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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • Click on any of the Artist names (above) to find more
    • return. For in the artistic evolution of this period we witness
    • lies before this period in artistic evolution is veiled pretty
    • artistic ideal. Rather was it a question of calling forth those
    • the study of an artist who, for the external history of art, is,
    • with Giotto an entirely new artistic world-conception arose in
    • and tendencies which seized the artistic imagination of Giotto at
    • and the influence of this extends, by and by, to the artistic
    • in his artistic work we find a feeling similar to that of St.
    • artist carried along, as it were, by the living impulses of St.
    • in such a case artistic realism is combined with the striving to
    • how the artist seeks to represent the inner life of St. John,
    • the grouping of the human figures. It is the same artistic
    • faces. See how the artist's work is placed at the service of this
    • artist who was permeated by this idea, and was well able to bring
    • artists, nevertheless, as you will presently see for yourselves,
    • stage further in artistic evolution. The following developments
    • artist is at pains, not so much to subordinate his figures to one
    • than heretofore, the artist's effort is to portray even the
    • more and more emancipated, while the artist's power to portray
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • in the artistic world of feeling, which finally led up to what was so
    • of the new age, in an artistic sense. It is the dawn of the 5th
    • something is contained in these artists which we must undoubtedly regard
    • the artistic or aesthetic impulses as such, attaching an excessive value
    • in former epochs — epochs when the artistic understanding was
    • forget how much has been done to extirpate a true artistic understanding
    • subject-matter is presented to it. In wide circles, artistic understanding
    • say artists such as Raphael, Michelango and Leonardo were by no means
    • one-sidedly artistic, but carried in their souls the whole of the
    • artistic quality of their creation, in form and colouring, there flowed
    • artistic sense will nevertheless
    • feeling for what is truly artistic is not always prevalent among us.
    • of their time. For this civilisation entered livingly into the artistic
    • can we fully understand these artists if we have no feeling for the
    • time, on the other hand, people fail to understand the artistic element
    • had assumed at the time when these artists blossomed forth. You need
    • figure the Greek artist created. In course of time this faculty was
    • mere artist in the narrower sense of the word; the artist in him grew
    • no one else could make anything of them. What poured into his artist's
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  • Title: History of Art: Lecture III: Dürer and Holbein
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    • problem is the relation of this artistic evolution to that other
    • the sea, to the Atlantic Ocean. Peculiar impulses of artistic fancy
    • impulse of artistic fancy is of a very different kind. Tracing it
    • Northern impulse of artistic fancy. He who is sensitive to these
    • the plastic arts. The artistic elaboration of letters into
    • old Bibles. Again and again you will see it is the artist's impulse
    • the artistic creation of Mid-Europe.
    • which the individual must groan and soffocate. In the artistic life
    • the being to the surface. That which arises from the artistic
    • monologue of Goethe's Faust. It is a wonderful artistic
    • original artistic fancy is directed.
    • the practical impulse, if I may call it so, permeating the artistic
    • from 1420 to 1490. Here you will see the same artistic tendency,
    • which enables the artist to embody in such realistic figures the
    • detailed subject but the artistic treatment as such which shows,
    • undoubtedly, a higher perfection in this artist than in the
    • most eminently mediaeval artist, Albrecht Dürer.
    • the heads of the characters are surch as the artist saw around him
    • with the artistic treatment — the plastic quality, the forming of
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • how the specifically artistic quality is always influenced by the
    • the specifically artistic qualities. At the same time there is
    • artistic qualities, for all that works in form and colouring, in
    • recognise that the specifically artistic qualities that come to
    • the artist works into the spheres of form and color and expression.
    • The time itself works through the soul of the artist. The whole
    • centuries we witness the development of a unique artistic life in
    • itself should be artistically understood.
    • artistic fancy rose to such great heights of creation, while the
    • of the soul's life and its artistic power of expression. It finds
    • progress of artistic penetration in pictures of the countenance of
    • of Jesus that is presented to us, for the artistic forms are
    • much that arose out of this wrestling for artistic powers of
    • Northerly qualities of artistic creation are connected with the
    • But he saw nothing of the sublime heights of artistic creation; he
    • attained an artistic height that stands, in a certain way, so
    • its artistic perfection we see how deeply Christianity had found
    • and Michelangelo. Artistically, this conception is altogether a
    • artist as before — Sluter.
