[RSArchive Icon] Rudolf Steiner Archive Home  Version 2.5.4
 [ [Table of Contents] | Search ]

Searching The History of Art

You may select a new search term and repeat your search. Searches are not case sensitive, and you can use regular expressions in your queries.

Enter your search term:
by: title, keyword, or context

   Query type: 
    Query was: express

Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
    Matching lines:
    • to express in pictorial Art what was thus living in the souls of
    • express the new world-impulses springing from the Mystery of
    • regarded as a last expression of a consciousness still directed
    • expression in the realm of art. Hence we see the same impulses
    • friend, Giotto in his paintings already brings to expression the
    • expression the inmost and intensest life of the soul.
    • will no longer find the mere traditional expression, but you will
    • all earthly Nature finds expression most of all in this beautiful
    • be more beautifully expressed than in this picture, revealing the
    • see how natural it was to the men of that age to express
    • when the life that had found expression in pictures at that time,
    • realised. The desire to express oneself in allegories was
    • a feeling and conception of the world which also finds expression
    • to express the relationships that hold sway in earthly life.
    • idea comes to expression here: in the background the mighty
    • the world of the common people. Look at the expression of the
    • may study every single countenance. Wonderfully it is expressed
    • to expression in the countenance of men what the Church Militant
    • expression with anything like the same power. Though the
    • fundamental idea of the composition — expressed so
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
    Matching lines:
    • but the man — if you will pardon me the apt expression —
    • possible expression of laughter and contortion and he could study them.
    • even as it came to expression in the profound external changes which
    • to express it through his life. This is the feeling which he carries
    • expression of the Christian feeling. This element is everywhere poured
    • of the ages a well-nigh inexpressible quality of Christian Art. This,
    • what an essential progress in the artistic power of expression is visible
    • is marvellously placed into the whole. The colour and lighting are inexpressibly
    • This other _stream we find expressed in the pictures in the Louvre,
    • life. That which comes to expression in these pictures is in no way
    • at a serene composition while seeking to express individual character
    • very similar in their artistic character. They express the same shade
    • ideas as are expressed in this picture have vanished absolutely; they
    • each one brings to expression a quite specific visionary character of
    • cannot express in words, for that would make the thing too abstract,
    • arose. One thing is certain: the group expresses an idea which Michelangelo
    • to expression especially in this particular relationship of Christ to
    • healthily — as we today call it — sentimental expression.
    • things. The various attitudes which man can then assume are expressed
    • wonderful varieties expressed in the search for all that is attainable
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture III: Dürer and Holbein
    Matching lines:
    • which it portrays; it seeks to express what comes from the soul's
    • impulses, to portray how the living Will of man expresses
    • find expression itself as in its own sign or token. Such is the
    • express something through their positions as they fell. The sign or
    • with the individual expression of the soul's life; with all that
    • has expressed in the relations of the several figures, see the
    • Spirit. They always express the individual human being himself,
    • instrument for its expression.
    • expression of the word itself in signs quite naturally wedded with
    • a direct expression of the human Will, the human life of soul.
    • seeks expression in sentences and words to that which flows into
    • human nature before the movement and mobility expressing the
    • to express, albeit through the traditional biblical figures, what
    • example — all such experiences of the soul are expressed
    • the Northern impulse of movement and expression, and the Southern
    • the manifestation of the underlying Spiritual that is expressed in
    • strong element of Will and Movement and expression. Thus, after
    • finds expression in another sphere, in the Reformation, — a
    • expression very beautifully in the words of Goethe's Faust. Imagine
    • between the inner expression of the soul of man that flows into his
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
    Matching lines:
    • the art of expression — expression of Will and Intelligence
    • — the power to express the ever-mobile life of the soul. The
    • finds expression in the power of composition, and in features which
    • expression in the great works of Art, are also living in the whole
    • the artist works into the spheres of form and color and expression.
    • culture of the age finds expression in the characteristic works of
    • Christianity into the soul found expression especially in the
    • expression.
    • of the soul's life and its artistic power of expression. It finds
    • expression wonderfully in Dürer's representations of the
    • feeling was still expressing the last phases of the Fourth; while
    • preparing. What afterwards became the expression of the individual,
    • This is expressed in the very forms of the Gothic. The individuals
