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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • vivid ideas arose, as to how one should portray the figures that
    • worlds beyond the Earth, the figures of saints and apostles
    • the very earliest times of Christian Art we find the figure of
    • a large scale and must be understood as such. The figures they
    • recognise their character as a whole; these remarkable figures
    • feeling-life; colossal figures, conceived at any rate on a
    • of Assisi became the first among those great figures who, from
    • are as though seen out of the clouds. It is as though his figures
    • individual human character and figure. Giotto shows himself with
    • in his subsequent period of life. You see how the figures here
    • difference in the treatment of the sacred figure. Observe —
    • the grouping of the human figures. It is the same artistic
    • beautifully here, both in the grouping of the figures and in the
    • thing. Every single figure in the composition is such that we
    • see the vision as a whole and thence derive the single figures,
    • subjects. Now we see the single figures more and more emancipated
    • more we see the human figures standing out as single characters,
    • artist is at pains, not so much to subordinate his figures to one
    • figures are emancipated from the conception as a whole. Far more
    • expression in Him. Likewise the other figures.
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • the Bodhi Tree. It is true there sat a huddled figure under a tree,
    • the human figure from within — from a perception of the forces
    • figure the Greek artist created. In course of time this faculty was
    • great figure of his David. It is not the traditional David of the Bible.
    • course, the sacred figures. These things had been objectified, loosed
    • attitude of the figures. We might describe it thus: Here there arose
    • landscape round this figure here was painted by Leonardo in the School
    • Here is the Dionysos figure,
    • These reproductions of the single figures are in Weimar.
    • which we spoke before. The figure strikes us most of all by its colossal
    • 53. Atlas Figures. (Over the Persian Sibyl and Daniel.)
    • 57. Tomb of Lorenzo. (The central figure.)
    • with the figures of Morning and Evening.
    • 61. Tomb of Lorenzo. (The central figure.)
    • 64. Figure of Christ. (Detail from the Last Judgment.)
    • included a whole series of figures, perhaps thirty in number. It was
    • never completed, but there remained this, the greatest figure in connection
    • with it — Michelangelo's famous figure of Moses, of which we have
    • often spoken, — and the two figures now following:
    • before, — which appears again in Raphael, transfigured, as it
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • — placing the figures side by side in certain mutual
    • has expressed in the relations of the several figures, see the
    • Shakespeare's figures are certainly born out of the Northern
    • Supersensible, using the human figure and human action like a mere
    • to express, albeit through the traditional biblical figures, what
    • this evolution, Albrecht Dürer, an absolutely unique figure in
    • Dürer again and again, as an individual figure, it is true,
    • (above) bringing out the light and shade of the figure, modelling
    • comes to expression in the human figure. It does not come natural
    • human figure, as it were, after the pattern first created by God.
    • the everyday life of man stamps itself upon his form and figure,
    • Mid-European. We shall see some of the sculptured figures in the
    • 7. Figures of Prophets. (Main entrance,
    • These figures are far
    • within, but the forming of the figures is also called forth by the
    • represented in the figure of this woman.
    • the Church, is the Synagogue — a blinded figure. Observe the
    • whole gesture of the figure. We will show the Church once more so
    • life expressed in the two figures, Synagogue and Church.
    • lower figures, see how the forms are created out of movement and
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • Art — in all the suggestive forms and figures that have come
    • Figure that works upon us. In Middle Europe it is, rather, the life
    • attitude of the figure, the quick, mobile life of soul is continued
    • between the Mary and the Christ-Figure. See how the faith in the
    • appears in the St. John and in the Mary-Figure, as the power that
    • study of the progress in the representation of the Christ-Figure,
    • shows us two figures.
    • The one, the figure of a woman, is hard to interpret. Perhaps she
    • things are not essential. The figures are undoubtedly connected,
    • Two figures. (Cathedral of Freiburg. Saxony.)
    • 5. Figures of Prophets. (Cathedral at Bamberg.)
    • We will now show a detail, the middle figure of this picture.
    • fulfilment. Follow the detail of these figures.
    • figure from the same Cathedral.
    • A figure of Mary,
    • represents the figure of:
    • figure from the Cathedral at Strasburg. The figure of the Church is
    • This figure is in
    • secular figure from the same Cathedral.
