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    Query was: element
  

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • with it there is already the human element, in the way in which
    • Francis himself. Even when you take the visionary elements in
    • Giotto. Here you see the rise of that compositional element which
    • shall find a strong element of Platonism in its whole way of
    • theological, Aristotelian element entered more and more into the
    • spiritual vision, there arose the new element of composition. See
    • it was an altogether different element that arose in their
    • these men. So you see how the human and realistic element becomes
    • predecessor's. In Perugino a new element makes its appearance:
    • them with that element of composition which came from his
    • that was brought into the picture. Here we see a pure element of
    • out of it. Nevertheless, we see how great a part this element of
    • element of composition. You will, of course, see how great a part
    • spiritual element finds its way into the soul of Raphael —
    • I mean, all that has been achieved by that spiritual element
    • this last picture to show how the element of allegory still
    • This one thing remains: — this element of abstract allegory
    • show you how this allegorical element still worked on even in a
    • the last-named element — that of allegory — is taken
    • outward expression; the element of composition, placing together
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • time, on the other hand, people fail to understand the artistic element
    • the earthly element. Such was the conception — a harmony, an
    • a Florentine element into the Roman setting. Leonardo bore a universal
    • this undertaking was an element which could not but inspire him with
    • All these conceptions, lifted right out of the moral element, assumed
    • from the moral element; and thus the Christian thought, loosed from
    • the moral element, slid over by and by into a purely artistic sphere. All
    • of the moral element was a natural concomitant of the whole process.
    • the moral element. Savonarola appears; it is the protest of the moral
    • Raphael with this element were carried everywhere upon the waves of
    • expression of the Christian feeling. This element is everywhere poured
    • Renaissance; they represent three elements of the Renaissance feeling,
    • tragic element, a certain sublime pessimism pervades it. Let us return
    • element in the evolution of man, which is contrasted with the other,
    • of the Prophets. Here we have the Sibylline element. In my cycle of
    • forth out of an elemental life; you will divine many things which we
    • fast to one point, which is revealed by the fact that some elements
    • the outer trimmings of the picture. (Even in the architectural elements
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • all the elements that culminate in him, we have to deal with a
    • Chapel we cannot but realise, even in this element of movement, an
    • as I described just now, sprang essentially from the element of
    • Southern France. Thus we have coming from the North an element of
    • may describe as the mystical element, striving upward from the
    • of the Gothic, for these two elements have grown together in it, a
    • mystical element and an intellectual. No one will understand the
    • Gothic who cannot see in it on the one hand this mystical element
    • it, on the other hand, there is an element of cool intelligence and
    • quarter, adding to the mystical element the height of
    • impulse always tends to spread. The Classical element of Form is
    • strong element of Will and Movement and expression. Thus, after
    • as a foreign element.
    • essentially, that they feel as a foreign element? It is that which
    • Nay, in later times they even feel in the Gothic an element beneath
    • element which speaks so eloquently out of the subsequent
    • Nature with the elemental. In this interplay of elemental with
    • magical element which we find in the old Persian civilisation. For
    • elemental weaving of the light and shade that play around the human
    • darkness. This is a thing that lies forever in the element of Will;
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • the Mid-European, or Northern element, works its way upwards more
    • Middle Europe, uniting the more Roman or Latin elements with a
    • especially into the more subconscious, feeling elements of the
    • speaks differently and appeals to a different element of soul,
    • element of fancy and imagination in the Southern culture which
    • especially the tragic elements of Christianity, to human heart and
    • after all, is the essential element in the Renaissance Art: But the
    • Yet, as I explained last time, even now when another element once
    • described to you the other day. In the elemental surging and
    • interweaving of the light into the darkness, man finds an element
    • individuality with him into this very element, because it is so
    • against the Roman element.
    • producing that peculiar permeation, so free from the moral element
    • dramatic element, the living movement of soul, is expressed in the
    • Mid-European element, in its presentation of the Christian
    • how the worldly and the religious elements played into one another.
    • brought together with the ecclesiastical element. Here, then, we
  • Title: History of Art: Lecture V: Rembrandt
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    • for something elemental and original. Many people in Mid-Europe began
    • an elemental and original feeling of what pulsates as the underlying
    • to mankind: “Remember once more what lives in the elemental depths
    • an individuality who had drawn from the very depths of elemental human
    • to feel and realise once more all that is elemental, all that is truly
    • element. He stands on his own ground entirely, creating out of the
    • element in architecture and sculpture. We find the gradual penetration
    • case of Dürer — the weaving in the elemental play of light
    • light and darkness of an elemental weaving on the waves of which the
    • his life, because of the elemental forces working in him so strongly,
    • weaves in the element of light and shadow, tracing it with inner joy
    • light and weaves in them is the element we must always seek in Rembrandt;
    • work of Art springs from this intangible element which he attains by
    • can, indeed, be fertilized — with the surging, weaving, elemental
    • in such a way as to express his favorite element of light and shadow.
    • because he places his figures into that element in which man always
    • lives — though he is unconscious of it — the element of
    • of light and darkness, thus endowing them with a common element
    • conception out of the element of light. He who aims at what is merely
    • the single moment in the weaving, ever-moving element that plays round the
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  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • of Art an elementary power of understanding — that is to say, if we
    • of today. It is interesting to see the several elements of it emerging
    • the element of Space to express their thought. This, indeed,
    • which emerges out of the Mid-European, Northern element. These things
    • the Group-element, which is, of course, extensive (spread out in space),
    • we shall naturally live in the element of composition. One who has
    • Northern Mid-European element, while composition, which gradually finds
    • just that element which color can introduce, for the individual
    • Southern aristocratic element. The life of the burghers gives birth
    • Renaissance. There we have the element of composition, and all else is to
    • of the midst of this very element we now witness the individual spirit
    • Salvation is lifted out of the element in which it was previously
    • conceived — the element of violence, and strife and conflict. It
    • comes into the element of free devotion and out-pouring Grace. Such is
    • qualities come to expression in this picture. The human element far
    • feel that everything is born out of an elemental inner need. Here, on
    • expression. These elements in the picture are undoubtedly to some extent
    • from France. Still, he contains all those elements which mark him out
    • we come increasingly to the more Northerly Dutch element, where the
    • element.
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  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • thus be concerned today, not in the first place with the artistic elements,
    • the element of light. It is most interesting to study this in Dürer.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • from the soul with elemental force. Raphael paints with the ever-present
    • fellow-men, bringing his own soul to expression. The Human element can
    • the one factor. The other was what I would call the elemental originality
    • stream of evolution which tries to take shape out of the elemental forces
    • He creates out of the elemental forces of heart and mind, but his figures
    • were living. Some element of the Southern style undoubtedly plays into
    • time, whom we have now considered. Look at the element of naturalism
    • do so according to the measure of his own elementary conceptions. He has
    • a new stream out of an independent elemental impulse. They rebelled
    • out of the activity of light, and in this element the artist works with
    • the German South. Here is the element that afterwards rose to its height
    • pays no heed to these elementary matters of spatial distribution. One
    • again we see the element which afterwards became so great in German
    • in Art works out of the element of light and dark, and discovers —
    • rest, we see a mere repeat of the Southern element. In this art, on
    • more inward process in these districts; and here the original and elemental
  • Title: History of Art: Lecture IX:
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    • post-Atlantean age. In an elementary way, Goethe was striving towards
    • element of what I have been setting forth today. We see the priest,
    • Pisano. In his works you will observe already a far greater element
    • to the different characters of the people, — we find this element
    • knowingly felt, I should say. Moreover, they united this with the element
    • which had to come in the 5th Post-Atlantean epoch — the element of



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