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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- born of an imagination, in the background of which was still a
- In the background, as you can still see by these pictures, is the
- background work upon them, they had the feeling of a mighty
- background whose splendour, inspired by oriental fancy, had
- shows how man, when he is thrown back upon himself alone,
- idea comes to expression here: in the background the mighty
- background, and it was as though the object now were to
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- returned and he went back to Florence, he stood once more under a new
- most wonderful works, in the Medici Chapel. But in the background of
- political changes drove him back. The betrayal of the Malatestas, their
- penetration into Florence, drove him back again to Rome. And now he
- to Rome more than once and gone back again to Florence, and that from
- Title: History of Art: Lecture III: Dürer and Holbein
- impulses of fancy they go back into very olden times. In a certain
- back into the oldest time, we find that to begin with it makes no
- and again more or less repelled, pushed back again. In Middle
- time he seems to ray it back again out of himself. Man and animal —
- Title: History of Art: Lecture V: Rembrandt
- kind of introduction, indicating the historic background of the artist's
- Michelangelo, Raphael and others — to reveal the background of his
- German. His desire was to bring the life of the human soul back again to
- If you look back on our
- what took its start in that period we must go back to the Carolingian
- him to grasp. The figures merely stand there as a background; the real
- into the background, and all painting becomes for him a problem of light
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- If we go back to the history
- that which appears smaller is further back. If, however, we return to
- enthroned in the background of the picture. His subjects, in the
- other figures which are farther back, if a figure in the background
- background and all that was expressed in it — ceases to exist.
- background of the figures, or in some other way.
- composition. If we went back still further, we should find the preceding
- We must go far, far back
- architecture in the background. To represent the Waters of Life, the Well
- Title: History of Art: Lecture VII: Representations of the Nativity
- He was then led back again into the realm of the Star. In this is contained
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- the background of a great world-conception. Without this background of a
- background. Hence Raphael's work is so strongly separated from his
- Looking back once more over
- background of great world-perspectives. He is only conceivable if we
- hand, we feel in the background, as it were, the aura of the life of
- stand before us with any cosmic perspectives in the background. It is,
- more in the foreground and another towards the back, — this they
- — and yet the picture does not really recede towards the background.
- the surface forward and backward by discovering the hidden effects of
- crowd of people standing in the background. Look at the faces. Considering
- succeeds in making any real distinction between foreground and background.
- break; they turned back again to the Roman, Latin principle. And in
- Title: History of Art: Lecture IX:
- words the essence of Greek Art — tried to find their way back, to
- And now we will go back
- This status reaches back
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