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Searching The History of Art

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    Query was: felt

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • man had felt and conceived the Spiritual World hitherto. We today
    • Christianity thus felt, he then evolved his wondrous feeling for
    • all earthly creatures. All that he had felt in loving, realistic
    • they should sing around him of the joys of death while he felt
    • that which is experienced and felt below. Observing this in the
    • is felt more out of the soul, whereas the emancipation of the
    • artist felt more as a living organism. Man, too, after all, is
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • with outward vision. Man felt impelled to feel and understand external
    • impression. He felt uplifted in his soul, — Freedom had entered
    • lectures. These inner connections could only be felt and realised in
    • truth, be felt today, unless we transplant ourselves through Spiritual
    • could never think in any other than a Christian way. He not only felt
    • time, and wheresoever he goes he makes it felt — this truly artistic
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • Europe they felt the Classical and in later times even the Gothic
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • always felt like a foreign body, still the Christian impulses found
  • Title: History of Art: Lecture V: Rembrandt
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    • many people. He felt that the spiritual and intellectual life of men
    • felt, as I have said, that the soul's power of perception must be brought
    • him what he felt about Rembrandt.
    • arch-representative of those who felt themselves in the 17th century so
    • hand, is an artist who makes felt — as an artist — something
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • making itself felt.
    • Bible tells. The whole event is felt again and re-experienced in the
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • appear in all domains of life, revealing how men felt when the impulses
    • of their own accord. At most, they felt that the things must somehow
    • felt the three figures of the apostles, left behind. Yet how little he
  • Title: History of Art: Lecture IX:
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    • saying, when he felt in Italy the echo of the nature of Greek Art. I
    • concrete way, we must describe it thus: He felt how the Etheric Body
    • of the Physical. He felt how the Etheric is manifested or portrayed
    • outwardly before them. The Greek copies what he felt within himself.
    • the expression of what he felt within him — the movement of the
    • is felt through and through. And this must have been the case to the
    • a long time. It was felt that the line of the face, the features, the
    • what is actually seen. It is no longer based on something felt and sensed
    • ancients had felt and known inwardly — what they had feelingly known,
    • knowingly felt, I should say. Moreover, they united this with the element

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