Kenneth Clark - Art Quotes

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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
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
It remains true that Michelangelo's intensely personal use of the nude greatly altered its character. He changed it from a means of embodying ideas to a means of expressing emotions; he transformed it from the world of living to the world of becoming. And he projected his world of the imagination with such unequaled artistic power that its shadow fell on every male nude in art for three hundred and fifty years. Painters either imitated his heroic poses and proportions or they reacted against them self-consciously and sought a new repertoire of attitudes in the art of fifth-century Greece. In the nineteenth century the ghost of Michelangelo was still posing the models in art schools.

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
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
Ruskin's much-derided moral theory of art was part of an attempt to show that this human activity, which we value so highly, engaged the whole of human personality. His insistence on the sanctity of nature was part of an attempt to develop Goethe's intuition that form cannot be put together in the mind by an additive process, but is to be deduced from the laws of growth in living organisms, and their resistance to the elements.

Kenneth Clark
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.

Kenneth Clark
Ingres was one of those artists to whom the outline was something sacred and magical, and the reason is that it was the means of reconciling the major conflict in his art, the conflict between abstraction and sensibility. The difference between what we see and a sheet of white paper with a few thin lines on it is very great. Yet this abstraction is one which we seem to have adopted almost instinctively at an early stage in our development not only in Neolithic graffiti but in early Egyptian drawings. And in spite of its abstract character, the outline is responsive to the least tremor of sensibility.

Kenneth Clark
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.

Kenneth Clark
Leonardo is the Hamlet of art history whom each of us must recreate for himself.

Kenneth Clark
It's a curious fact that the all-male religions have produced no religious imagery—in most cases have positively forbidden it. The great religious art of the world is deeply involved with the female principle.

Kenneth Clark