For more information on Kenneth Mackenzie Clark Baron Clark of Saltwood, visit Britannica.com.
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For more information on Kenneth Mackenzie Clark Baron Clark of Saltwood, visit Britannica.com.
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| Biography: Kenneth M. Clark |
During his long and varied career, English art historian Kenneth M. Clark (1903-1983) served as director of the British National Gallery and of Britain's first commercial television network. He also helped establish government patronage of the arts.
Kenneth Mackenzie Clark was born in London on July 13, 1903, the only child of parents he described as members of the Edwardian "idle rich." 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. Lacking a mentor at home or school, he groped his way toward knowledge, winning a scholarship to Oxford. There, he gave up early hopes of becoming a painter to become an aesthete. " … Nothing could destroy me," he said, "as long as I could enjoy works of art and for 'enjoy' read 'enjoy': not codify or classify, or purge my spirit or arouse my social consciousness." Clark was able to fulfill another childhood ambition: to assist art critic Bernard Berenson in the revision of his Florentine Drawings. Clark spent two years in Italy working for Berenson, during which time he married Jane Martin, an Oxford classmate.
Then, in 1928, he delved into a project on Leonardo da Vinci, whose work at that time was still largely undocumented. The resulting catalogue established Clark's reputation. He was invited to help organize a major exhibit of Italian art in London. Though dissatisfied with his contributions to its catalogue, thinking himself still too young and inexperienced, Clark was soon being invited to lecture widely.
In 1931 he became Keeper of the Department of Fine Arts at Oxford's Ashmolean Museum. The next year marked the beginning of what he called the "great Clark boom." From 1933 to 1945 he was the British National Gallery's youngest director and a major force in the expansion of its collection. Also in 1934, King George V convinced him to be surveyor of the King's pictures. In 1938 he was knighted.
When war broke out in 1939 Clark served as director of the Film Division of the Ministry of Information after he saw to it that the National Gallery's collection was safely hidden in caves in Wales. He had already begun collecting and championing the work of contemporary artists, particularly that of his friends Henry Moore and Graham Sutherland, and he took advantage of his ministry position to convince the government to begin supporting the arts on a large scale, at that time a novel concept in Britain. He helped launch what became the Arts Council. A lover of classical music, he also introduced a series of lunchtime concerts at the National Gallery, one of which he conducted himself. Later he would establish the National Opera at Covent Garden.
After the war he resigned his post at the gallery and from 1945 to 1950 held the prestigious Slade professorship of fine arts at Oxford. He spent much of that time lecturing and writing on John Ruskin and was chiefly responsible for reestablishing Ruskin's reputation. During this period he wrote Piero della Francesca (1951), Moments of Vision (1954), and, culled from a series of Mellon lectures delivered in Washington, D.C., The Nude (1956), which he considered his best work and which was heavily influenced by the art theories of Aby Warburg.
Though Clark's catalogue on Leonardo da Vinci had established him as a scholar, he eschewed the title. "I have not got a first class mind," he wrote, "only a love of art, a good visual memory and a certain amount of commonsense." With his enthusiasm for sharing this love and his articulate but conversational style, Clark was a popular lecturer. Later he was able to transfer these skills successfully to television. In the intervening years he served as director of Britain's first commercial television network, ITA, setting to rest, with his trustworthy name, the grumblings of a public who feared the crassness of commercial "tellie." When he left ITA in 1957 the BBC immediately hired him, launching him in the final, and best known, stage of his career, as a television personality, albeit not a flashy one.
In 1969 he wrote and narrated the 13-part "Civilisation" series, a survey of European art which included a segment on his favorite period, the early quattrocento (14th century) in Florence. "Civilisation" was a huge success in both England and the United States (and also became a best-selling book). Clark felt both awed and ill at ease with his new status as a star. He went on to do other television programs, but resigned all his duties when his wife took ill in 1974. At Saltwood Castle in England, their home since 1955, Clark wrote on Botticelli, Rembrandt, and his friend Edith Wharton, as well as completing a second volume of his autobiography. His wife died in 1977. Soon thereafter Clark was remarried, to Nolwen de Janze-Rice, a family friend. As his health declined, he suffered bouts of depression alternated with periods of productivity. He died shortly before his 80th birthday, leaving behind two sons and a daughter.
