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.
--
Ch. 1: The Naked and the NudeKenneth Clark
» Kenneth Clark - all quotes »
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
Moreover, there is this completely false trial. I would participate wholeheartedly in a trial if it were to determine the guilt for 5 million murdered people and the guilt for the atrocities. But I see in this trial endless other things brought out and I have the feeling that in the shadow of the guilt of these murders the German people shall be considered guilty of everything, and in the shadow of this guilt the Americans, English, French, and especially the Russians will want to get rid of their own dirty linen.
Hans Fritzsche
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
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
The feeling ("sens", Fr.) of solidarity that is born amidst a community rest on the feeling of antagonism arouse (aroused ? arose ?... sorry, - "suscité", Fr.) by those who are opposed to it. Most of the time we only adhere to a party or a group, in order to better (or more, - "pour mieux se", Fr.) differentiate ourselves of another.
African Spir
Clark, Kenneth
Clark, Petula
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z