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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • First you will see
    • from the East, first had to spread. Nevertheless, Christianity as
    • first Christian centuries. Should the Redeemer be represented in
    • ourselves this question: Who was the first really genuine
    • materialist? Who was it gave the very first impetus to
    • the first man to introduce the material way of feeling into the
    • paradox to describe the holy man of Assisi as the first great
    • first a physical illness which turned him altogether away from
    • of Assisi became the first among those great figures who, from
    • to conquer Nature. First we see the Spirit endeavouring to master
    • Man must first seek the Spirit, then will he find the Spirit in
    • the outer world. Man must first feel and experience the Soul,
    • means of expression even in Nature herself. For to him who first
    • to be read in the book of Nature. But at first he often has to
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • first who sought to perceive Nature through a deep life of feeling.
    • Now Leonardo was the first who endeavoured in a wider sense to add to
    • the new Age. It was now that he first went to Rome, and we may say:
    • to the impressions of Leonardo's works. We will first show some of his
    • and show him once more at his real starting-point. The first picture
    • moving to Rome for the first time, under all the influences which I
    • first stage, which we might describe as the creation of Light out of
    • which first carried him out into the world.
    • was contained between his twenty-first and his thirty-seventh year,
    • in which he died. In his twenty-first year he painted the first picture
    • if, starting from his twenty-first year, we go forward in successive
    • periods of four years. From his twenty-first year we have his Sposalizio;
    • who occupy the first position as regards their artistic aims and who
    • was born, first had to grow young. Only now there comes the time when
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • way they were undoubtedly at work even at the time of the first
    • period the first Northern impulse came to an end. The classical and
    • human figure, as it were, after the pattern first created by God.
    • compare them with the mood that goes out from the first monologues
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • heart must first be conquered for it, he must in some way be
    • contrary, because they must first call the people, bring them
    • must first be called to the group-life. And the same thing
    • First we will show some wood-sculptures from the very beginning of
    • wood, and dates from the first third of the 13th century. None the
    • the first third of the 13th century. They show an altogether
    • men had to be won over; the individual souls must first be called
    • Likewise, they must first be called if they are to express reverence
    • figures from the Cathedral at Cologne, first half of the 14th
  • Title: History of Art: Lecture V: Rembrandt
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    • lights up in the realm of Art for the first time in Dürer and finds
    • pictures. Rembrandt is first of all an observer, trying faithfully to
    • — great as was his talent, his artistic genius from the very first
    • deeper meaning in the fact that the first great painter of the Fifth
    • not time to go through them beforehand, and saw them for the first time
    • It was only in Dürer that we saw the first lighting-up of what
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • is now called perspective was first introduced into the technique of Art
    • perspective first arises. We see how it evolves quite naturally out
    • in the very first of our pictures today, how wonderfully the mass-effects
    • in the first third of the 15th century. Hubert Van Eyck died in 1426;
    • the Altar-piece was finished by his brother Jan. It is the first third
    • these regions that landscape-painting first developed and found its way
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • thus be concerned today, not in the first place with the artistic elements,
    • First you will see the more typical representations of an early time.
    • We shall first show some
    • first undertaken by the Three Wise Men. This bears witness to the fact
    • pictures, first of the Nativity itself and of the Adoration by the
    • Northern Masters, whose names you know. First we have a work of Schongauer'
    • of pictures relating mainly to the Adoration by the Shepherds. First,
    • theme: the Flight into Egypt. First we have a painter of the late 15th
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • sense Dürer is an historic figure of the very first rank. No historic
    • woodcuts. They are extraordinarily tender and intimate. The first is
    • districts in the first half of the 15th century the spatial conception
    • in the first half of the 15th century — how hard it is for that
    • first half of the 15th century: Lucas Moser.
    • This alter-piece was done in the first half of the 15th century. How
    • seems on the flat. But you will already observe the first attempt to bring
    • the artistic developments that are potentially there in these first
    • To some extent, as a first
  • Title: History of Art: Lecture IX:
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    • first came to expression only in the forming of the limbs, begins to
    • Our first picture is the
    • that you are doing, that is a peasant:” Donatello at first did not
    • his capacity as a sculptor. First the famous equestrian statue: —



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