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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • of Christianity, and the following centuries until the beginning
    • this epoch, when Christianity was slowly finding its way into all
    • into the unimaginative Roman culture that Christianity, coming
    • from the East, first had to spread. Nevertheless, Christianity as
    • connected with the early Christian conceptions.
    • Christianity found its way into the West, the Roman
    • the very earliest times of Christian Art we find the figure of
    • Christ Jesus and the others around Him permeated still by the
    • first Christian centuries. Should the Redeemer be represented in
    • Golgotha. Enriched by Oriental fancy, this early Christian art
    • impulses of Christianity had come to Earth from another world,
    • to feel not only man but Christ Himself. He wanted to feel what
    • Christ is for poor simple men. Out of the very heart of a
    • Christianity thus felt, he then evolved his wondrous feeling for
    • conceives the union of Christ with human life. Surely it cannot
    • "https://www.rsarchive.org/Lectures/GA292/English/UNK1981/images/HA01-016_Christ_Baptism.jpg"
    • 16. Giotto: The Baptism of Christ. (Capella Madonna dell'
    • 24. Giotto: The Resurrection of Christ. (Capella Madonna
    • 32. Giotto: Mourning for Christ.
    • evolution of Christianity until the time of Dante and Giotto, we
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • their creative work unless we understand the character which Christianity
    • century Italian Christianity witnessed the rise even among the Popes, of
    • name of “Christian” had been lost sight of, comparatively
    • a different feeling of Christianity than inspired those who lived, for
    • other hand, we consider the Christian traditions, the concepts and ideas
    • time in Christianity. So free an Art as was developed in Leonardo and
    • ideas of Christianity were lifted out of their context and taken by
    • from the moral element; and thus the Christian thought, loosed from
    • could never think in any other than a Christian way. He not only felt
    • as a Christian; he conceived the order of the World in mighty pictures,
    • in the Christian sense. Imagine him placed in the midst of that time,
    • when the Christian conceptions had, as it were, become objectified and
    • been known to him as Christianity. It was the beginning of Jesuitical
    • Christianity. And so he entered on the twilight of his life.
    • expression of the Christian feeling. This element is everywhere poured
    • of the ages a well-nigh inexpressible quality of Christian Art. This,
    • 3. Verrocchio and Leonardo: Baptism of Christ. (Uffizi. Florence.)
    • impulse whereby our friend the Poet, Christian Morgenstern, went from
    • 17. Head of Christ. (Study for the Last Supper.) (Brera. Milan)
    • at the Head of Christ. These reproductions are familiar.
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  • Title: History of Art: Lecture III: Dürer and Holbein
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    • spread of Christianity in the more Southern regions. These Northern
    • spread of Christianity. Little is left of what wls contained in the
    • natural. In the oldest period of Christian culture we find the
    • spread of Christianity and Romanism. Moreover, that which rayed out
    • advancing wave of Christianity, poured itself out into all this,
    • conception of the Christian tradition coming upwards from the
    • 9. Christ and the Three Wise Virgins.
    • Christ. (Munich.)
    • 30. Matthias Grünewald. Resurrection of Christ.
    • Albrecht von Brandenburg before the Christ. (Augsburg.)
    • being is painted here to show how he reveres the Christ. A
    • Christ. The whole conception shows how this very soul comes to
    • Brandenburg before the Crucified Christ. (Alte Pinakothek,
    • 41. Raphael. Christ carrying the Cross
    • 46. Dürer. Mourning for Christ. (Pinakothek.
    • picture of the Christian knight, or, as it is often called:
    • represented — the Christian knight who has revolted thoroghly
    • leaves them on one side, and perseveres on his way. ‘The Christian
    • opposite her, perhaps, St. John, a great Cross with the Christ in
    • ‘Melancholia,’ and his ‘Christian Knight,’
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • Christianity from the side of Rome. Until the 12th and 13th
    • know of the spread of Christianity in the succeeding time. For the
    • whole spread of Christianity was a very different thing in those
    • always felt like a foreign body, still the Christian impulses found
    • Christianity into the soul found expression especially in the
    • the Christian ideas entering, above all, into the imaginative life,
    • infinitely rich life of Christian vision and imagination in the
    • believe that Christianity contains a peculiar, morally religious
    • 13th — reveal in Art the progressive appeal of Christianity, and
    • especially the tragic elements of Christianity, to human heart and
    • countenance of Christianity itself as fair as possible — that,
    • Christian Feeling for all human life. And the strange thing is that
    • Christianity into the life of the people is also recognisable, or,
    • again — the Christmas and Easter Plays, and Plays of the Three
    • of the Christian world-conception. The Play concerning Anti-Christ,
    • stories and the sacred legends. Out of this life with the Christian
    • Passion, and notably in the head of Christ Himself as conceived by
    • Christ till Dürer's time, and in other things as well, we find
    • connected with the name of Cimabue. Here it is more the Christ
    • as is the Byzantine type of Christ, inwardly human is the
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  • Title: History of Art: Lecture V: Rembrandt
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    • 498. Christ and the Disciples at Emmaus, 1629.