Further Reading
For two different accounts of the life and work of Kenneth Clark, see Clark's two volumes of autobiography, Another Part of the Wood (1974) and The Other Half (1977). Both are charming, witty, and readable, if less than complete, portraits. Meryle Secrest's Kenneth Clark: A Biography (1984) fills in many of the gaps. Many of Clark's books are widely available, including The Gothic Revival (1929), Leonardo da Vinci (1939 and 1952), Florentine Painting: the Fifteenth Century (1945), Landscape Into Art (1950), Piero della Francesca (1951), Moments of Vision (1954), The Nude (1956), and Looking at Pictures (1960).
Additional Sources
Clark, Kenneth, Another part of the wood: a self portrait, New York: Harper & Row, 1974.
Clark, Kenneth, The other half: a self portrait, New York: Harper& Row, 1977.
Secrest, Meryle, Kenneth Clark: a biography, New York: Fromm International Pub. Corp.: Distributed to the trade by Kampmann & Co., 1984.
| Columbia Encyclopedia: Kenneth MacKenzie Clark |
Bibliography
See biography by M. Secrest (1985); bibliography, ed. by R. M. Slythe (rev. ed. 1971).
| Quotes By: Kenneth, Lord Clark |
Quotes:
"Opera, next to Gothic architecture, is one of the strangest inventions of Western man. It could not have been foreseen by any logical process."
"People sometimes tell me that they prefer barbarism to civilization. I doubt if they have given it a long enough trial. Like the people of Alexandria, they are bored by civilization; but all the evidence suggests that the boredom of barbarism is infinitely greater."
| Wikipedia: Kenneth Clark |
Kenneth McKenzie Clark, Baron Clark, OM, CH, KCB, FBA (13 July 1903 – 21 May 1983) was a British author, museum director, broadcaster, and one of the best-known art historians of his generation. In 1969, he achieved an international presence as the writer, producer, and presenter of the BBC Television series, Civilisation.
Contents |
Kenneth Clark was born in London, the only child of Kenneth MacKenzie Clark and Margaret Alice McArthur, his cousin. The Clarks were a wealthy Scottish family with roots in the textile trade (the "Clark" in Coats & Clark threading). His great, great grandfather had invented the cotton spool. Kenneth Clark the elder had retired in 1909 at the age of 41 to become a member of the 'idle rich' (as described by W. D. Rubinstein in The Biographical Dictionary of Life Peers).
Clark was educated at Winchester College and Trinity College, Oxford, where he studied the history of art. In 1927 he married a fellow Oxford student, Elizabeth Jane Martin. The couple had three children: Alan, in 1928, and twins Colette (known as Celly) and Colin in 1932.
A protégé of the most influential art critic of the time, Bernard Berenson, Clark quickly became the British art establishment's most respected aesthetician. After a stint as fine arts curator at Oxford's Ashmolean Museum, in 1933 at age 30, Clark was appointed director of the National Gallery. He was the youngest person ever to hold the post. The following year he also became Surveyor of the King's Pictures, a post he held until 1945. As Director of the National Gallery he oversaw the successful relocation and storage of the collection to avoid the Blitz and continued a programme of concerts and performances. He was a controversial figure however, in part due to his distaste for much of modern art and Post-Modernist thought. Nevertheless, he was an influential supporter of modern sculptor Henry Moore and, as Chairman of the War Artists committee, he persuaded the government not to conscript artists thus ensuring that Moore found work. He was also an advisor to the Ministry of Information commissioning Dylan Thomas amongst others to write scripts for propaganda films. In 1946 Clark resigned his directorship in order to devote more time to writing. Between 1946 and 1950 he was Slade Professor of Fine Art at Oxford. He was a founding board member and also served as Chairman of the Arts Council of Great Britain from 1955 to 1960, and had a major role in the art program of the Festival of Britain.
