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.

Only the bad artists of the nineteenth century were frightened by the invention of photography; the good ones all welcomed it and used it. Degas liked it not only because it provided an accurate record, but because the snapshot showed him a means of escape from the classical rules of design. Through it he learnt to make a composition without the use of formal symmetry.

All color is no color.

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.

Fine colour implies a unified relationship, in which each part is subordinate to the whole, and the transitions between them are felt to be as precious and beautiful as the colours themselves. In fact, the colours themselves must be continuously modified and broken as part of the transition.

Devotion to the facts will always give the pleasures of recognition; adherence to the rules of design, the pleasures of order and certainty.

Changes in the structure of society are not brought about solely by massive engines of doctrine. The first flash of insight which persuades human beings to change their basic assumptions is usually contained in a few phrases.