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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • the inner life of soul, the mighty event that was being enacted
    • man's personal well being. Then suddenly, through his own
    • can be experienced in the human soul, in the human being as a
    • Beings gazing down from beyond the Earth into this world of human
    • feels and experiences — impulses for which the human being
    • all that the poor man was; wanted to feel the human being
    • conception of the Jesus child. We have before us human beings,
    • traditionally handed down — where Beings gaze from realms
    • known as the 'School of Athens.' Human beings are placed together
    • human being partakes in the impulse that is thought to proceed
    • His pure spiritual Being, — still you can read in the
    • what is more, rule it through human beings, not through an
    • human being.
    • itself but to the question: How will human beings look when they
    • human beings. Though it is not yet so much so as in some later
    • represent the sacred fact. The sacred legend lives on; and, being
    • the human being, they were presently able to emancipate the human
    • itself, seeking to penetrate into the human being. It is
    • the inner being of man as it stamps itself upon his outer
    • the full expressiveness of man; he tries to seize the human being
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • hand the feet of the heavenly beings. Heaven still penetrated down into
    • human being might become as if transparent to him, revealing how the
    • inner being works into the outer form. Yes, there is truth in this,
    • were certainly created out of the very deepest impulse of his own being.
    • in Leonardo is to see and feel what interests the human being of his
    • with all his being.
    • thus bring out with emphasis whatever in the outward features of a being
    • beings — theologians, for the most part. These theologians are
    • in the human sphere, without the latter being influenced out of the
    • — human figures are portrayed, to represent beings standing within
    • the cosmos, — Beings into whom the whole cosmos is working. They
    • Beings, angelic figures between them, bring them the secrets of the
    • worlds. Thus they are dreamy Beings, living within the universal nexus.
    • hand, live and move and have their being over and above the individual.
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • Spirit. They always express the individual human being himself,
    • spiritual being that underlies all Nature is revealed.
    • unable to come forth, being overwhelmed by the other. Yet it lived
    • the being to the surface. That which arises from the artistic
    • being. It is as though his inner being entered into a hidden
    • the elemental beings — those beings who, to begin with, manifest
    • a connection between Man and the naturalistic life and being of the
    • Divine and spiritual, transcending the individual human being,
    • imagination with all that is stamped upon the human being by the
    • beings of that time.
    • being is painted here to show how he reveres the Christ. A
    • Spirit. !le see three stages, as it were: the Spiritual Beings
    • human being.
    • saint and animal — are contrasted simply by being placed in the
    • a being of more fleeting form, once more in order to portray the
    • the light to this object? What says the light to this being? You
    • out of the soul, creating the whole human being out of the very
    • the same motive. An actual human being of the time (it is the
  • Title: History of Art: Lecture V: Rembrandt
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    • more southern nations of Middle Europe were being massacred in this
    • in his own inner life and being.
    • beings see it in ordinary life? It is the very purpose of Art to reproduce
    • out of an inward experience of his own being. The artist of the Fifth
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • have to some extent escaped the unhappy fate of being historians of Art
    • foreground, are represented as being smaller in proportion. In Space they
    • surface of the body what is there in the inner being of the soul.
    • about its frontiers. What mattered to them was that human beings full,
    • thorough-going human beings — should develop, regardless of the
    • Southern Netherlands, the regions of Flanders. The inner being of man is
    • the very fact that each individual being has his full importance, and
    • human being in the landscape. Thus with all the impulses of the new age
    • of free development of human beings. I might continue to say many other
    • The angels here are full-grown human beings, in spite of their clerical
    • and ceremonial garments — fully developed human beings —
    • which we here find expressed. The Lamb is One, yet no one being is striking
    • the treatment of landscape in relation to the human beings to whom it
    • sees the human being — whatever presents itself to his vision
    • especially notice this art — to place the human being fittingly
    • picture — but, being a pious man also, he afterwards bequeathed
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • out of the spiritual beings that are bound up with the life of Nature.
    • their inner being, and looking up to the Star wherein the Spirit Who
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • themes in the whole Cosmos, as it lies before us human beings living
    • being that worked to create it — the human being, Raphael himself.
    • reality. We must consider man in his full being, such as he really is. In
    • the Threefold being of Man. This threefold nature of man emerges
    • not easily forget the personality, the human being. Not that we must
    • representatives of Christianity are being crowned with roses by Mary,
    • were being made external, flat and superficial. Those human beings,
    • of heart and mind of the human beings themselves who in these regions
    • at the same time be to create out of the inner source of being, and
  • Title: History of Art: Lecture IX:
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    • within the visible being of man. And in his plastic art the Greek wanted
    • work to bring out the apishness of Man. For if that human being were
    • being in this striving towards a living conception of the Spiritual
    • was well aware that the figures of his Gods were based on real Being in
    • etheric human being. In the earliest pictures we shall still see a certain
    • breathing organism, the forming of the chest. The human being as a whole
    • represent not the dead human being — the mere physical body —
    • about this figure. The body is already being differentiated into its
    • of his dignity, his freedom, his individual being. In the characteristic



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