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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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    • his pictures of the Madonna. Such, gazing down into this earthly
    • beyond the Earth looked down upon Giotto from the walls around
    • age. In painting, the 4th post-Atlantean age goes down with
    • Beings gazing down from beyond the Earth into this world of human
    • especially in poverty, weighed down by no possessions, and,
    • traditionally handed down — where Beings gaze from realms
    • down here: they are the famous Domini Canes, the hounds of
    • expression. Down to the very drawing of the lines you can see
    • impulses handed down through Giotto, and through Donatello in
    • another sphere, down to these painters.
    • hand downward to the Earth, even to the conquest of heresy, and
    • central figure is set down with obviously allegorical intention,
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • Going down beneath the surface of the Earth, one found a subterranean
    • hand the feet of the heavenly beings. Heaven still penetrated down into
    • laid down his bruth and would paint no more.
    • and must be permeated by what comes down from Spiritual Worlds as real
    • bursts down into the midst of the disputations of the theologians below.
    • yet, undoubtedly — down to the Medici, who always retained their
    • the succeeding centuries down to our day.
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • imagination — albeit correspondingly toned down — which
    • looks down on the Madonna and the Child. See how every angel does
    • from the expression. Even the little animal down here partakes in
    • the figures down below arranged quite in the Southern way; the
    • half-dark, quite dark, and brilliantly illumined. Then he sets down
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • Down to the
    • down to us. Take, for instance, what works upon us with such
    • looking down towards her. If you could see the face you would see
    • historic conception of all earthly evolution. See how Adam, down
    • here, receives the Blood of the Redeemer dropping downward from the
    • Northern impulses worked down even into the creations of Raphael
    • represented once more with bound and downcast eyes. The whole
  • Title: History of Art: Lecture V: Rembrandt
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    • perceptions — had written down on scraps of paper in the course
    • sets down his figures; he lets them stand there and then he lives and
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • this way, merely setting down the events of the narrative on a flat
    • things down on the flat surface, as described above, or else they used
    • the citizen virtues of the Northern Netherlands reaching down into the
    • and rebellious Bull has to be fought down — gives up his blood
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • down. Through this they knew of the relation between the Cosmos, the
    • down from earlier representations of Myth or Cult or Ritual, and taken
    • as we have seen before. Down to the tiny feet, all is pervaded with
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • Down to this day, the study
    • difficulties at once. We must imagine it high up so as to look down
    • down on the whole scene. And yet if you look at the trees you will see,
  • Title: History of Art: Lecture IX:
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    • original works have been preserved. Most of them are only handed down
    • have come down to us; the underlying foundation which I described just
    • this was handed down, even into the times when they were able to imitate
    • see the tradition that was handed down from Phidias.
    • is lifted down into a more human realm, even though the figures be still
    • a Goddess, it is brought down into a more human sphere. The sublimity of

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