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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • study of which we may presume the human mind will ever and again
    • the outward course of history reveals in any epoch —
    • from the East, first had to spread. Nevertheless, Christianity as
    • the inner life of soul, the mighty event that was being enacted
    • conquered by the Grecian culture, which, however, subsequently
    • painting. Alas, it is no longer really visible today, not even
    • which were believed to be at work, moulding the eye organically
    • the further development of art — was inspired in his inner
    • afterwards discuss.) On the other hand, we must never forget that
    • spirit. Here, however, I will not go into this question, but
    • sound paradoxical to modern ears. Nevertheless, for a deeper
    • resources. St. Francis was surrounded by mighty world-events
    • such a way as to sweep past the single life of man, even as the
    • midst of all this life, St. Francis with his ever more numerous
    • in fellowship with every human soul, an interest in the
    • experiences of every single man, a looking away from the golden
    • poor man on Earth. Every single man now becomes the main concern,
    • every single man a world in himself. Yes, one desires to live in
    • such a way that every single man becomes a world. The Eternal,
    • Nature. Everything on Earth became his brother and his sister; he
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • masters of the Renaissance. We ended by revealing the connecting threads
    • spiritual life as a whole. It is even considered a failing of the
    • more developed in the ordinary common sense of the people. We must not
    • artistic sense will nevertheless
    • warnings, even within our anthroposophical stream of evolution. The
    • should ever have been painted.
    • believe the most extraordinary things. They will believe, for instance,
    • that a man can build a Gothic church even if he has not the remotest
    • believe that one can paint the Trinity even if one has no feeling for
    • century Italian Christianity witnessed the rise even among the Popes, of
    • men who truly cannot be said to have satisfied even the most rudimentary
    • midst of this same world. We need but call to mind: In that time, even
    • world of the senses which contained mankind. Even their view of Nature
    • Those, however, among whom
    • even the men of later times during the 4th Post-Atlantean age —
    • nevertheless, the legends themselves were founded upon fact, and there
    • human being might become as if transparent to him, revealing how the
    • tasty dishes or told them stories, so that their faces assumed every
    • to understand Nature. He tried in an even wider sense to understand
    • even as it came to expression in the profound external changes which
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  • Title: History of Art: Lecture III: Dürer and Holbein
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    • way they were undoubtedly at work even at the time of the first
    • perceptible. Accordingly, whatsoever the Southern imagination seeks
    • to reproduce in Art, it tends rather to raise it above the level of
    • human qualities will melt away. It is a striving to reveal how
    • immediate effort to take hold of the form as such, or to achieve a
    • restfulness of composition. Its interest is in the quick event
    • these things had been preserved, even the outer world would feel
    • has expressed in the relations of the several figures, see the
    • Chapel we cannot but realise, even in this element of movement, an
    • for Mid-European Art. In every case these miniatures reveal a
    • spiritual being that underlies all Nature is revealed.
    • Thus did the several impulses grow into one another, layer upon
    • practicality of life, a cleverness in skill and understanding, a
    • craftsmanship, which is never absent from the Gothic. The sublime
    • things to interweave with one another, layer upon layer; for every
    • all, that which flows inward, both from the South and West, is ever
    • Europe they felt the Classical and in later times even the Gothic
    • Nay, in later times they even feel in the Gothic an element beneath
    • every step, with every turning of the head, new impulses of light
    • intensity whenever he could rise to creative fancy. Hence, though
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • — the power to express the ever-mobile life of the soul. The
    • impulse; while the Southern (which was, however, influenced at a
    • characteristic abuse of our time to consider Art — even the
    • another equally pernicious error. Art is very frequently severed
    • tendency to explain everything symbolically, or in other artificial
    • centuries we witness the development of a unique artistic life in
    • manner of excesses even before the twelfth century. And while in
    • revealed in the attacks of Francis of Assisi, and later of
    • pressed; nevertheless, in such a statement guiding lines are given
    • for the understanding of whole epochs of History. However we may
    • believe that Christianity contains a peculiar, morally religious
    • 13th — reveal in Art the progressive appeal of Christianity, and
    • Yet, as I explained last time, even now when another element once
    • Plays that were presented everywhere, dramatising the Biblical
    • developed, as it were, the last phases of the Fourth Post-Atlantean
    • individual, as it works its way upwards out of every single human
    • The “political animal” was developed to its greatest
    • churches and the public squares; everywhere we see how they reckon
    • his experiences in his own house and home, even the house of his
    • the countenance and gesture — all this, Raphael would never
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  • Title: History of Art: Lecture V: Rembrandt
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    • Michelangelo, Raphael and others — to reveal the background of his
    • end of the 1880s, I went out of an atmosphere in which everyone was
    • came to Weimar, and it went on for two or three years longer. Everyone
    • However unpleasing from
    • them inner fullness and satisfaction. The anonymous writer was everywhere
    • heart of things — even in the phenomena of the great world. He
    • of the soul! You have lost touch; you are trifling everywhere on the
    • surface of things — in science and scholarship, and even in your
    • the surface. Even the great figures of the immediate past were appreciated
    • Eventually he went over to Catholicism. Thus, after all, he tried to find
    • lectures as the Southern European stream. He is even less dependent than
    • Mid-European humanity. He never even saw Italy. He had no relation to
    • (In style and form, however, the Song of Walthari — like many
    • emerging of a new age. We find, developing in Mid-Europe, the Latin
    • and darkness. What Goethe afterwards achieved for Science (although
    • truly as an outsider. Fundamentally speaking, even Leonardo, Michelangelo
    • in the ever more perfect working out of light and darkness. Color to
    • were, to reveal the working of the pure distribution of light and darkness
    • in the realm of space. Then he is able to reveal the mysterious fashioning
    • out of light and shade. The colors are everywhere born out of the light
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  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • today are to illustrate the development of Dutch and Flemish painting
    • with the development of the Spiritual Soul. In the Dutch and Flemish
    • characteristic way. We see in every detail how the Spiritual Soul begins
    • misfortune to be quite so up-to-date, then, even if we knew nothing
    • of today. It is interesting to see the several elements of it emerging
    • to portray — a story such as one might even narrate in words.
