“This is a work which ought to be in every library in Canada; perhaps, after twenty-five years or so, it might silence the recurrent hubbub about nude paintings which is a feature of our national life. Yes, they are erotic. Yes, madam, the painters are often naughty men, and the models are sometimes bad girls. But there are elements involved in the painting of the nude which draw upon what is highest in art and express what is highest in mankind. Now, may we please look at the pictures?”

—  Robertson Davies

Review of The Painter's Eye and The Nude (1957).

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Robertson Davies photo
Robertson Davies282
Canadian journalist, playwright, professor, critic, and nov… 1913–1995

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“Two pictures painted in the year 1907 can conveniently be taken as the starting point of twentieth-century art. They are Matisse's Blue Nude and Picasso's Demoiselles d'Avignon; and both these cardinal, revolutionary pictures represent the nude. The reason is that the revolt of twentieth-century painters was not against academicism: that had been achieved by the impressionists. It was a revolt against the doctrine, with which the impressionists implicitly agreed, that the painter should be no more than a sensitive and well-informed camera. And the very elements of symbolism and abstraction that made the nude an unsuitable subject for the impressionists commended it to their successors. When art was once more concerned with concepts rather than sensations, the nude was the first concept that came to mind.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Nude: A Study in Ideal Form (1951), Ch. IX: The Nude As an End in Itself

Suze Robertson photo

“Yes, there was a lot of fuss about it, then [c. 1879-80].... [that] I also was permitted to enter the nude class [c. at the Art Academy in Rotterdam, evening classes! ].. that was never done before me by other ladies. I was the first who claimed it. And even in a local newspaper they cried shame about it: a young woman who painted nude model. And moreover.. a teacher with so many girls under her guidance.”

Suze Robertson (1855–1922) Dutch painter

at the Dutch Highschool
(version in original Dutch / origineel citaat van Suze Robertson:) Ja, dat is toen nog een heel ding geweest [c. 1879-80].. ..[dat] ik ook toegelaten werd tot de naaktklasse [c. op de Kunst-academie in Rotterdam, avondlessen!].. ..dat werd vóór mij nooit door dames gedaan. Ik was de eerste die er aanspraak op maakte. En tot zelfs in een plaatselijk blad werd er schande van gesproken: een jonge vrouw, die schilderde naar naakt model. En dan nog wel een lerares met zóóveel meisjes onder haar leiding. [op de Rotterdamse H.B.S.]
Source: 1900 - 1922, Onder de Menschen: Suze Robertson' (1912), p. 31

Susan Sontag photo

“Painters and sculptors under the Nazis often depicted the nude, but they were forbidden to show any bodily imperfections. Their nudes look like pictures in physique magazines: pinups which are both sanctimoniously asexual and (in a technical sense) pornographic, for they have the perfection of a fantasy.”

Susan Sontag book Under the Sign of Saturn

Fascism" http://www.history.ucsb.edu/faculty/marcuse/classes/33d/33dTexts/SontagFascinFascism75.htm"Fascinating (1974), published in The New York Review of Books (6 February 1975) and reprinted in Sontag's Under the Sign of Saturn (1980), p. 92, ISBN 0312420080

Leopold Stokowski photo

“A painter paints his pictures on canvas. But musicians paint their pictures on silence.”

Leopold Stokowski (1882–1977) British conductor

Addressing an audience at Carnegie Hall, as quoted in The New York Times (11 May 1967); often this is quoted without the humorous final sentence.
Context: A painter paints his pictures on canvas. But musicians paint their pictures on silence. We provide the music, and you provide the silence.

Arthur Danto photo

“There were limits to what art—composed of such genres as portraiture, landscape, still life, and historical painting (the latter of which, in royal academies, enjoyed the highest esteem)—could do to show movement.”

Arthur Danto (1924–2013) American art critic and philosopher

What Art Is (2013), Chap. 1 : Wakeful Dreams

Paul Reubens photo

“There were nude pictures… a lot of it is erotic or sexual. But I don't view my collection as dirty in any way. I view it as art.”

Paul Reubens (1952) American actor, writer, film producer, game show host, and comedian

2004 interview with Entertainment Weekly http://www.abc.net.au/news/2004-04-01/pee-wee-actor-denies-paedophile-claims/162146 <br class="br">2004 Child Porn Charges

Stella Vine photo

“I was making very aggressive provocative paintings. Whether the Rachel paintings, or the Diana paintings, I've sensed over the three or four years that I've been in getting press attention, I've sensed that it has not been that long since the woman painter was not allowed in the Royal Academy, and not allowed to paint nude men, and thee is such a huge body of work that men have made, versus the small body of work made by women, that I am not surprised to get this response.”

Stella Vine (1969) English artist

Honigman, Ana Finel. &quot;Stella Vine in conversation with Ana Finel Honigman&quot; http://www.saatchi-gallery.co.uk/blogon/2007/07/stella_vine_in_conversation_wi.php, Saatchi Gallery (2007-07-25). <br class="br">On being a female artist.

Giorgio de Chirico photo

“.. I will endeavour to make clear to men of good will what the word 'material' means with regard to painting and that, without the material substance of paint, a painting is not a work of art but merely a decorative object, or rather, if it deals with an invented painting, the value of the image resides in its spiritual content.
In order to be a work of art, a painting must be very well painted and the good quality of the paint depends completely on the material substance of the paint with which it is executed. This matter, which constitutes the substance of painting, is composed of two elements which are equally important and absolutely inseparable: physical substance and metaphysical substance. These two elements complete each other reciprocally and when they are of a superior quality, create a masterpiece by way of their absolute harmony.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Cirico&#x27;s text &#x27;A DISCOURSE ON THE MATERIAL SUBSTANCE OF PAINT&#x27;, 1942 http://www.fondazionedechirico.org/wp-content/uploads/541-547Metafisica5_6.pdf, p. 542 <br class="br">1920s and later

John Berger photo

“What any true painting touches is an absence - an absence of which without the painting, we might be unaware. And that would be our loss.”

John Berger (1926–2017) British painter, writer and art critic

Source: The Shape of a Pocket

“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 (1903–1983) Art historian, broadcaster and museum director

Source: The Nude: A Study in Ideal Form (1951), Ch. 1: The Naked and the Nude

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