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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • eye, for instance, is drawn so that you can clearly see: It is
    • found Giotto as a shepherd-lad who used to draw on rocks and
    • even in the way the lines are drawn, the immense difference
    • expression. Down to the very drawing of the lines you can see
    • soul even in the drawing of the lines.
    • drawing, in his composition and in his power of expression.
    • have selected some sketches and drawings by Leonardo, from which
    • as a whole, and bring him forth to perfection in his drawing. He
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • drawings, which reveal how he creates his forms out of that keen
    • often drawn attention to this fact. Think of the inherently natural
    • detailed drawing. Still we may recognise in this an independent artistic
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • Dürer's way, with his wonderful drawing. Study it carefully,
    • and you will see how everywhere, even in his drawing, he is aiming
    • (undoubtedly a later picture), Raphael had Dürer's drawings
    • expresses this in a wellnigh extreme way; he seeks to draw it forth
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • Today I wish to draw
    • into the churches, or in the public squares, drawn thither by their
  • Title: History of Art: Lecture V: Rembrandt
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    • of the Cosmic Order, to draw from thence something which could give
    • an individuality who had drawn from the very depths of elemental human
    • Mid-European life — out of a source of life which he draws from the
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • of drawing and painting, we find that the laws of Space, for example, have
    • it, who draw near to it from all their different spheres of life —
    • the Knights as they draw near to the Lamb. All these are portions of
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • principles, but draw your attention to some other points of view which
    • of the Cosmos — the Wise Men draw near to the Christ Who
    • enough to put up here a drawing of the Three Wise Men. The picture is
    • shall liberate the Earth draws near.
    • as it were — what was drawing near.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • that came before our souls in former lectures. I shall draw attention
    • artist as Raphael, as the artist of an epoch that was drawing to it
    • close: the Fourth Post Atlantean epoch. Such epochs, when they draw
    • so magnificent that it draws the subject-matter into its own sphere.
    • characteristic examples of Dürer's drawings — etchings and
    • of the Spiritual Soul were drawing near. The evolution of the Spiritual
    • of Death as it draws near to men under the inexorable laws of Fate —
    • draws near to man of whatsoever rank or class. The “Dance of Death,”
    • Death draws near to human life.
    • Death draws near to the
    • of lineal perspective — laws of perspective drawing. We extend
  • Title: History of Art: Lecture IX:
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    • drawings made by the Frenchman, Carrey, in the 17th century. Subsequently
    • 11a. Drawings of the eastern pediment.
    • 11f. Drawings of the western pediment.
    • 12a. Drawings of the Friezes.
    • passing into death. It is the quick withdrawal of the etheric body through
    • coiling around. This effect of the etheric body withdrawing from the
    • is drawing away.



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