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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • return. For in the artistic evolution of this period we witness
    • lies before this period in artistic evolution is veiled pretty
    • Witness the evolution of the forms in which they represented the
    • great conceptions in which the evolution of mankind is still
    • personal experiences his inner life was revolutionised. It was at
    • stream of evolution leading on from Cimabue's rigid lines and
    • of books. This was a far greater revolution than is generally
    • evolution of Christianity until the time of Dante and Giotto, we
    • stage further in artistic evolution. The following developments
    • artistic evolution which we followed hitherto was taken hold of
    • evolution of Christianity, and took hold also of the world of
    • course of evolution on these lines, we now come to the great
    • preceding evolution which we have described. Here, above all, we
    • evolution, which, only inasmuch as they take their start from the
    • artistic evolution; for it lets us gaze so deeply into the life
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • warnings, even within our anthroposophical stream of evolution. The
    • the evolution of the world who does not live in it, like Michelangelo,
    • also witnessed the great and revolutionary change which was accomplished
    • is borne, as it were, upon the waves of time, and bears into the evolution
    • the further evolution of the human race. This is the fall into sin.
    • element in the evolution of man, which is contrasted with the other,
    • evolution, proving even outwardly to some extent what I just said before.
    • with perfect regularity in his evolution. Hermann Grimm pointed out
    • we see how Raphael undergoes his evolution. He stands there in the world
    • the evolution of mankind.
    • Art, in the evolution of mankind. It lies in the deep tragedy of human
    • evolution that this supreme attainment is connected with a succession
    • were called upon to play their part in human evolution as rulers in
    • external events of the time, the greatest impulses of human evolution
    • of human evolution whose artistic expression we have today let work
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • The evolution of Art
    • this stream of evolution is one of the most complex problems in the
    • problem is the relation of this artistic evolution to that other
    • what is really important in the evolution of this European Art, we
    • Evolution, therefore,
    • process of evolution? We have the following feeling, for example
    • this evolution, Albrecht Dürer, an absolutely unique figure in
    • found their vay into the evolution of these impulses? An Art which
    • revolutionary opposition to what he learns in Cologne from the
    • revolutionary impulse. He shows how the soul finds outward
    • history of evolution, magnificently expressed by placing the
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • historic conception of all earthly evolution. See how Adam, down
    • rise, and to some extent the decline of a stream of evolution
    • revolution took place at the turn of the fourth and fifth
  • Title: History of Art: Lecture V: Rembrandt
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    • one of the very greatest in the artistic evolution of humanity. I refer
    • more important to see how he himself stands in the stream of evolution
    • — to see what radiates from him into the stream of evolution
    • great in human evolution. True, if we feel, perhaps, in a still deeper
    • of the presence of any such living sources in the evolution of mankind.
    • historic evolution of mankind. From the aspect of artistic history,
    • artistic evolution, he threw many a beautiful and brilliant search-light
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • point of view, this is one of the most important moments in the evolution
    • bring forth, out of the depths of human evolution, all that is connected
    • beforehand of the laws and impulses of human evolution as explained by
    • Spiritual Science, we should still find in this artistic evolution a
    • in the most manifold quarters in the evolution of mankind.
    • we shall recognise out of this portion of artistic evolution. In the
    • evolution which we shall illustrate today is at the same time a period
    • evolution altogether steeped in Christian ideas — the Christian
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • Comprising an evolution through several centuries, they will bring before
    • Art, and I will therefore speak not so much of the evolution of artistic
    • the same great trend of evolution, as we pass from the artistic representations
    • of the physical plane. As we follow the evolution of this Art, the sacred
    • springing forth, as it were, with Jesus, out of the earthly evolution,
    • the whole Mystery of the ebbing away of that ancient stream of evolution
    • evolution of these pictures — and you will now have opportunity
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • of the Spiritual Soul were drawing near. The evolution of the Spiritual
    • interest us again and again: How is it with the origin and evolution
    • studies on the evolution of the Mid-European or German Art — and
    • only the outcome of a long line of evolution. But this outcome appears
    • imported from the South along the paths of evolution of the Church —
    • stream of evolution which tries to take shape out of the elemental forces
    • characteristics emerge even at the very beginning of the evolution of such
    • the 19th century, artistic evolution was decidedly on a retrogressive
    • deep and significant laws of human evolution. This stream of evolution
    • in evolution. The possibility to paint the spiritual Mysteries out of
    • be understood why a certain break was inevitable in the evolution of
    • the other hand, we see on all hands a radical rebellion and revolution
    • recognise in historic evolution — we can find them confirmed in
    • the evolution of Art and in the evolution of the life of Thought. For
  • Title: History of Art: Lecture IX:
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    • he had been trying to discover the principle of universal evolution and
    • we chiefly want to see the gradual evolution of the Grecian Art as a
    • know ... were to a large extent a dark and troubled age for our evolution.
    • among the greatest things in the whole evolution of Art. Afterwards the

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