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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
    Matching lines:
    • 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
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    • 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
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    • 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
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    • 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
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    • 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
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    • 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
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    • 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:
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    • 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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