Kenneth Clark
From The Art and Popular Culture Encyclopedia
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| - | [[Image:Olympia (1863) by Édouard Manet.jpg|thumb|right|200px|''[[Olympia (painting)|Olympia]]'' by [[Édouard Manet]], painted in [[1863]], depicting a [[courtesan]] [[gaze|gazing]] at her viewer.]] | + | {| class="toccolours" style="float: left; margin-left: 1em; margin-right: 2em; font-size: 85%; background:#c6dbf7; color:black; width:30em; max-width: 40%;" cellspacing="5" |
| - | [[Image:Richard Dadd - Come unto These Yellow Sands.jpg|thumb|right|200px|''Come unto These Yellow Sands'' ([[1842]]) by [[Richard Dadd]]. Images of nude and semi-nude [[fairies]] dancing in rings became popular during the Victorian era.]] | + | | style="text-align: left;" | |
| + | "There remains the extraordinary example of [[Ledikant|Rembrandt's etching of a couple on a bed]], where I do not find the subject at all disturbing because it is seen entirely in human terms and is not intended to promote action. But it is, I believe, unique, and only Rembrandt could have done it." --[[Kenneth Clark]] in ''[[The Longford Report]]'' (1972) | ||
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| + | "The English language, with its elaborate generosity, distinguishes between [[On the difference between nakedness and nudity|the naked and the nude]]. To be naked is to be deprived of our clothes, and the word implies some of the [[embarrassment]] most of us feel in that condition. The word "nude," on the other hand, carries, in educated usage, no uncomfortable [[overtone]]. The vague image it projects into the mind is not of a [[huddled]] and [[defenseless]] body, but of a balanced, prosperous, and confident body: the body re-formed. In fact, the word was forced into our vocabulary by critics of the early eighteenth century to persuade the artless islanders [of the UK] that, in countries where painting and sculpture were practiced and valued as they should be, the naked human body was the central subject of art." --''[[The Nude: A Study in Ideal Form]]'' (1956) | ||
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| - | :"The English language, with its elaborate generosity, distinguishes between the naked and the nude. To be naked is to be deprived of our clothes, and the word implies some of the embarrassment most of us feel in that condition. The word "nude," on the other hand, carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled and defenseless body, but of a balanced, prosperous, and confident body: the body re-formed. In fact, the word was forced into our vocabulary by critics of the early eighteenth century to persuade the artless islanders [of the UK] that, in countries where painting and sculpture were practiced and valued as they should be, the naked human body was the central subject of art."--[[Kenneth Clark]] in ''[[The Nude: A Study in Ideal Form]]'' | + | '''Kenneth McKenzie Clark, Baron Clark''', [[Order of Merit (Commonwealth)|OM]], [[Companion of Honour|CH]], [[Order of the Bath|KCB]], [[Fellow of the British Academy|FBA]] ([[July 13]], [[1903]] – [[May 21]], [[1983]]) was an [[English author]], museum director, broadcaster, and one of the most famous [[Art history|art historians]] of his generation. In 1969, he was catapulted to international fame as the writer, producer and presenter of the BBC Television series, ''[[Civilisation: A Personal View]]''. He wrote ''[[The Nude: A Study in Ideal Form]]'' (1956). |
| - | + | == Books == | |
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| - | '''Nudity''' or '''nakedness''' is the state of wearing no [[clothing]]. It is sometimes used to refer to wearing significantly less clothing than expected by the conventions of a particular [[culture]] and situation, and in particular exposing the bare [[skin]] of [[intimate part]]s and has analogous uses. | + | |
| - | Nude | + | |
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| - | == See also == | + | |
| - | *[[Nude photography]] | + | *''The Gothic Revival'' (1928) |
| - | *[[Nude scene]] | + | *''Catalogue of the Windsor Leonardo Drawings'' (1935) |
| - | *[[Nudie cutie]] | + | *''[[Leonardo da Vinci]]'' (1939) |
| - | *[[Nudie film]] | + | *''Piero della Francesca'' (1951) |
| - | *[[Nudism]] | + | *''Landscape into Art'' (1949) |
| - | *[[Nudist film]] | + | *''Moments of Vision'' (1954), the [[Romanes Lecture]] for 1954. Oxford: Clarendon Press. |
| - | *[[Female nudity]] | + | *''[[The Nude: A Study in Ideal Form]]'' (1956) |
| - | *[[Nudity in art]] | + | *''Looking at Pictures'' (1960) |
| - | *[[Nudity in film]] | + | *''Ruskin Today'' (1964) (edited and annotated by) |
| + | *''Rembrandt and the Italian Renaissance'' (1966) | ||
| + | *''Civilisation: A Personal View'' (1969) | ||
| + | *''Blake and Visionary Art'' (1973) | ||
| + | *''[[The Romantic Rebellion]]'' (1973) | ||
| + | *''Another Part of the Wood'' (1974) (autobiography) | ||
| + | *''Animals and Men'' (1977) | ||
| + | *''The Other Half'' (1977) (autobiography) | ||
| + | *''What is a Masterpiece?'' (1979) | ||
| + | *''[[Feminine Beauty]]'' (1980) | ||
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Revision as of 14:45, 20 March 2018
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"There remains the extraordinary example of Rembrandt's etching of a couple on a bed, where I do not find the subject at all disturbing because it is seen entirely in human terms and is not intended to promote action. But it is, I believe, unique, and only Rembrandt could have done it." --Kenneth Clark in The Longford Report (1972) "The English language, with its elaborate generosity, distinguishes between the naked and the nude. To be naked is to be deprived of our clothes, and the word implies some of the embarrassment most of us feel in that condition. The word "nude," on the other hand, carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled and defenseless body, but of a balanced, prosperous, and confident body: the body re-formed. In fact, the word was forced into our vocabulary by critics of the early eighteenth century to persuade the artless islanders [of the UK] that, in countries where painting and sculpture were practiced and valued as they should be, the naked human body was the central subject of art." --The Nude: A Study in Ideal Form (1956) |
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Kenneth McKenzie Clark, Baron Clark, OM, CH, KCB, FBA (July 13, 1903 – May 21, 1983) was an English author, museum director, broadcaster, and one of the most famous art historians of his generation. In 1969, he was catapulted to international fame as the writer, producer and presenter of the BBC Television series, Civilisation: A Personal View. He wrote The Nude: A Study in Ideal Form (1956).
Books
- The Gothic Revival (1928)
- Catalogue of the Windsor Leonardo Drawings (1935)
- Leonardo da Vinci (1939)
- Piero della Francesca (1951)
- Landscape into Art (1949)
- Moments of Vision (1954), the Romanes Lecture for 1954. Oxford: Clarendon Press.
- The Nude: A Study in Ideal Form (1956)
- Looking at Pictures (1960)
- Ruskin Today (1964) (edited and annotated by)
- Rembrandt and the Italian Renaissance (1966)
- Civilisation: A Personal View (1969)
- Blake and Visionary Art (1973)
- The Romantic Rebellion (1973)
- Another Part of the Wood (1974) (autobiography)
- Animals and Men (1977)
- The Other Half (1977) (autobiography)
- What is a Masterpiece? (1979)
- Feminine Beauty (1980)
