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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- As we try to feel
- their outlines conceived more out of the life of feeling —
- feeling-life; colossal figures, conceived at any rate on a
- not copied, but done by following with inner feeling the forces
- in the body. The inner activity of the eye is feelingly traced
- background work upon them, they had the feeling of a mighty
- the first man to introduce the material way of feeling into the
- life of feeling directed purely to the inward things of the soul.
- feeling. For in his youth, and later, too, St. Francis was
- feels and experiences — impulses for which the human being
- it was in feeling when St. Francis of Assisi turned the life of
- all that the poor man was; wanted to feel the human being
- to feel not only man but Christ Himself. He wanted to feel what
- Christianity thus felt, he then evolved his wondrous feeling for
- feeling. For the last time, we might say, Dante in his great poem
- way of feeling, St. Francis' way of entering into the spirit and
- in his artistic work we find a feeling similar to that of St.
- paint them from within, so that the language of human feeling is
- aura of thought and feeling.
- it does from his increasing entry into the whole world of feeling
- Maximum number of matches per file exceeded.
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- in the artistic world of feeling, which finally led up to what was so
- feeling for what is truly artistic is not always prevalent among us.
- them the whole way of feeling which permeated the Italian civilisation
- can we fully understand these artists if we have no feeling for the
- believe that one can paint the Trinity even if one has no feeling for
- as such, imagining that with aesthetic views and feelings which happen
- Michelangelo or Leonardo, whose whole way of feeling was quite different.
- be living in the whole way of feeling of their time. We cannot understand
- a different feeling of Christianity than inspired those who lived, for
- equally inclined to the feelings of the former time and of the latter.
- of his life, by all that he had seen, he lived with his feelings still
- in Anthroposophy as the etheric. Out of this inner feeling of the human
- with outward vision. Man felt impelled to feel and understand external
- first who sought to perceive Nature through a deep life of feeling.
- this feeling of Nature, a conscious understanding of Nature. Because
- outward vision what could no longer be made known by inward feeling.
- An understanding of Nature as against a feeling for Nature: this is
- in Leonardo is to see and feel what interests the human being of his
- whole Age within him; and out of this feeling of his Age as a whole,
- feeling into the works he created; Michelangelo carried a Florentine
- Maximum number of matches per file exceeded.
- Title: History of Art: Lecture III: Dürer and Holbein
- things will always feel through it the working of ancient runes,
- these things had been preserved, even the outer world would feel
- Europe at that time, give us a feeling of something absolutely
- straight from the feeling of an inner connection between sign and
- Again and again we feel impelled to ask: What would have evolved
- process of evolution? We have the following feeling, for example
- essentially, that they feel as a foreign element? It is that which
- in any way tends to blot out the individuality. They feel in the
- Nay, in later times they even feel in the Gothic an element beneath
- on; in thoughts and feelings it was always present. It is the same
- mutual enhancement to the world of color, we feel the connection
- it brings the quality of magic into connection with the feelings of
- thirteenth century. At that time the Mid-European feeling had grown
- feeling blossomed forth in the creations of Walther von der
- deliberate Will-impulse of the soul the reverence he feels for the
- expression in the human feeling. The man's identity is known, it is
- feeling. It is by an unknown artist. You must imagine this Madonna,
- feeling of the time in which Dürer lived and out of which he was
- Title: History of Art: Lecture IV: Mid-European and Southern Art
- too, is wrong. For we need only have a feeling for the specifically
- ways; we need but feel — before such pictures as Dürer's
- general life of civilisation. Out of the common feeling of his time
- especially into the more subconscious, feeling elements of the
- namely, to mind and feeling. Once more, these things must not be
- feeling. The Art of the Italian Renaissance strives to make the
- continually breaks through into the life of feeling. But in the
- Christian Feeling for all human life. And the strange thing is that
- feeling was still expressing the last phases of the Fourth; while
- depth. In Mary, if you have a feeling for these things, you will
- conception with the Mid-European depth and tenderness of feeling.
- permeate it with the human heart and feeling, — to permeate
- Intellectual, or Feeling Soul into that of the Spiritual Soul.
- On this day especially we will deepen the thoughts and feelings of
- Title: History of Art: Lecture V: Rembrandt
- to feel this very strongly about the end of the eighties and the beginnings
- an elemental and original feeling of what pulsates as the underlying
- to feel and realise once more all that is elemental, all that is truly
- great in human evolution. True, if we feel, perhaps, in a still deeper
- feeling in the “Rembrandt-Deutsche;” yet, after all, he
- is needed to sustain the future. None the less, we cannot but feel with
- time. Hermann Grimm, who undoubtedly had a feeling for such things,
- creations we have the feeling: all these are no mere figures that stood
- so often told you, created more out of an inner feeling of himself —
- work, even when we stand before the colored paintings, we have the feeling
- the same time. Under the influence of his artistic way of feeling —
- and darkness. Here you will feel what I tried to characterise briefly in
- really has the feeling that such a character is present here, among
- I think you will feel in
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- a feeling for coming together mutually in the Group. The South has far
- Now, if we feel essentially
- composition. If, on the other hand, we have a strong feeling for the
- its feelers to embrace and hold the Group together, we see the Spirit
- or city in these regions has a pride in its independence, and feels no
- feel that everything is born out of an elemental inner need. Here, on
- feeling. The picture is note at Danzig. A powerful trader stole the
- observation. His work is permeated with a fanciful, fantastic feeling
- composition. In the next picture we shall see how this feeling for
- his elemental Dutch simplicity with a very marked Renaissance feeling.
- Title: History of Art: Lecture VII: Representations of the Nativity
- inner feelings) under the influence of what remained from those Northern
- heart, of inner feeling; while the understanding which we must bring
- You will feel the connection of it with what is given in the old Christmas
- feeling, albeit the artistic perfection is not so great as in the Southern
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- hand, we feel in the background, as it were, the aura of the life of
- we cannot say so too often — with the human soul, its feelings
- or Soul of the Higher Feelings to that of the Spiritual Soul, phenomena
- It was out of this mood and feeling that Holbein himself created his
- their way through to feel the laws of perspective independently and
- and yet to express what he feels should be. His subject is "Sleeping
- to feel the quality of space by catching the light, using the spatial
- later date, that we have seen. They paint out of a primitive feeling,
- Middle Europe have to feel their own way towards a totality of composition.
- altar-piece. His fine feeling for light enables him to bring out the
- free and independent feeling. Thus on the one hand he observes what
- light. Anyone who has a feeling for finer, more intimate relationships
- artistically out of their inner heart and feeling.
- Title: History of Art: Lecture IX:
- starting point. He had a certain feeling. To exprec it in our fully
- in them were to gain thereby a real feeling of what lives invisibly
- we can see that the artist's creation is based on a feeling of the inner
- proceeds from a true feeling for the ethereal in movement.
- descent of Art from this sublime feeling of the ethereal. Not that the
- is conceived as though it had come to rest. We have the feeling that
- feel the truth about these things we cannot but admit: In the time when
- quite a different instinctive feeling for Art than later in the 19th
- feeling that arose in the culture of the Free Towns or Cities. Here,
- feeling that pervaded them. And so it is here, when we look at this figure
- ancients had felt and known inwardly — what they had feelingly known,
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