    • — of the Northern Art to express inwardness of life and soul.
    • expression altogether determined by a turning inward of the life of
    • expression, came about through the co-operation of the religious
    • sublimely in the realm of plastic, pictorial expression, and
    • an infinite deepening of soul in the expression, an overwhelming
    • characteristic is the expression of the face. The expression in the
    • the expressions hovers gently, wonderfully, over a more Latin,
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture V: Rembrandt
    Matching lines:
    • this point of view, the book nonetheless expressed something of great
    • by what was “in the air,” if I may use the trivial expression:
    • of the free cities — comes to expression in the works —
    • At length we come to the Mid-European Reformation, expressing itself in
    • names we cannot but find expressed in them something connected with the
    • its highest expression in Rembrandt.
    • his attention, above all, to man himself and to all that is expressible
    • in such a way as to express his favorite element of light and shadow.
    • the life of the soul comes to expression with great depth.
    • the Christ figure are expressed.
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
    Matching lines:
    • pictures we shall now consider, this comes to expression in a most
    • the element of Space to express their thought. This, indeed,
    • always find expression in external symptoms — in outwardly real
    • point, but in a vanishing line. In this is, indeed, expressed the radical
    • is expressed in the recognition of the Individual, and in the age of the
    • background and all that was expressed in it — ceases to exist.
    • interiors, not in their outer landscapes. I would express it thus. Having
    • the idea which is here expressed. Not by man seeking in pride to rise
    • which we here find expressed. The Lamb is One, yet no one being is striking
    • in 1436. You will admire the tenderness of expression in the Madonna, no
    • qualities come to expression in this picture. The human element far
    • expression. Our last picture by Van Eyck shows the attempt to get still
    • expression. These elements in the picture are undoubtedly to some extent
    • there comes to expression here the full and immediate human inwardness,
    • by Memling. With real genius, in his own way, he brings to expression
    • The expression of the
  • Title: History of Art: Lecture VII: Representations of the Nativity
    Matching lines:
    • from the Spiritual World. Less concerned with naturalistic expressions
    • East — we always find a direct expression of the
    • this stream, which finds expression in St. Matthew's Gospel, was less
    • expression in actual physical relationships — in the constellations
    • Even in the 18th century it was expressly stated in certain circles
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
    Matching lines:
    • we ask ourselves again and again: What is it that comes to expression
    • outcome of the Christian world-conception. So perfectly does it express
    • significance which it is desired to express, has here been expressed
    • come to expression here in the highest imaginable way, seen from a certain
    • of it, simply as an expression of the deep mystery of the relation of the
    • of expression have been found by Raphael for one of the most mysterious
    • His themes are of universal significance, and perfectly expressed, —
    • the means of expression proceeding from those streams and influences
    • coming to expression in him. This, indeed, is to characterise such an
    • case. It comes to expression in the remarkable course of his life, which
    • expression in his work so perfectly; so self-contained, so inwardly
    • ideas have been learned from the Art which finds its highest expression
    • life the concepts to express this Art are the most perfect, and all
    • nature below expressed what man has cast aside from himself, but it is
    • will have to ask: How is the artist contriving to express — whatever
    • opposite. To begin with, the artist is simply concerned to express his
    • artistic means at his disposal, to bring to expression what is there in
    • fellow-men, bringing his own soul to expression. The Human element can
    • post-Atlantean epoch and all that is connected with it, finds expression
    • the time, expressing the mighty transformation that is taking place.
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture IX:
    Matching lines:
    • or fundamental forms, in which is expressed the spiritual Law and Essence
    • post-Atlantean age, even as that which the Greeks conceived and expressed
    • the living forces that abound in the Etheric Body come to expression.
    • the expression of what he felt within him — the movement of the
    • and Goethe, in the latter half of the 18th century, tried to express in
    • not yet the ability to express through the material what they experienced
    • the idealised human form they were able to express what lives and weaves
    • the Greeks evolved the power to express in the outer physical form the
    • first came to expression only in the forming of the limbs, begins to
    • and less divinely. Nevertheless, the forms are still an expression of
    • the etheric body. He brings to expression the actual moment where life is
    • the shock — the shock that is expressed by the awful snakes
    • lion figures; above are the relief in which he expressed so wonderfully
    • the Pisanos, that the Christian Art afterwards became able to express

The Rudolf Steiner Archive is maintained by:
The e.Librarian: elibrarian@elib.com