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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • spheres of human life and action, was characterised by a turning
    • for the other characters connected with the Mystery of Golgotha,
    • recognise their character as a whole; these remarkable figures
    • have always described as the fundamental characteristic of the
    • Assisi. All this is far more characteristic of St. Francis than
    • individual human character and figure. Giotto shows himself with
    • more we see the human figures standing out as single characters,
    • individual, a single character. More and more we see the single
    • human characters simply placed side by side. Though undoubtedly
    • Think of the tremendous progress in characterisation, from the
    • human characters are working under the impression that has been
    • Here, on the other hand, you see how all the characters are
    • characteristic of Leonardo how radically he seeks to bring out
    • working-out of human characters. Especially in his Last Supper,
    • Leonardo is at pains to study the single human characters. We see
    • wanted to study the human characters in all detail. We know how
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • their creative work unless we understand the character which Christianity
    • And, of course, the whole army of priests were of like character. The
    • study characteristic faces, so that by dint of outward contemplation
    • Often he would follow a character about for days and days, so that the
    • characteristic animal faces. These are legendary anecdotes; and yet
    • life included — bears the stamp of this his fundamental character.
    • nature, though possessing the characteristics of the Renaissance in
    • of “great powers,” of mighty States. Its colossal character
    • the commercial character. True, he was destined still to create the
    • within the life of the Church against what was characteristic of that
    • character which the artist dealt with at his pleasure, treating it like
    • sweet and tender faces, the characteristic postures of the feet, the
    • we transplant ourselves into the character they once possessed, for
    • understanding of Nature which I sought to characterise just now.
    • which have the character of portraits. Only then will we go on to his
    • to extract the characteristic features by dint of studious contemplation,
    • strong characteristic features, as against what had come forth in earlier
    • characteristic
    • is most significant of individual character.
    • we shall see presently, but they bear the character of Leonardo and
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • characterise, but we may describe it somehow thus: the Southern
    • individual characters of soul which shine out of these faces. Then
    • I have just characterised rayed out again and again from Middle
    • which I characterised just now, raying outward from the basins of
    • what is characteristic in Mid-European Art. We shall still have to
    • It is characteristic
    • the very smallest detail, how the characterisation always flows
    • Isenheimer Altar. The representation of character in these works of
    • “rebellion” in individual characterisation. We will
    • characterised in this picture: Below, the College of Theologians
    • Dürer, too, as a master in characterisation. The picture
    • the heads of the characters are surch as the artist saw around him
    • the sharp characterisation of the difference of the four Apostles,
    • in temperament and character.
    • character who will fear neither Death nor the Devil, but go his way
    • to associate these things with the character and setting of the
    • man is living, is stamped upon his soul and character. Holbein
    • elements which we tried to characterise before — quite universal
    • light and shade. This is one of the most characteristic features in
    • for individual characterisation which is so remarkably expressed in
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • character of the South or of the North, while, on the other hand,
    • characteristic abuse of our time to consider Art — even the
    • culture of the age finds expression in the characteristic works of
    • strongly individual characterisation of all that is life and
    • a truth which can be characterised in two very simple statements
    • orders with that inner life and character of the people which we
    • Mid-European characteristics which, if I may say so, wrestled most
    • Crucifixion Group. I will only say one thing to characterise what
    • characteristic is the expression of the face. The expression in the
    • time the two contrasting characters are well expressed.
    • together in the effort which I characterised just now. The souls of
    • unique power of individual characterisation. From many points of
    • see the Art of individual characterisation. Compare this Madonna
    • power of one and the same man to characterise these two.
    • individual characterisation of all the single figures round the
    • The art of characterisation has, indeed, attained its ideal to a
  • Title: History of Art: Lecture V: Rembrandt
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    • dependent on that artistic movement which I have characterised in recent
    • painters, but to the actual reality — he still lifts his characters
    • word. For as you know, we describe the basic character of this epoch when
    • of the spirit which is characteristic of Mid-Europe. To create, to look
    • few of Rembrandt's characteristic pictures, and see how these things
    • and darkness. Here you will feel what I tried to characterise briefly in
    • really has the feeling that such a character is present here, among
    • to what is called so in the Southern Art. But look at the characteristic
    • this is surely one of his most characteristic pictures. To show the
    • art as an etcher. The especial love for this Art is, indeed, characteristic
    • of Rembrandt's art, especially in how these characteristic figures around
    • it is especially fascinating to dwell upon what is really characteristic
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • characteristic way. We see in every detail how the Spiritual Soul begins
    • characterised in one of the earlier lectures, is the inventor of
    • their fundamental character and mood of soul. In the South men have
    • other if they take no pains to grasp their several characteristics.
    • for the Individual principle. The true native character of Middle Europe
    • fast in the color itself, what comes from the individual character of
    • characterisation of the soul.
    • the characters of Biblical history.
    • less than the characterisation of this figure (the Canon, Georg van der
    • character, with all the primitiveness of the period — needless
    • had the same theme treated with more of the Northern character.
    • Notice how the characteristic
    • most wonderful, characterising as it does the different moods of the
    • clearly how great was the artist's power of characterisation and
    • Characteristically —
    • you will see a characteristic difference. There is an essentially dramatic
    • characteristic of this stream in Art:
    • of Upper German paintings, which have their own characteristic peculiarities.
    • A characteristic picture
    • indeed, bear within him all the peculiar characteristics of this epoch.
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • needs be of a “Gnostic” character. All that is signified
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • and we have indicated characteristic aspects of these two. I do not
    • which we recognise as characteristic of the South. Always, however,
    • coming to expression in him. This, indeed, is to characterise such an
    • characterised. For Raphael to create in this way — for his pictures
    • characteristic examples of Dürer's drawings — etchings and
    • causes and effects. At characteristic moments, at the turning-points
    • of epochs, characteristic phenomena emerge, in the most varied spheres
    • factors stood at a characteristic moment. We can make very interesting
    • in them strongly and characteristically. When we wish to characterise
    • that the characteristic pictures we choose does not fully represent
    • Art of the German people shows itself most characteristically on the
    • are, we see in these pictures — appearing so characteristically
    • lectures, is a peculiar characteristic of the German stream, —
    • but can still be characterised fundamentally in the same way as the former
    • characteristics emerge even at the very beginning of the evolution of such
  • Title: History of Art: Lecture IX:
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    • towards what must be the characteristic of the Science of the fifth
    • in their works of art was characteristic of the fourth.
    • ancient Greece in its proper nature — its characteristics entirely
    • perfection in the direction, we have tried to characterize.
    • was quite capable of producing something of the character of Genre: —
    • physical, and the physical falling asunder, is the characteristic thing
    • Most characteristic is this
    • to the different characters of the people, — we find this element
    • of his dignity, his freedom, his individual being. In the characteristic



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