Over and above the political, economic, sociological, and international implications of racial prejudices, their major significance is that they place unnecessary burdens upon human beings.

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.

Almost all great painters in old age arrive at the same kind of broad, simplified style, as if they wanted to summarise the whole of their experience in a few strokes and blobs of colour.

The eye instinctively looks for analogies and amplifies them, so that a face imagined in the pattern of a wallpaper may become more vivid than a photograph.

Few people can look at a painting longer than it takes to peel an orange and eat it.

A racist system inevitably destroys and damages human beings; it brutalizes and dehumanizes them, blacks and whites alike.

Conventional nudes based on classical originals could bear no burden of thought or inner life without losing their formal completeness.