    • Today we should not even allow the art of illustration to proceed in
    • this way, merely setting down the events of the narrative on a flat
    • several figures are already made larger or smaller in proportion, taking
    • that which appears smaller is further back. If, however, we return to
    • Meanwhile, however, another
    • nevertheless, it is true that oil-painting was discovered in the age
    • should be taken into account, for Nations will never understand each
    • other if they take no pains to grasp their several characteristics.
    • development of the Spiritual Soul this implies, to begin with, the
    • within each single form; we place the several individual figures side
    • This is not to be achieved
    • chance that this special development in the 15th century took place
    • thorough-going human beings — should develop, regardless of the
    • are, nevertheless, attained. But with these mass-effects, it is not that
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  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • Comprising an evolution through several centuries, they will bring before
    • may be of interest in relation to these pictures. You will, however,
    • bear in mind the general lines of development of Christian Art, which
    • These, as we have seen, were still under the influence of Revelations
    • revealed out of the Spiritual World. Thenceforward you will see this
    • heralds His approach and develops in the Zarathustra Jesus. In all that
    • the Gnostic stream: the consciousness that the Christ-Event was a cosmic
    • the “Gnostic” Revelation concerning Jesus Christ. We cannot
    • it were, of certain great events has to be broken through. How precisely
    • which had grown atavistic in the Egyptian Gnosis. The new Revelation
    • would indicate such inner connections as underlie the revelation to
    • the Three Wise Men. Whatever goes by the name of Astrology today has
    • of whatever kind is a mere antiquated superstition.
    • Nevertheless, the knowledge
    • Even as late as the 18th century people still spoke of something which
    • Even in the 18th century it was expressly stated in certain circles
    • The Revelation came to the Shepherds inasmuch as they still had dreamlike
    • as you see, everything is conceived in typical form —
    • to represent the new impulse, the Christ event; and so it was with many
    • to a later time, nevertheless they are from earlier Christmas Plays
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  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • by means that cannot ever be transcended.
    • in the Physical. Thus even if we take the pure picture of Nature —
    • which we recognise as characteristic of the South. Always, however,
    • also think of the Sistine Madonna, even as we have now spoken of the
    • age of thirty-seven, he is working at the Transfiguration, which
    • even to speak of any other streams in Art, specifically different from
    • conceptions, out of which such a picture proceeded even in Raphael's time,
    • still there, needless to say, even in his etheric body, and we find it
    • everywhere, where reference is made to the Spiritual part of man
    • Severo.)
    • Even the sketches which we have shown today reveal this most especially.
    • we have seen today. In every case, having distinguished the subject of
    • the picture, you may naturally ask yourself about the event or personality
    • represented. But it will never be sufficient to answer: The subject
    • will have to ask: How is the artist contriving to express — whatever
    • the underlying subject-matter. Here, however, the artist's power is
    • from the soul with elemental force. Raphael paints with the ever-present
    • never be separated from his works. We cannot seek in Dürer for
    • the Seven-headed Dragon (1498.)
    • appear in all domains of life, revealing how men felt when the impulses
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  • Title: History of Art: Lecture IX:
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    • to understand the several plant species as diverse manifestations of one
    • post-Atlantean age, even as that which the Greeks conceived and expressed
    • Nevertheless, in this very age there murst arise a new view of Nature, for
    • that tend in the long run to brutalise even the artistic life. Goethe
    • to the level of the ape. Modern sports and athletics — themselves
    • them strongly enough to bring them home — however little —
    • developed, who is the underlying ideal of the extremer movements in
    • bring ancient Greece to life again on a higher level, permeated this
    • afield if I were to give you even an outline sketch of the real history,
    • with the illustrations we shall see today. Even in the early works of
    • within, nevertheless even in the archaic forms, imperfect as they are,
    • everything in that time was more or less instinctive) the need to
    • stiffness; but even here it can be seen that the shaping of the limbs
    • and less divinely. Nevertheless, the forms are still an expression of
    • In looking at the several
    • we will see some illustrations, and whatever more there is to say can
    • of the body arises, in that he no longer separates, what even here is
    • this was handed down, even into the times when they were able to imitate
    • Pallas Athene. These things even become a little reminiscent of
    • is lifted down into a more human realm, even though the figures be still
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