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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- forces in the human soul — those powers of imagination,
- humanity did not possess sufficient powers of imagination to
- lectures that the Romans were an unimaginative people. It was
- into the unimaginative Roman culture that Christianity, coming
- imagination. Thus, inner spiritual visions and imaginations were
- unimaginativeness, if I may so describe it, took hold of what
- came over, so rich in fancy and imagination, from the East. In
- rich imagination of the Greeks. We find the Redeemer Himself
- fell into decay amid the unimaginative Romans. Thus in the
- created, of course, by human imagination, in the effort to
- born of an imagination, in the background of which was still a
- and tendencies which seized the artistic imagination of Giotto at
- rich imaginations of an earlier Art had represented sublime
- out like a magic broach ever the picture as a whole. More and
- can scarcely imagine the entry into Giotto's pictures of any
- of soul is poured like a magic breath over this picture.
- 58. Sandro Botticelli: Adoration of the Magi. (Uffizi.
- 67. Leonardo da Vinci: Adoration of the Magi. (Uffizi.
- imagination. On this, the greatness of Raphael very largely
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- represented something. Namely, he who imagined the scene to himself
- as such, imagining that with aesthetic views and feelings which happen
- (and when I say ideas I include “Imaginations”) connected
- means (as we might naively imagine) as the great artist whom we recognise
- a free imaginative
- must imagine Michelangelo as a man who in his inmost heart and mind
- in the Christian sense. Imagine him placed in the midst of that time,
- to Rome. Here we come to that strange magic atmosphere whose presence
- feeling and creation, and leaves a strangely magic atmosphere —
- We need not imagine that
- more deeply than one imagines with the fundamental feeling of his soul.
- And now imagine, with this
- Title: History of Art: Lecture III: Dürer and Holbein
- peculiar activity of fancy, of imagination which had its
- or imagination proceed from this region of Middle Europe. As
- impulses of the imagination stand in clear contrast to those of a
- impulses of imagination are rooted in a certain power of perception
- perceptible. Accordingly, whatsoever the Southern imagination seeks
- forms and colors. This impulse of imagination also evolves a
- imagination, which is able, therefore, to unite itself far more
- how the essential thing in the Northern Art is this imagination
- and not contemplative vision. This imagination, working forth from
- imagination — albeit correspondingly toned down — which
- this process in Raphael, whose imagination, growing up amid the
- expression very beautifully in the words of Goethe's Faust. Imagine
- imagination of Mid-Europe is cast on to the surface by the
- magical element which we find in the old Persian civilisation. For
- is deeply connected with the ancient Persian wisdom of the Magi.
- it brings the quality of magic into connection with the feelings of
- coming to him from the South, gives himself up to magic. But in
- imagination with all that is stamped upon the human being by the
- individuality. It is, indeed, an extraordinarily true Imagination
- influenced by the Southern imagination than Schongauer. It is most
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- Title: History of Art: Lecture IV: Mid-European and Southern Art
- more southern regions? It appeals to the fancy and imagination.
- of the fancy and the imagination, which is present in the souls of
- the Christian ideas entering, above all, into the imaginative life,
- infinitely rich life of Christian vision and imagination in the
- element of fancy and imagination in the Southern culture which
- Such, truly, was the Southern imagination as it worked in the world
- the South, it was permeated by fancy and imagination, thus
- Title: History of Art: Lecture V: Rembrandt
- any nature like the Italian. He fertilised his imagination simply and
- and more in Rembrandt's work as time goes on, the boldest imaginable
- the people in the room. He is there — and if you imagined all
- 547. Adoration of the Magi. (Buckingham Palace.)
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- today. In this “inverse perspective” we must imagine things
- He must either imagine himself away, or he must think himself into
- be able to imagine a spectator situated with his eye in such a place
- 39. Gerard David. Adoration of the Magi. (Munich.)
- 59. Pieter Brueghel. The Adoration of the Magi. (London.)
- Title: History of Art: Lecture VII: Representations of the Nativity
- of form and color, they try to reproduce the spiritual Imaginations,
- Magi. Here I beg you to observe how the two streams evolve: the stream
- Magi, on the other hand — the mission of the Three Wise Men from the
- was that “Imaginations” appeared to the Shepherds, while
- to the theme of the Wise Men. For the Wise Men or Magi, the most ancient
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- view you cannot imagine a further enhancement of this theme —
- come to expression here in the highest imaginable way, seen from a certain
- proportion? And so forth ... A magic breath is poured out over it
- all, — a magic breath of aesthetic traditions, of harmony and
- subject. No longer is there poured out over it the magic breath of a
- always necessarily imagine him; but the pictures themselves are eloquent
- imagine, as it were, the Genius of Christianity itself painting in the
- and notably the Roman Church system. We must decidedly imagine (though
- by the crests, painted in lighter color. If you try to imagine a visual
- difficulties at once. We must imagine it high up so as to look down
- certain other truths of Nature is very strained; Imagine you were in this
- spiritual Imagination and artistic fancy join together and create a
- true Imaginative Art.
- Title: History of Art: Lecture IX:
- vision, contemplation, — combined with the living Imagination
- before the eyes. We must call it to life in our imaginations. Whereas
- repose; it must represent moments which can at least be imagined —
- peculiar way the body becomes differentiated. We could not imagine the
- in the widespread unimaginativeness of the Roman people, to which we
- own imagination fructified, as it were, by the Greek Art itself.
- was so overwhelmed that he even imagined the breakfast had disappeared.
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