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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • 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.
    • "https://www.rsarchive.org/Lectures/GA292/English/UNK1981/images/HA01-058_Adoration_Magi.jpg"
    • 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
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    • 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
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    • 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
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • 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
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    • 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
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    • 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
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    • 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
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    • 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:
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    • 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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