We can destroy ourselves by cynicism and disillusion, just as effectively as by bombs.

Ingres was one of those artists to whom the outline was something sacred and magical, and the reason is that it was the means of reconciling the major conflict in his art, the conflict between abstraction and sensibility.

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.

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.

All color is no color.

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.

The dark ghettos are social, political, educational and-above all-economic colonies. Their inhabitants are subject peoples, victims of the greed, cruelty, insensitivity, guilt, and fear of their masters.