Kenneth Clark: Artist

Kenneth Clark was Art historian, broadcaster and museum director. Explore interesting quotes on artist.

Kenneth Clark: 94 quotes2 likes

“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.”

Source: The Nude: A Study in Ideal Form (1951), Ch. V: Energy

“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.”

Source: Civilisation (1969), Ch. 5: The Hero as Artist

“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.”

Source: The Romantic Rebellion (1973), Ch. 4: Ingres I: The Years of Inspiration

“The great artist takes what he needs.”

Source: Civilisation (1969), Ch. 5: The Hero as Artist

“For the student of visionary art the interesting fact is that an image comes first and takes up residence in the mind long before the artist has any notion why it is there or what it means. Whether visions come from some great reservoir of symbolic images which are eternally there (and if one examines the recurrence of images in history this proposition is not quite as crazy as it sounds) or whether they are due to buried memories, their obsessive power over an artist's mind, and their clear, compulsive emergence in his work depends on a mental condition that can come and go. When, for some reason, they no longer present themselves to the mind's eye, alive or clamoring to be born, the visionary artist has a hard time — dark days. This is particularly true if he has lost the habit of feeding his mind on the observation of nature.”

Source: The Romantic Rebellion (1973), Ch. 6: Blake

“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.”

Source: The Romantic Rebellion (1973), Ch. 13: Degas

“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.”

Source: The Nude: A Study in Ideal Form (1951), Ch. V: Energy

“To Leonardo a landscape, like a human being, was part of a vast machine, to be understood part by part and, if possible, in the whole. Rocks were not simply decorative silhouettes. They were part of the earth's bones, with an anatomy of their own, caused by some remote seismic upheaval. Clouds were not random curls of the brush, drawn by some celestial artist, but were the congregation of tiny drops formed from the evaporation of the sea, and soon would pour back their rain into the rivers.”

Source: Leonardo da Vinci (1939), Ch. Six: 1497-1503

“To anyone who is not an artist it must seem rather strange that Degas who could do anything — for whom setting down what he saw presented no difficulties at all — should have continued to draw the same poses year after year — often, it would seem, with increasing difficulty. 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. He was continually struggling to achieve an idea of perfect form, but this did not prevent him looking for the truth in what might seem an artificial situation.”

Source: The Romantic Rebellion (1973), Ch. 13: Degas

“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.”

Source: Civilisation (1969), Ch. 13: Heroic Materialism

“Millet was one of those artists on whom a few formal ideas make so deep an impression that they feel compelled to spend the whole of their lives in trying to lever them out. Perhaps this is the chief distinguishing mark of the classical artist; certainly it is what distinguishes his use of subject matter from that of the illustrator. 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. He must give to his subjects an air of complete inevitability, and this becomes a problem of formal completeness. That is why the classic artists, Degas no less than Poussin, return to the same motives again and again, hoping each time to mould the subject closer to the idea.”

Source: The Romantic Rebellion (1973), Ch. 12: Millet