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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- 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
- 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
- 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
- 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
- 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
- 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,
- 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
- — 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:
- 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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