Green cloth spine with brown title plate and gilt title. Green cloth patterned board.

We provide an in-depth photographic presentation of this item to stimulate your feeling and touch. More traditional book descriptions are immediately available

• Note: This book carries a £5.00 discount to those that subscribe to the F.B.A. mailing list 

Please view the photographs as to conditions. The writing is dated yet brilliantly written. For anyone interested in the nude reading this will give you the history of your human form as interpreted through the ages.

Reviews:

• Probably one of the most engaging and exciting books I’ve ever read. I am a Cultural Anthropology major (art, history of literature, social psychology) and this book is right in that tradition. I had heard and given lip service to the concept of the ideal mean (“The da Vinci Code”) but had not understood how it was derived until reading this book, nor did I realize that as people became more urban and modern (taller and thinner) the ideal changed, too. Lots of information about what we don’t actually know about ancient art, which I found fascinating, like a forensic detective tale. I loved and guarded what seemed like every sacred minute of reading this book.

• A marvelous book with a very erudite and interesting text, and an abundance of pictures. I learned a lot but it was a slow read.

Kenneth Mackenzie Clark, Baron Clark (13 July 1903 – 21 May 1983) was a British art historian, museum director and broadcaster. His expertise covered a wide range of artists and periods, but he is particularly associated with Italian Renaissance art, most of all that of Leonardo da Vinci. After running two art galleries in the 1930s and 1940s, he came to wider public notice on television, presenting a succession of programmes on the arts from the 1950s to the 1970s, the largest and best known being the Civilisation series in 1969.

The son of rich parents, Clark was introduced to the arts at an early age. Among his early influences were the writings of John Ruskin, which instilled in him the belief that everyone should have access to great art. After coming under the influence of the art experts Bernard Berenson and Roger Fry, Clark was appointed director of the Ashmolean Museum in Oxford aged twenty-seven, and three years later he was put in charge of Britain’s National Gallery. His twelve years there saw the gallery transformed to make it accessible and inviting to a wider public. During the Second World War, when the collection was moved from London for safe keeping, Clark made the building available for a series of daily concerts which proved a celebrated morale booster during the Blitz.

After the war, and three years as Slade Professor of Fine Art at Oxford, Clark surprised many by accepting the chairmanship of the UK’s first commercial television network. Once the service had been successfully launched he agreed to write and present programmes about the arts. These established him as a household name in Britain, and he was asked to create the first colour series about the arts, Civilisation, first broadcast in 1969 in Britain and in many other countries soon afterwards.

Among many honours, Clark was knighted at the unusually young age of thirty-five, and three decades later was made a life peer shortly before the first transmission of Civilisation. Three decades after his death, Clark was celebrated in an exhibition at Tate Britain in London, prompting a reappraisal of his career by a new generation of critics and historians. Opinions varied about his aesthetic judgement, particularly in attributing paintings to old masters, but his skill as a writer and his enthusiasm for popularising the arts were widely recognised. Both the BBC and the Tate described him in retrospect as one of the most influential figures in British art of the twentieth century.