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Searching The History of Art

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • we come on into the 14th and 15th century, we see the longing,
    • progress from the 14th to the 15th and on into the 16th century
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • century Italian Christianity witnessed the rise even among the Popes, of
    • place in Florence at the beginning of the 16th century, while under
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • thirteenth century. At that time the Mid-European feeling had grown
    • thirteenth century into the fifteenth, and on into the
    • the 16th century or perhaps a little later. Much of the tenderness
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • manner of excesses even before the twelfth century. And while in
    • from the 13th century onward a certain decline can be observed.
    • of work and progress in the best souls, from the 11th century on
    • century, had been preserved. All that we now bring to light
    • of the 12th century, which has been found at Tegernsee in Bavaria,
    • the 13th century. They are at Halberstadt.
    • wood, and dates from the first third of the 13th century. None the
    • the first third of the 13th century. They show an altogether
    • 14th century, and see what had occurred by that time. We have a few
    • century.
    • 14th century we now come to a figure of St. Paul by a master known
    • beginning of the 14th century. Compare this with Michelangelo's
    • artist of the 15th century. (We must go according to the pictures
    • an artist of the early 14th century. With the Cologne Master, and
    • came to the 14th century. We now pass on into the 15th. Here, then,
    • middle of the 15th century. The next is a Madonna, by the same
    • figures carved in wood, at Blutenburg (end of the 15th century).
    • carved in wood — end of the 13th century:
    • Munich, end of the 15th century.
    • sculptor who worked at the end of the 15th century.
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture V: Rembrandt
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    • of the nineties of last century. It was curious to see what a far-reaching
    • significance, especially so for the close of the 19th century. People
    • the 19th century. In all directions it had become essentially a culture on
    • only in a superficial way. What, after all, did the late 19th century
    • arch-representative of those who felt themselves in the 17th century so
    • Gall in the 10th century, and relating how Mid-Europe was overwhelmed
    • 16th century in this weaving of the light. — But Rembrandt had
    • mighty personality, lighting forth in the seventeenth century.
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • towards the end of the 15th century and on into the 16th.
    • emerges — century after century during these epochs — what
    • chance that this special development in the 15th century took place
    • in the first third of the 15th century. Hubert Van Eyck died in 1426;
    • of the 15th century.
    • 15th century.
    • about 1452 — the middle of the 15th century.
    • 16th century, other elements mingle more and more with what was
    • this is already in the 16th century.
    • definitely of the 16th century. I spoke just now of the
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • of these things did not decay or die out absolutely until the 18th century.
    • Even as late as the 18th century people still spoke of something which
    • that underlie the appearance of the Three Wise Men. In the 18th century,
    • Even in the 18th century it was expressly stated in certain circles
    • (15th century) The Nativity, etc. (German Woodcuts.)
    • 4. The Nativity, 11th Century. (Limburg Monestary.)
    • 5. The Flight into Egypt. (Evangeliar of the 12th century.
    • century once more; and we now go on to Correggio.
    • (Codex Egberti. Trier. 10th century.)
    • from Menologion of Basil II (Vatican. Rome. 11th Century.)
    • we find ourselves in the 13th century. We go on into the 15th and come
    • century is Piero di Cosimo.
    • old Mosaic, of the 6th century.
    • (Menologium Basilius. Vatican. 11th century)
    • Gate at Freiberg, second half of the 12th century:
    • Fabriano, also of the 15th century.
    • half of the 15th century.
    • End of the 15th century:
    • and early 16th century.
    • Hans Grun, going on into the 16th century.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • or beginning of the 16th century.
    • the 15th and beginning of the 16th century. One question cannot but
    • century. True, the pictures of the period, which we shall show, give
    • districts in the first half of the 15th century the spatial conception
    • in the first half of the 15th century — how hard it is for that
    • first half of the 15th century: Lucas Moser.
    • This alter-piece was done in the first half of the 15th century. How
    • the 19th century, artistic evolution was decidedly on a retrogressive
    • this art. How remote, after all, is that which emerges in the 19th century
  • Title: History of Art: Lecture IX:
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    • a man like Winckelmann, in the 18th century, strove so wonderfully to
    • and Goethe, in the latter half of the 18th century, tried to express in
    • the Fifth or of the end of the Sixth century
    • beginning of the 5th century B.C.
    • 7. Runner (middle of the 5th century
    • of the 5th century and find in such a shapes a tryly high degree of
    • drawings made by the Frenchman, Carrey, in the 17th century. Subsequently
    • discovered by Lord Elgin in the 19th century.
    • realise that in the 18th century, when Goethe and others, stimulated
    • century, — let alone the 20th. For otherwise it would have been
    • brings us to the 4th century
    • Going on into the 4th century,
    • the 2nd century.
    • the last century before the birth of Christ. We come to the School of
    • century. It is the work of three sculptors of the School of Rhodes.
    • From the 13th century onwards, artists would educate themselves by means
    • Renaissance. In Niccola Pisano in the 13th century we find a wonderfully
    • until the end of the 13th century.
    • 15th century, and we come to Ghiberti, the great artist who at the age of
    • practically the whole period of the 15th century.

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