Kenneth Clark was created Knight Commander of the Bath in 1938, and made a Companion of Honour in 1959. He also received the Order of Merit in 1976. In 1955 he purchased Saltwood Castle in Kent.
An indefatigable lecturer in both academic and broadcast settings, Clark's mastery was to make accessible complex and profound subject matter that could then be appreciated by an extremely broad audience. He was one of the founders, in 1954, of the Independent Television Authority, serving as its Chairman until 1957, when he moved to ITA's rival BBC. In 1969 he wrote and presented Civilisation for BBC television, a series on the history of Western civilisation as seen through its art. Also broadcast on PBS in 1969, Civilisation was successful on both sides of the Atlantic, gaining Clark an international profile. According to Clark, the series was created in answer to the growing criticism of Western Civilisation, from its value system to its heroes. In 1970, the Irish national newspaper TV critics honoured Clark with a Jacob's Award for Civilisation.[1]
A self-described "hero-worshipper", Clark proved to be an ardent pro-individualist, Humanist and anti-marxist. His comments on the subject of 1960s radical University students, from a final episode of Civilisation, are but one example of his extremely critical view of Post Modernism in all its contemporary forms: "I can see them [the students] still through the University of the Sorbonne, impatient to change the world, vivid in hope, although what precisely they hope for, or believe in, I don't know." - Clark, Civilisation, Episode 12.
Clark believed in the sublime and noble nature of man, and his quiet, witty and often devastating criticism of environmentalism, the Monarchy, religious authoritarianism and Statism continues to win him praise from a wide range of the political spectrum, most notably from those of a Classical Liberal and Objectivist mind-set. And yet, Clark was also able to see the Church as a repository for the best minds that the West had produced, a place where men of action were necessarily attracted. A highly tolerant man, in discussing those with whom he disagreed, Clark was able in a dignified and respectful manner, to illustrate his differences along with effectively expressing his praise.
He was Chancellor of the University of York from 1967 to 1978 and a trustee of the British Museum. Clark was awarded a life peerage in 1969, taking the title Baron Clark, of Saltwood in the County of Kent (The British satirical magazine Private Eye nicknamed him Lord Clark of Civilisation).
In 1975 he supported the campaign to create a separate Turner Gallery for the Turner Bequest and in 1980 agreed to open a symposium on Turner at the University of York, of which he had been Chancellor, but illness compelled him to back out of that commitment, which Lord Harewood undertook in his place.
His wife Jane died in 1976 and the following year Lord Clark married Nolwen de Janzé-Rice, former wife of Edward Rice, and daughter of the Count of Janzé alias Comte Frederic de Janze (a well-known French racing driver of the 1920s and 1930s) by his wife Alice Silverthorne (better known by her married names as Alice de Janze or Alice de Trafford), a wealthy American heiress resident in Kenya. Lord Clark died aged 79 in Hythe after a short illness in 1983. In the last days of his life, he was received into the Catholic Church.
Lord Clark's elder son, Alan Clark, became a prominent Conservative MP and was a writer-historian.
Lord Clark continues to be a source of inspiration for many contemporary artists, historians and television producers.
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| Cultural offices | ||
|---|---|---|
| Preceded by Sir Augustus Daniel |
Director of the National Gallery 1933–1946 |
Succeeded by Sir Philip Hendy |
| Preceded by Ernest Pooley |
Chair of the Arts Council of Great Britain 1953–1960 |
Succeeded by Lord Cottesloe |
| Honorary titles | ||
| Preceded by Sir Collins Baker |
Surveyor of the King's Pictures 1934–1944 |
Succeeded by Anthony Blunt |
| Academic offices | ||
| Preceded by Lord Harewood |
Chancellor of the University of York 1967–1978 |
Succeeded by Michael Swann |
| Media offices | ||
| Preceded by New office |
Chairman of the Independent Television Authority 1954–1957 |
Succeeded by Sir Ivone Kirkpatrick |
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