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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • succeeding centuries they lost the power to create true plastic
    • created, of course, by human imagination, in the effort to
    • that had been created by those whom we include under Cimabue's
    • Spirit. The works created by this age were based, indeed, on the
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • spiritual life of their time and created out of this. In saying this,
    • figure the Greek artist created. In course of time this faculty was
    • were certainly created out of the very deepest impulse of his own being.
    • he creates out of a single impulse, and for this reason the chronological
    • feeling into the works he created; Michelangelo carried a Florentine
    • so many absurdities at this point. A man can only create as Michelangelo
    • created if he believes in these things and lives in their midst. It
    • the commercial character. True, he was destined still to create the
    • They wanted to change and recreate Catholicism by continuous progress
    • With a Catholicism morally recreated and renewed, they hoped to permeate
    • drawings, which reveal how he creates his forms out of that keen
    • an artist who can create such a work as the Mona Lisa has any need of
    • inner connection in the artist's soul. If he desires to create a work
    • Supper — which he created, it is true, at an earlier time, and
    • it is created under the feeling of his coming to Rome. A more or less
    • the World. It was that Jehovah created, in a sense, as the successor
    • Michelangelo to Rome, where he creates, once more by comman of the Pope,
    • it belongs to a somewhat earlier period, we give what Michelangelo created
    • True, he could not have created it thus at every phase of his life.
    • Michelangelo has to create out of the individual, nay, we may even say,
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • exquisitely printed miniatures, in the biblical works created in
    • to him to make these studied forms his min, so as to re-create the
    • human figure, as it were, after the pattern first created by God.
    • always creates out of the element of movement, whereto his oun
    • lower figures, see how the forms are created out of movement and
    • contrasted with the other, the Southern composition created almost
    • "Faust" is consciously created, comes to expression in this picture
    • created a work of immense educational value. You cannot do better
    • especial sense. Even where he creates a composition, he carries his
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • created directly out of the inner life of the soul.
    • who created out of al altogether different mood of soul, something
    • highly individual figures were created was also especially great in
    • works were created about 1490–1495.
    • created in the early 16th century — is now in the
  • Title: History of Art: Lecture V: Rembrandt
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    • creating. He created his great works by using his figures, as it were, to
    • period of his work how really the colors in his pictures are created
    • of things. What he created to begin with is great in its way, yet it
    • so often told you, created more out of an inner feeling of himself —
    • Rembrandt — creates from outward, contemplative vision. But this
    • in this isolation he creates out of the very fountain-head, out of the
    • well-spring of Mid-European spiritual life. For Rembrandt creates out
    • of the spirit which is characteristic of Mid-Europe. To create, to look
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • and out of the whole milieu out of which he created.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • being that worked to create it — the human being, Raphael himself.
    • characterised. For Raphael to create in this way — for his pictures
    • in regular cyclic periods. At the age of twenty-one he creates the
    • It was out of this mood and feeling that Holbein himself created his
    • too, did not create naively, but, as I said before, out of a far-reaching
    • He creates out of the elemental forces of heart and mind, but his figures
    • of Art must all be brought together. To create out of the inner light
    • at the same time be to create out of the inner source of being, and
    • spiritual Imagination and artistic fancy join together and create a
    • already marred by Rome; they tried to recreate Christianity themselves
  • Title: History of Art: Lecture IX:
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    • preserved for us. The Greek artist created from an altogether different
    • he imparted to the physical material, he strove to create, as it were,
    • artists of the Golden Age of Grecian Art; they, indeed, created the
    • what the plastic artist has created is there before our eyes. Therefore,
    • tried to create once more in the spirit of the Greeks — out of his
    • his naturalistic vision — to create human figures strong and firm,
    • created — especially in his early period — remembered Donatello



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