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Kenneth Clark

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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.
--
Ch. 5: The Hero as Artist

 
Kenneth Clark

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Civilisation knows how to use such powers as it has, while the immense potentiality of the unlicensed is dissipated in vapour. Civilisation wins because it is a world-wide league; its enemies fail because they are parochial. But supposing ... supposing anarchy learned from civilisation and became international. Oh, I don't mean the bands of advertising donkeys who call themselves International Unions of Workers and suchlike rubbish. I mean if the real brain-stuff of the world were internationalised. Suppose that the links in the cordon of civilisation were neutralised by other links in a far more potent chain. The earth is seething with incoherent power and unorganised intelligence.

 
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If civilisation has got the better of barbarism when barbarism had the world to itself, it is too much to profess to be afraid lest barbarism, after having been fairly got under, should revive and conquer civilisation. A civilisation that can thus succumb to its vanquished enemy, must first have become so degenerate, that neither its appointed priests and teachers, nor anybody else, has the capacity, or will take the trouble, to stand up for it. If this be so, the sooner such a civilisation receives notice to quit the better. It can only go on from bad to worse, until destroyed and regenerated (like the Western Empire) by energetic barbarians.

 
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[T]he direction of society has been taken over by a type of man who is not interested in the principles of civilisation. Not of this or that civilisation but — from what we can judge to-day — of any civilisation. …[T]he type of man dominant to-day is a primitive one, a Naturmensch rising up in the midst of a civilised world.

 
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The significance of a work of art is determined then by the quality of its growth. This involves intangible forces inherent in the process of development. Although these forces are surreal (that is, their nature is something beyond physical reality), they, nevertheless, depend on a physical carrier. The physical carrier (commonly painting or sculpture) is the medium of expression of the surreal. Thus, an idea is communicable only when the surreal is converted into material terms. The artist’s technical problem is how to transform the material with which he works back into the sphere of the spirit.

 
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