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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- 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
- 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
- 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
- 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
- Title: History of Art: Lecture V: Rembrandt
- 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
- 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
- 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
- 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:
- 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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