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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • Witness the evolution of the forms in which they represented the
    • an ugly form, yet so, that through the ugly features there shone
    • faculty which they had still possessed in former centuries under
    • portray appear before us in an altogether unnaturalistic form,
    • naturalistic forms.
    • out, — this is what inspires the forms. Plastically
    • thought unthinkable in former times, comes forth in Francis of
    • still see in them the tradition of the former time, but along
    • period from which the former pictures were taken, we see the
    • composition is reminiscent of the former picture, you will see,
    • Francis” which we saw before. The former was an earlier
    • Padua, where Giotto returned once more to the former legend.
    • us again in a more highly evolved, more perfect form, in
    • which impulse was there in all the former pictures, even where
    • and who join together for the sake of power, while in the former
    • more out of the human Spirit striving to imitate the forms of
    • Angelico is so intensely interesting. Formerly, as we have seen,
    • form. For the soul's life holds sway, pervading all the details
    • life of soul, expressed through the soul; while in the former
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • in former epochs — epochs when the artistic understanding was
    • Speaking of former epochs,
    • artistic quality of their creation, in form and colouring, there flowed
    • needless to say, in forms and colours and the like which to the true
    • and moralising forms, by no means identical with what I described the
    • equally inclined to the feelings of the former time and of the latter.
    • it was no longer given to him, as to the men of former ages, to trace
    • the working of the formative
    • inner being works into the outer form. Yes, there is truth in this,
    • Science into former epochs. Hence the usual histories of Art contain
    • Reformation, which spread with comparative speed, even to Italy; and he
    • from the Catholic side as a counter-Reformation, against the Reformation.
    • spirits, none the less, who were decidedly agreed to give a new form
    • want it to assume the form which afterwards came forth in the Reformation.
    • and development. Then the Reformation burst in like another edition,
    • and fear, and they parted from what had pulsated through their former
    • drawings, which reveal how he creates his forms out of that keen
    • the very opposite pole from what was illustrated in the former sketches.
    • once more to the former one, and you will see the two creations are
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  • Title: History of Art: Lecture III: Dürer and Holbein
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    • for the quiet form, the form at rest, inasmuch as form, and color
    • forms and colors. This impulse of imagination also evolves a
    • immediate effort to take hold of the form as such, or to achieve a
    • well-measured Form that is appropriate to human nature, but in the
    • lives in the Form itself, in the Form that belongs to the pure
    • into the nature of these forms. Take any of these miniatures in the
    • as I said, is combined with great uncouthness in point of Form; I
    • mean that human form to which man himself, through his own
    • was gained from the South by way of mastery of Form and of Color,
    • Form which we described just now — the Southern impulse. Then were
    • of form and color wedded to one another (though when I speak of
    • It appears in the sublime forms of the Gothic. Truly, in Gothic Art
    • upward striving of the Gothic forms is mystical; their
    • impulse always tends to spread. The Classical element of Form is
    • finds expression in another sphere, in the Reformation, — a
    • forms. He has studied all that we might describe as Romanism and
    • of former days; and this experience stood nearer to the impulse of
    • Movement and enpression than to the Southern one of Form and
    • was formerly given to a more occult sensitiveness, as I explained
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • artistic qualities, for all that works in form and colouring, in
    • the artist works into the spheres of form and color and expression.
    • Middle Europe the systemmatising, formal tendency of Rome was
    • indeed, preserved in what are known to us of the Byzantine forms of
    • Art — in all the suggestive forms and figures that have come
    • of Jesus that is presented to us, for the artistic forms are
    • This is expressed in the very forms of the Gothic. The individuals
    • human form, follows the lines of the form closely, continuing, as
    • it were, the bodily forms. In the Mid-European Art the treatment of
    • forms of the body. It is, rather, like a continuation of the living
    • less, you will see in it a wonderful progression from the former
    • base of the tomb which were formerly so small, are wonderfully
  • Title: History of Art: Lecture V: Rembrandt
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    • In this case the former
    • (In style and form, however, the Song of Walthari — like many
    • At length we come to the Mid-European Reformation, expressing itself in
    • Counter-Reformation, spreading out over all Europe.
