Searching The History of Art
You may select a new search term and repeat your search.
Searches are not case sensitive, and you can use
in your queries.
Query was: character
Here are the matching lines in their respective documents.
Select one of the highlighted words in the matching lines below
to jump to that point in the document.
- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- needs be of a “Gnostic” character. All that is signified
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- 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:
- 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
Rudolf Steiner Archive is maintained by: