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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
    Matching lines:
    • spread over great surfaces, conceived, as it were, in two
    • dimensions — large surfaces covered with the most eloquent
    • conceived, it is projected in the spirit on to the flat surface.
    • in space, rather than speaking to us out of the flat surface.
    • from spheres beyond the Earth. Again, in the faces themselves you
    • looked at the faces of men.
    • faces. See how the artist's work is placed at the service of this
    • single face. I beg you to observe this carefully, for in the
    • harmony between the grouping and the expressions of the faces
    • See, on the other hand, the wonderful expressions of the faces in
    • faces. In the earlier pictures, each was to be understood out of
    • naturalism. But in face of all this realism, his inner life seeks
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
    Matching lines:
    • Going down beneath the surface of the Earth, one found a subterranean
    • study characteristic faces, so that by dint of outward contemplation
    • tasty dishes or told them stories, so that their faces assumed every
    • characteristic animal faces. These are legendary anecdotes; and yet
    • their way to the surface during later centuries), of Michelangelo, on
    • sweet and tender faces, the characteristic postures of the feet, the
    • the level from which Raphael began. See the characteristic faces, their
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • individual characters of soul which shine out of these faces. Then
    • the being to the surface. That which arises from the artistic
    • imagination of Mid-Europe is cast on to the surface by the
    • surface of things. Many things as yet imperfectly realised will
    • object and plays over its surface, while on the other hand it
    • surges from within the object to the surface. The latter
    • cast on to the surface, springing from the interplay of light and
    • the time which brought to the surface these great poets, we shall
    • dreaming, and there is much light on his face. The contrast of the
    • spherical surface. Dürer lets them fall in such a way as to
    • expression by way of light and shade on the simple surface of the
    • turn. According to the angle of the surface, it is light,
    • falling of the light upon the surfaces, even as he showed it in the
    • expressed on all the other surfaces.
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • looking down towards her. If you could see the face you would see
    • show the face of Mary in detail.
    • characteristic is the expression of the face. The expression in the
    • Cross. Study the face of Adam, how he is touched by the influence
    • loves to dwell on every single face. The next picture:
    • life. The contrast of expression between the face on the left, and
  • Title: History of Art: Lecture V: Rembrandt
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    • surface of things — in science and scholarship, and even in your
    • ideas of men floating about on the surface; but in Rembrandt he saw
    • the surface. Even the great figures of the immediate past were appreciated
    • distributions of light and dark. When we stand face to face with his
    • see to it that this time no single face is eclipsed. Every face must
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • story-telling on the flat surface. This applies to a by no means very
    • flat surface what he desired to represent. The various things that he
    • relates stand side by side on this flat surface. From our point of view,
    • surface.
    • By this method of overlapping, the surface is really used to suggest,
    • things down on the flat surface, as described above, or else they used
    • surface, and reached so high a degree of perfection.
    • surface of the body what is there in the inner being of the soul.
    • the soul to the outer surface of the body.
    • conjured forth to the surface of the body in a tender and thoughtful way.
    • whole picture on the surface — spread out like a tapestry. We will
    • qualities of the soul in this face is, indeed, remarkable. This is a
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • — truly, an awful death, Death, in the Plague, came face to face
    • surface. He seems quite unable to obey any kind of perspective law.
    • — the faithful portrayal of expression in the faces of these saints.
    • do not agree ... Needless to say, the face could not be in this position,
    • be a full-face figure in the middle of the picture, and others in profile
    • the surface forward and backward by discovering the hidden effects of
    • crowd of people standing in the background. Look at the faces. Considering
    • we find a certain native talent for a flat surface with the help of
    • surface, but working forth from the flat surface with the help of light,
    • the surface; and in its turn, after all, it can but be the philosophic
  • Title: History of Art: Lecture IX:
    Matching lines:
    • species of monkey. The hindrances that face us in the civilisation of
    • a long time. It was felt that the line of the face, the features, the



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