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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- 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
- 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
- Europe they felt the Classical and in later times even the Gothic
- Title: History of Art: Lecture IV: Mid-European and Southern Art
- always felt like a foreign body, still the Christian impulses found
- Title: History of Art: Lecture V: Rembrandt
- 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
- 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
- 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:
- 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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