    • 512. The Ascension of Christ (Munich. Alto
    • 536. Christ at Emmaus. (Louvre, Paris.)
    • 539. Christ and the Adulteress. (Minneapolis.)
    • majority of Rembrandt's pictures, the Christ is by no means beautiful.
    • 550. The Scourging of Christ. (Darmstadt.)
    • 567. Christ of the Mount of Olives
    • 565. Christ Healing the Sick
    • the Christ figure are expressed.
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • Petrus Christus,
    • evolution altogether steeped in Christian ideas — the Christian
    • by the German Christian Masters of the period immediately preceding
    • it thus. Throughout the centuries of Christianity this idea had gradually
    • this picture shows the Christian legend transplanted into the artist's
    • once more by the same artist. And now a picture taken from the Christian
    • We now come to Petrus Christus:
    • 23. Petrus Christus. The Annunciation (wings of an Altar-piece) (Berlin.)
    • 24. Petrus Christi. The Birth of Christ
    • Annunciation) and the presentation of the Christ Child. Petrus Christus
    • 26. John the Baptist and Christopher
    • on the other side the Christophorus — the Christ-Bearer. Truly,
    • 40. Gerard David. Baptism of Christ. (Bruges.)
    • 41. Gerard David. Madonna and Christ, with Angels. (Rouen.)
    • 46. Hieronymus Bosch. Christ carrying the Cross.
    • 49. Quentin Matsys. Mourning for Christ. (Antwerp.)
    • 53. Patinir. The Baptism of Christ. (Vienna.)
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • relate especially to the birth of Christ Jesus, the Adoration by the
    • our souls, from another aspect, that which is living in the Old Christmas
    • bear in mind the general lines of development of Christian Art, which
    • of the early Christian centuries into the times of the Renaissance.
    • Christian Art evolve towards Naturalism, that is, towards a certain
    • pictures relating more especially to the Birth of Christ. Then we shall
    • of the Cosmos — the Wise Men draw near to the Christ Who
    • the Gnostic stream: the consciousness that the Christ-Event was a cosmic
    • came to life, as you know, in the Old Christmas Plays. But the appearance
    • the “Gnostic” Revelation concerning Jesus Christ. We cannot
    • of the East came to the birthplace of Christ Jesus, led by the Star which
    • is really the Star of Christ. But it goes on to relate that something now
    • of Time which was indicated as the day of Christ Jesus's Death.
    • approaching Christ from the physical plane — all that is connected,
    • of the Myth grew into the representations of the Christian theme. The
    • to represent the new impulse, the Christ event; and so it was with many
    • You will feel the connection of it with what is given in the old Christmas
    • to a later time, nevertheless they are from earlier Christmas Plays
    • Star with the incoming of the Christ Jesus Soul.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • outcome of the Christian world-conception. So perfectly does it express
    • this theme: The Birth of Christ Jesus in connection with the Madonna,
    • soul. One of the ideas of the Christian conception of the world has
    • picture for a moment as though we knew nothing of the Christian
    • We can regard them from a Christian aspect (and the above two points of
    • view are by no means the only ones), — looking at it in a Christian
    • 10. Raphael. Sketch of the Mourning for Christ.
    • imagine, as it were, the Genius of Christianity itself painting in the
    • representatives of Christianity are being crowned with roses by Mary,
    • 37. Dürer. Christ with the Crown of Thorns.
    • 43. Dürer. Christ on the Cross. (Woodcut)
    • 44. Dürer. Mourning for Christ. (Woodcut)
    • of the Birth of Christ. Once again there is really nothing of those
    • 51. Multscher. Christ in Gethsemane. (Town
    • of the Head of Christ, which was elaborated by and by in the course
    • of time, had already reached. Compare this Head of Christ with the one
    • most originally and most truly. Here, too, Christianity was inwardly
    • the German heart and mind. The absorption of Christianity was a far
    • not accept what brought Christianity to them from the South in a form
    • already marred by Rome; they tried to recreate Christianity themselves
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  • Title: History of Art: Lecture IX:
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    • the last century before the birth of Christ. We come to the School of
    • the Pisanos, that the Christian Art afterwards became able to express
    • a Christ that Donatello attempted, exclaimed; “That is not a Christ
    • thereupon himself undertook to model the Christ. Donatello — for
    • kind of pinafore. Just as he entered, Brunelleschi unveiled his Christ.

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