists of the nineteenth century were frightened by the invention of photography; the good ones all welcomed it and used it. Degas liked it not only because it provided an accurate record, but because the snapshot showed him a means of escape from the classical rules of design. Through it he learnt to make a composition without the use of formal symmetry.

Kenneth Clark
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.

Kenneth Clark
The convention by which the great events in biblical or secular history could be enacted only by magnificent physical specimens, handsome and well-groomed, went on for a long time — till the middle of the nineteenth century. Only a very few artists — perhaps only Rembrandt and Caravaggio in the first rank — were independent enough to stand against it. And I think that this convention, which was an element in the so-called grand manner, became a deadening influence on the European mind. It deadened our sense of truth, even our sense of moral responsibility.

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

Kenneth Clark