    • Counter-Reformation — with the will to break up the Mid-European
    • of sublimer forms out of the light and darkness. The plastic forms of
    • infinitely much that could not be seen in former ages.
    • for self-knowledge as an artist. His own form was not merely the most
    • former ones.
    • after all, never be able to produce more than the frozen form. However
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • we see emerging, albeit in a different form as yet, what afterwards came
    • within each single form; we place the several individual figures side
    • Netherlands the more individual City-formations — towns and cities
    • What formerly shut one
    • again, by painting a naturalistic space such as forms itself around the
    • we saw in a former lecture. You will see how great a difference there is.
    • no longer as before, half child-like forms. In such a group as this, you
    • form till they had so grown together with this conception as to represent
    • ideas of that time. Once more, as in the former picture, you have the
    • In the former picture we
    • traditions. In the former artist you will not easily find, for example,
    • Weyden, who — like the former artist, received certain influences
    • before us the pre-Reformation period in Art; the artist we shall now
    • show brings us already very near the Reformation.
    • there is less intensity of form, or movement, in the group.
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • arranged from a different point of view than in our former lectures;
    • of form and color, they try to reproduce the spiritual Imaginations,
    • personalities stand before us in a more and more human form.
    • only be read in its true form by those who are able to read with the
    • as you see, everything is conceived in typical form
    • the Italian and the Northern Masters one after the other. In the former
    • (Berlin.) Formerly attributed to Pisanello (Vittore Pisano).
    • spoken in a former lecture. For we now have the same subject by
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • that came before our souls in former lectures. I shall draw attention
    • of the soul in human form through the spiritual world, would no longer be
    • forms — not symbolic, but corresponding to spiritual Realities. And
    • pictures which we did not see in the former lectures. In Albrecht Dürer,
    • of the cities, working its way towards the Reformation. Nor does he
    • of Melanchthon, the theological bearer of the Reformation, as against
    • the time, expressing the mighty transformation that is taking place.
    • same time many things emerged out of the former epoch, reaching over
    • with men as a visible phenomenon in its most awful form.
    • the Reformation strove to put an end to all the growing worldliness
    • This, as we saw in former
    • but can still be characterised fundamentally in the same way as the former
    • see in him, in a primitive form, what was only afterwards able to appear
    • in a highly perfect form in the Hamburg Master, Meister Francke, who
    • Likewise, in the whole forming of the figures. Of course, the peculiar
    • — out of the forming and shaping power of the light — will
    • not accept what brought Christianity to them from the South in a form
  • Title: History of Art: Lecture IX:
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    • found that the manifold forms of Nature can be referred to certain typical
    • or fundamental forms, in which is expressed the spiritual Law and Essence
    • the plant in this way: A single fundamental organ, whose basic form he
    • transformations of this one. Not only so, but having thus begun, he sought
    • archetypal form, the primary plant.
    • in its living forces and mobility underlies the forms and movements
    • in the forms of the Physical Body, while in the movements of the latter
    • these matters, to gain some understanding of those noble forms of Humanity
    • within, nevertheless even in the archaic forms, imperfect as they are,
    • the way to raise the human form so marvellously to the Divine. The Greek
    • such a way that the outer form was the human form idealised. The point
    • the idealised human form they were able to express what lives and weaves
    • the Greeks evolved the power to express in the outer physical form the
    • first came to expression only in the forming of the limbs, begins to
    • breathing organism, the forming of the chest. The human being as a whole
    • ethereal is left out; but they now try to master the actual forms of
    • Nature, they follow the forms of Nature more faithfully, more humanly
    • and less divinely. Nevertheless, the forms are still an expression of

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