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  • Title: History of Art: Lecture V: Rembrandt
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    • lantern lectures, we will today pick out a single artist — albeit
    • one of the very greatest in the artistic evolution of humanity. I refer
    • kind of introduction, indicating the historic background of the artist's
    • life and times, would be a little out of place. With an individual artist
    • cultivation of artistic taste. You have lost the Mother-Earth of spiritual
    • dependent on that artistic movement which I have characterised in recent
    • soul was he in any way dependent as an artist on the Latin, Southern
    • historic evolution of mankind. From the aspect of artistic history,
    • artistic evolution, he threw many a beautiful and brilliant search-light
    • of artistic life in that age. Hermann Grimm rightly says that to understand
    • hand, is an artist who makes felt — as an artist — something
    • and the darkness. This artistic conception becomes so strong in Rembrandt
    • — great as was his talent, his artistic genius from the very first
    • existence. What does this signify for Art? It signifies that the artist
    • through man. The artist of the Fourth post-Atlantean age, as I have
    • out of an inward experience of his own being. The artist of the Fifth
    • signifies for man an artistic process of self-knowledge. And I think
    • for self-knowledge as an artist. His own form was not merely the most
    • the same time. Under the influence of his artistic way of feeling —
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  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • Spiritual Science, we should still find in this artistic evolution a
    • we may regard as the fundamental frame-work of the artistic conceptions
    • olden times, the artist had in his mind's eye some story which he wished
    • The artist makes use of the visibility, or partial visibility of this
    • at a time when the districts where these artists lived did not possess
    • we shall recognise out of this portion of artistic evolution. In the
    • the second pole of that entry into the physical reality in the artistic
    • through the adjoining southern countries — their artistic creation
    • Thus the period in artistic
    • the features I have indicated are recognisable in the whole artistic
    • will see that the artist has not yet reached a thorough-going perspective.
    • centuries. It could not have been embodied in this beautiful artistic
    • after all, more or less superfluous, if we are interested in the artistic
    • figures of Mary and St. John) — that a Southern artist would have
    • of secular subjects by the same artist.
    • clearly how great was the artist's power of characterisation and
    • distinctness, the artist does not care at all to conceive what a man
    • contemporary artist who outlived Van Eyck by a few years — the
    • There is a kind of echo of artistic tradition. In Van Eyck's work we
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  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • thus be concerned today, not in the first place with the artistic elements,
    • Art, and I will therefore speak not so much of the evolution of artistic
    • the same great trend of evolution, as we pass from the artistic representations
    • Children. Artistically, too, we can recognise the difference. The Adoration
    • feeling, albeit the artistic perfection is not so great as in the Southern
    • of these painters. The next is by the artist who worked in Bruges and
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • Raphael and the Northern Artists
    • Raphael and the Northern Artists
    • Click on any of the Artist names (above) to find more
    • Southern European and the Northern or Mid-European artistic streams
    • — a more special outcome of our ideas concerning the artistic
    • respect to certain artistic intentions — the highest ideal has
    • Behind the artist stand great cosmic perspectives — world-conceptions
    • artist as Raphael, as the artist of an epoch that was drawing to it
    • as an artist properly begins. He did this at the age of twenty-one —
    • will have to ask: How is the artist contriving to express — whatever
    • must, rather, be directed to these laws of artistic harmony. See how
    • composition. In short, you can distinguish what is purely artistic from
    • the underlying subject-matter. Here, however, the artist's power is
    • With such an artist as Raphael, we may, indeed, pronounce the word,
    • for it is literally true: — “Artistic truth makes all the
    • opposite. To begin with, the artist is simply concerned to express his
    • effort is, to the best of the artist's technique and ability, with the
    • artistic means at his disposal, to bring to expression what is there in
    • their Masters many a tradition of aesthetic law, artistic harmony, —
    • the historic documents contain little about it) that in artistic matters,
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  • Title: History of Art: Lecture IX:
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    • preserved for us. The Greek artist created from an altogether different
    • that tend in the long run to brutalise even the artistic life. Goethe
    • — was in movement. Hence, too, as a creative artist, in all that
    • we can see that the artist's creation is based on a feeling of the inner
    • pictures, we shall be less concerned to discuss the individual artists;
    • the artist endeavors to represent the body in such a way that the position
    • in which the figure is might be a lasting one. The later artists strive
    • artists of the Golden Age of Grecian Art; they, indeed, created the
    • the earlier artists is made more human. We see this already in Praxiteles.
    • artistic discussion, ever since Lessing's Laocoön of the 18th
    • what the plastic artist has created is there before our eyes. Therefore,
    • says Lessing, what the plastic artist portrays must contain far more
    • unconsciousness. Hence the artist represents it as though the body of
    • From the 13th century onwards, artists would educate themselves by means
    • 15th century, and we come to Ghiberti, the great artist who at the age of
    • apprentice he grew to be one of the very greatest artists. These
    • artists — the contrast between the two artists — the contrast
    • Niccola Pisano and Donatello were two artists who powerfully
    • we have had before us the artists of the pre-Renaissance. They entered
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