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    Query was: feel
  

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