Kenneth Clark: Greatness

Kenneth Clark was Art historian, broadcaster and museum director. Explore interesting quotes on greatness.
Kenneth Clark: 94   quotes 2   likes

“Seen by itself the David's body might be some unusually taut and vivid work of antiquity; it is only when we come to the head that we are aware of a spiritual force that the ancient world never knew. I suppose that this quality, which I may call heroic, is not a part of most people's idea of civilisation. It involves a contempt for convenience and a sacrifice of all those pleasures that contribute to what we call civilised life. It is the enemy of happiness. And yet we recognise that to despise material obstacles, and even to defy the blind forces of fate, is man's supreme achievement; and since, in the end, civilisation depends on man's extending his powers of mind and spirit to the utmost, we must reckon the emergence of Michelangelo as one of the great events in the history of western man.”

Kenneth Clark

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

Life , Fate , People , Pleasure

“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

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

Truth , History , Thinking , Sense

“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

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

Art , Drawing

“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

Source: The Romantic Rebellion (1973), Ch. 8: Delacroix

Animals

“The great artist takes what he needs.”

Kenneth Clark

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.”

Kenneth Clark

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

Art , History , Nature , Memory

“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

Source: Leonardo da Vinci (1939), Ch. Five: 1485-1496

Study

“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

Referring to Michelangelo
Source: The Nude: A Study in Ideal Form (1951), Ch. VI: Pathos

Death , Passion

“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

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

Age

“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

Source: Civilisation (1969), Ch. 1: The Skin of Our Teeth

Family , Art , Time

“Totalitarian art must be a form of classicism: the state which is founded on order and subordination demands an art with a similar basis. Romantic painting, however popular, expresses the revolt of the individual. The State also requires an art of reason by which appropriate works may be produced as required. Inspiration is outside state control. The classic attitude toward subject matter — that it should be clear and unequivocal — supports the attitude of unquestioning belief. Add the fact that totalitarian art must be real enough to please the ignorant, ideal enough to commemorate a national hero, and well enough designed to present a memorable image, and one sees how perfectly The Death of Marat fills the bill. That it happens also to be a great work of art makes it dangerously misleading.”

Kenneth Clark

Source: The Romantic Rebellion (1973), Ch. 1: David

Death , Art , Support , Painting