    • figures from the Cathedral at Cologne, first half of the 14th
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  • Title: History of Art: Lecture V: Rembrandt
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    • unique a figure is Rembrandt in the history of mankind. We should, indeed,
    • the surface. Even the great figures of the immediate past were appreciated
    • the great figures of Albrecht Dürer, Holbein and others. Then, as we
    • effects in a crowd of figures. The Southern painters took their start
    • sets down his figures; he lets them stand there and then he lives and
    • as it pours itself out over the figures. And as he does so, in the very
    • until at length his figures only provide him with the occasion, as it
    • creations we have the feeling: all these are no mere figures that stood
    • altogether different; it is something that hovers over the figures. The
    • figures only provide the occasion for what Rembrandt was essentially
    • creating. He created his great works by using his figures, as it were, to
    • catch the light. The figures give him the opportunity to seize the light.
    • The essential is the play of light and darkness which the figures enable
    • him to grasp. The figures merely stand there as a background; the real
    • means of the figures.
    • what is poured out over the figures that we see what is essential in
    • Rembrandt. The figures are no more than the medium for what is poured
    • or the Italian Masters. Their presentations of the Biblical figures
    • in the room is simply increased by one, so vividly does this figure
    • because he places his figures into that element in which man always
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  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • or that figure.
    • A figure that stands in
    • several figures are already made larger or smaller in proportion, taking
    • things are really seen, we often find figures which are obviously to
    • the front (nearer to the spectator) smaller in proportion to other figures
    • envisaged as they are seen by a particular figure in the picture. Figures
    • other figures which are farther back, if a figure in the background
    • the picture, as it were, — into the personality of the figure
    • within each single form; we place the several individual figures side
    • constructed: the figures distributed in Space so as to belong together
    • figures with that peculiar treatment of space which we find in their
    • figures in an “interior” — in a room, or the like. Or,
    • background of the figures, or in some other way.
    • the middle portion above the Altar. The figure in the center, in Papal
    • The figure to your left
    • figures.
    • as to perceive the spatial distribution of this figure here (at the
    • less than the characterisation of this figure (the Canon, Georg van der
    • figures of Mary and St. John) — that a Southern artist would have
    • grace is poured out over these figures, which you will not find to this
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  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • with something childlike, as it is is represented by the angel figures
    • the Jesus Child and St. Dominic. The two figures against the tree trunk
    • sense Dürer is an historic figure of the very first rank. No historic
    • artistic tradition. These artists knew how the figures should be grouped,
    • in the composition, how the single figures should be placed, and so forth.
    • a picture must somewhat express the fact that one figure is standing
    • be expressed by overlapping. The figure that overlaps the other is in
    • He creates out of the elemental forces of heart and mind, but his figures
    • figures of the saints, below.
    • in relation to the body (see the figure of the saint, with the mitre).
    • be a full-face figure in the middle of the picture, and others in profile
    • learned certain rules about the distribution of figures in space. Yet
    • Look at the figure of St. Cedonius (?) here, with his mitre.
    • felt the three figures of the apostles, left behind. Yet how little he
    • for a point from which these figures with the sarcophagus (for so we
    • Likewise, in the whole forming of the figures. Of course, the peculiar
  • Title: History of Art: Lecture IX:
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    • was well aware that the figures of his Gods were based on real Being in
    • In the earliest figures
    • in which the figure is might be a lasting one. The later artists strive
    • is the figure of Pallas Athene, which we shall see presently. This dying
    • recumbent figure is a beautiful example of the figures that are found
    • in this temple. The figures are grouped in the pediment. It is most
    • interesting to see the composition, the perfect symmetry. The figures
    • these figures in any History of Art. The greatest of them have in all
    • 11c. Reconstruction of the figures in the last photo.
    • as it were, was now given to the bodily figure, as it should be represented
    • Indeed, this figure shows already the type of the later imitations of
    • to the figures from the temple of Zeus at Olympia. Here, too, the composition
    • 16. Figure of Apollo.
    • is lifted down into a more human realm, even though the figures be still
    • the figures of the Gods. Take the following, for instance: —
    • Although it is the figure of
    • 27. Figure in Flight, from the Niobe Group. (Vatican.
    • purpose. Compare this with the figures that now follow, tending more
    • about this figure. The body is already being differentiated into its
    • lion figures; above are the relief in which he expressed so wonderfully
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