Kenneth Clark (1903 – 1983)
English author, museum director, broadcaster and one of the most famous art historians of his generation.
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.
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.
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.
As for the Messiah, it is, like Michelangelo's Creation of Adam, one of those rare works that appeal immediately to everyone, and yet is indisputably a masterpiece of the highest order.
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.
Gargoyles were the complement to saints; Leonardo's caricatures were complementary to his untiring search for ideal beauty. And gargoyles were the expression of all the passions, the animal forces, the Caliban gruntings and groanings which are left in human nature when the divine has been poured away. Leonardo was less concerned than his Gothic predecessors with the ethereal parts of our nature, and so his caricatures, in their expression of passionate energy, merge imperceptibly into the heroic.
Opera, next to Gothic architecture, is one of the strangest inventions of western man. It could not have been foreseen by any logical process.
Ruskin's much-derided moral theory of art was part of an attempt to show that this human activity, which we value so highly, engaged the whole of human personality. His insistence on the sanctity of nature was part of an attempt to develop Goethe's intuition that form cannot be put together in the mind by an additive process, but is to be deduced from the laws of growth in living organisms, and their resistance to the elements.
It is widely supposed that the naked human body is in itself an object upon which the eye dwells with pleasure and which we are glad to see depicted. But anyone who has frequented art schools and seen the shapeless, pitiful model that the students are industriously drawing will know this is an illusion. The body is not one of those objects which can be made into art by direct transcription — like a tiger or a snowy landscape. Often in looking at the natural and animal world we joyfully identify ourselves with what we see and from this happy union create a work of art. This is the process students of aesthetics call empathy, and it is at the opposite pole of creative activity to the state of mind that has produced the nude. A mass of naked figures does not move us to empathy, but to disillusion and dismay.
Leonardo is the Hamlet of art history whom each of us must recreate for himself.
I wonder if a single thought that has helped forward the human spirit has ever been conceived or written down in an enormous room: except, perhaps, in the reading room of the British Museum.
We are so much accustomed to the humanitarian outlook that we forget how little it counted in earlier ages of civilisation. Ask any decent person in England or America what he thinks matters most in human conduct: five to one his answer will be "kindness." It's not a word that would have crossed the lips of any of the earlier heroes of this series. If you had asked St. Francis what mattered in life, he would, we know, have answered "chastity, obedience and poverty"; if you had asked Dante or Michelangelo, they might have answered "disdain of baseness and injustice"; if you had asked Goethe, he would have said "to live in the whole and the beautiful." But kindness, never. Our ancestors didn't use the word, and they did not greatly value the quality — except perhaps insofar as they valued compassion.
Sweeping, confident articles on the future seem to me, intellectually, the most disreputable of all forms of public utterance.
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.
The great artist takes what he needs.
In time of war all countries behave equally badly, because the power of action is handed over to stupid and obstinate men.
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.
Heroes do not easily tolerate the company of other heroes.
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.
What on earth has given opera its prestige in western civilisation — a prestige that has outlasted so many different fashions and ways of thought? Why are people prepared to sit silently for three hours listening to a performance of which they do not understand a word and of which they very seldom know the plot? Why do quite small towns all over Germany and Italy still devote a large portion of their budgets to this irrational entertainment? Partly, of course, because it is a display of skill, like a football match. But chiefly, I think, because it is irrational. "What is too silly to be said may be sung" — well, yes; but what is too subtle to be said, or too deeply felt, or too revealing or too mysterious — these things can also be sung and can only be sung.