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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • artistic ideal. Rather was it a question of calling forth those
    • which were believed to be at work, moulding the eye organically
    • out, — this is what inspires the forms. Plastically
    • lark, calling her his sister. An infinite inwardness, a life of
    • two pictures. Their inherent tenderness recalls to us the
    • actually on his deathbed, when he called to his brothers that
    • the three tiers, rising systematically into higher worlds from
    • spiritual world (albeit lovingly, realistically inclined through
    • individuals emancipated naturalistically from the idea that
    • may call it — the seizing of the Human on the Earth,
    • characteristic of Leonardo how radically he seeks to bring out
    • so forth, we cannot really call this a 'composition'; for in man
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • life of their time. I mean far more than this. Into the specifically
    • midst of this same world. We need but call to mind: In that time, even
    • artistically somewhat later what had arisen earlier in a moralising
    • as it appears to us historically.
    • sought to harmonise this cosmic scene. Majestically as it was conceived,
    • called for this monument to be erected to his efforts. It was to have
    • commercial Popes, if we may call them so — those of the house
    • healthily — as we today call it — sentimental expression.
    • into the time when he went to Rome. It is not known historically exactly
    • to what St. Thomas Aquinas called the “Praeambula Fidei,”
    • the secret of the Trinity. This fact explains what I may call, perhaps,
    • contrast to what is called “Inspiration” Raphael also wished
    • I would call the mediumistic nature of the unconsciousness of madness,
    • were called upon to play their part in human evolution as rulers in
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • specifically Southern nature. The difference is not easy to
    • certain sense, behind what is directly, physically
    • Mid-Europe is connected in its turn with what I would call the
    • — from his everyday calling, from the familiar experiences of
    • from the districts which we now call the Netherlands. Thence came
    • the practical impulse, if I may call it so, permeating the artistic
    • within, but the forming of the figures is also called forth by the
    • visionary picture is conceived most realistically and with great
    • great) we find a nee effort to express what I called just now the
    • instance it can be historically proved: —
    • picture of the Christian knight, or, as it is often called:
    • Knight’ this picture should be called. Death and the Devil stand in
    • milieu, the calling, the whole environment in the midst of which a
    • there lived, artistically speaking, a goodly piece of Faust.
  • 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
    • of the Mid-European spiritual life, there arose what we may call
    • the specifically artistic qualities. At the same time there is
    • too, is wrong. For we need only have a feeling for the specifically
    • tendency to explain everything symbolically, or in other artificial
    • recognise that the specifically artistic qualities that come to
    • itself should be artistically understood.
    • what I might call a slow and silent working towards the deepening
    • called man a “Zoon politicos” — a political animal.
    • contrary, because they must first call the people, bring them
    • must first be called to the group-life. And the same thing
    • We need only call to mind the portraits, the Madonnas, for
    • how they contrived, out of the specifically Mid-European creative
    • allegorically or in some other way, with the Christian
    • and Michelangelo. Artistically, this conception is altogether a
    • men had to be won over; the individual souls must first be called
    • Likewise, they must first be called if they are to express reverence
    • called.
  • Title: History of Art: Lecture V: Rembrandt
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    • wanted to bring them thoughts of an awakening — calling out aloud
    • his start from the phenomenon of Rembrandt and he therefore called his
    • of such writers as Goethe or Lessing? They understood practically nothing
    • Van Dyck, Velasquez. With all their greatness, when we call to mind these
    • I may so describe it) painting plastically but painting with light and
    • we are pointing to no matter of chance when we recall the fact that
    • at the outward reality, not merely seeking to observe it realistically,
    • to what is called so in the Southern Art. But look at the characteristic
    • people of one and the same class or calling, men who belonged together
    • “realistically,” but places his figures into the true reality
    • This is the so-called
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • fifth post-Atlantean epoch — that epoch which is called upon to
    • call "inverse perspective" compared to the perspective we know
    • is now called perspective was first introduced into the technique of Art
    • in Art what we may call the gathering together of things in Space, where
    • symbols, if I may so call them. Brunellesco must be conceived as the
    • is called a “vanishing point.” It has a whole “vanishing
    • — when he calls himself a Patriot in one sense or another, he means
    • think of what is called the “State,” or trouble themselves
    • portrayed how the Impulse of the Lamb works in the various callings,
    • Master of Flémalle, as he is called.
    • Characteristically —
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • reproduction of that which may be called reality from the point of view
    • of St. Luke's Gospel, as we may call it, and that of the Gospel of St.
    • Children. Artistically, too, we can recognise the difference. The Adoration
    • all around the picture, representations of what was cosmically connected
    • And now I ask you to call
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • even to speak of any other streams in Art, specifically different from
    • 8. Raphael. The Call of St. Peter. (London,
    • more a reproduction of the so-called “Disputa,” with certain
    • is called.
    • in them strongly and characteristically. When we wish to characterise
    • Art of the German people shows itself most characteristically on the
    • districts of what is now called Austria or Southern Bavaria or Swabia
    • the one factor. The other was what I would call the elemental originality
    • are, we see in these pictures — appearing so characteristically
    • Saints across the Sea, as it is called. Look in the foreground (although
    • might call it) are seen, you have to look high up above. We are looking
    • was practically a contemporary of Moser and Multscher.
    • Goethe, as you know, tried to express this systematically in his Theory
    • artistically out of their inner heart and feeling.
  • Title: History of Art: Lecture IX:
    Matching lines:
    • often called upon you to observe what is recognisable in the Golden
    • give a pleasant name. I refer to what are now called sports and games,
    • of our time: On the one hand theoretically, they are at pains to understand
    • whether we call this a decline or not.
    • sculpture is often emphasized: the smile, as it is called, about the lips.
    • unfortunately know very little, you have the so-called Athena Lemnia:
    • This picture represents the so-called Aphrodite of Cnidos. Praxiteles
    • before the eyes. We must call it to life in our imaginations. Whereas
    • practically the whole period of the 15th century.
    • a naturalistic stamp. Donatello enters lovingly and sympathetically into
    • understand what he meant. The anecdote is interesting, if not historically



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