(The following description is in Russian (transliterated),...)
The following description is in Russian (transliterated), followed by an automated English translation. We apologize for inaccuracies in the computer-generated English translation. Please feel free to contact us for an accurate human English translation, which well be happy to prepare upon request London, 1938. 100c hardcover, very large format. We ship to worldwide destinations from worldwide origination points, including our overseas facilities. Shipping and handling charges are based on the actual weight. Buyers are advised to request a postage cost estimate before placing an order. Most orders are delivered by international mail within 30 days. For expedited shipping please contact us before placing your order
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(Sixty drawings, selected and commented on by a distinguis...)
Sixty drawings, selected and commented on by a distinguished art critic, form a representative selection of the controversial nineteenth-century British illustrator's work
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(First published in 1928 and written while the author was ...)
First published in 1928 and written while the author was still at Oxford, this book has become a classic. It remains the best possible introduction to the most widespread and influential architectural and decorative arts movement England ever produced. Though Gothic Revival buildings had changed the face of both town and country, they were hardly appreciated in the first half of this century. Architectural historians neglected them because so few were seen as great works of art; others averted their gaze, or laughed. That taste later changed was in many ways due to this book. Kenneth Clark's exploration of the changes in ideals and sensibility that inspired the Revival made it possible to see again with the eyes of those for whom the buildings had been designed, and whose imaginations they had fired.
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( From the art of the Greeks to that of Renoir and Moore,...)
From the art of the Greeks to that of Renoir and Moore, this work surveys the ever-changing fashions in what has constituted the ideal nude as a basis of humanist form.
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broadcaster historian writer author art critic
Kenneth Mackenzie Clark was born on 13 July 1903 – 21 May 1983 in London. He was the only child in a rich Scottish family, has long been engaged in textile crafts. While his parents spent the family fortune (amassed by Clark's Scottish great-great grandfather, the inventor of the cotton spool), Clark developed into a lonely, serious young man with a passion for art and complete confidence in his judgment.
He graduated from the prestigious Winchester College. Then in 1922-1926 he studied at the Oxford Trinity College, where he studied art history.
In 1931 he began teaching at Oxford, having previously completed a two-year internship with Bernard Burnson.
In 1934, Clark became the youngest director of the London National Gallery, which he headed until 1945.
He bought paintings of such artists as Sassetta, Giovanni di Paolo, Bosch, Rembrandt, Ingres and Cezanne. He also set new standards for the storage of works of art. During the Second World War, when London was bombed, Clark was responsible for the evacuation of paintings, and at the end of the war he was responsible for their safe return.
In 1946 he received the honorary title of professor of the School of Fine Arts of Slade in Oxford, where he worked until 1950.
He took an active part in the organization of the "Festival of Britain" - the British Jubilee Exhibition in London in 1951-1952. In 1955-1960 Clark was a chairman of the British Council of Arts and in the period of 1967-1978 he held the post of the head of York University, at the same time was the curator of the British Museum. He died after a short illness in the city of Heath, Kent.
(Sixty drawings, selected and commented on by a distinguis...)
( From the art of the Greeks to that of Renoir and Moore,...)
(First published in 1928 and written while the author was ...)
(The following description is in Russian (transliterated),...)
His religious outlook was unconventional, but he believed in the divine, rejected atheism, and found the Church of England too secular in its outlook. Shortly before his death he was received into the Roman Catholic Church.
Clark's political views were moderately left-of centre; he was a lifelong Labour voter. This was consistent with his upbringing, despite the family wealth: his parents were Liberal in outlook, and Ruskin's social and political views influenced the young Clark.
Despite the fact that Clark always admired great people, he also preached individualism, universal values and had the reputation of an anti-Marxist. He was inclined to argue with supporters of postmodernism. Some conclusions of the art critic did not stand the test of time. In particular, Adolfo Venturi attributed to Galasso, the artist from Ferrara, the famous sets of Tarokka Mantegna. This can be judged from his statements in the TV series "Civilizations".
Quotations:
"Great works of art can be produced in barbarous societies in fact the very narrowness of primitive society gives their ornamental art a peculiar concentration and vitality. At some time in the ninth century one could have looked down the Seine and seen the prow of a Viking ship coming up the river. Looked at today in the British Museum, it is a powerful work of art; but to the mother of a family trying to settle down in her little hut, it would have seemed less agreeable as menacing to her civilisation as the periscope of a nuclear submarine. "
"In time of war all countries behave equally badly, because the power of action is handed over to stupid and obstinate men. "
"Those who wish, in the interest of morality, to reduce Leonardo, that inexhaustible source of creative power, to a neutral or sexless agency, have a strange idea of doing service to his reputation. "
"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. "
"Evidently one cannot look for long at the Last Supper without ceasing to study it as a composition, and beginning to speak of it as a drama. It is the most literary of all great pictures, one of the few of which the effect may largely be conveyed can even be enhanced by description. "
"The various parts of the body cannot be perceived as simple units and have no clear relationship to one another. In almost every detail the body is not the shape that art has led us to believe it should be. "
"The nude gains its enduring value from the fact that it reconciles several contrary states. It takes the most sensual and immediately interesting object, the human body, and puts it out of reach of time and desire; it takes the most purely rational concept of which mankind is capable, mathematical order, and makes it a delight to the senses; and it takes the vague fears of the unknown and sweetens them by showing that the gods are like men and may be worshiped for their life-giving beauty rather than their death-dealing powers. "
He was a member of the British Academy since 1949.
In 1927 he married his Oxford classmate, a student of Irish descent, Elizabeth Jane Martin. Subsequently, they had three children: Alan in 1928 and the twins Colette and Colin in 1932. Jane died in 1976, but the following year, Clark again married Nolwen de Zhanza-Rice.
His son Alan Clark subsequently became a historian and a member of parliament from the Conservatives.
1868–1932
Daughter of James McArthur of Manchester.
October 9, 1932 - December 17, 2002
____-1976
She was married Kenneth M. Clark from 1977 to 1983
October 9, 1932
April 13, 1928 - September 5, 1999
