Searching The History of Art
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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- have always described as the fundamental characteristic of the
- especially to observe the unique way in which the fundamental
- fundamental idea of the composition — expressed so
- — though the fundamental impulse was retained by later
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- life included — bears the stamp of this his fundamental character.
- more deeply than one imagines with the fundamental feeling of his soul.
- and were fundamentally different in spirit from Julius II and even from
- the Christian life quite fundamentally with Rome — to make Rome
- in Rome, such ideas are brought together with the fundamental concept;
- protest against it, was a form fundamentally different from that
- Title: History of Art: Lecture III: Dürer and Holbein
- the impulse of the Will, must be regs.rded as the fundamental note
- fundamental conception of the picture is expressed in a restful
- Title: History of Art: Lecture V: Rembrandt
- life was necessary by a discovery of those fundamental sources which
- truly as an outsider. Fundamentally speaking, even Leonardo, Michelangelo
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- we may regard as the fundamental frame-work of the artistic conceptions
- their fundamental character and mood of soul. In the South men have
- of the Lamb” is one of the fundamental motifs of this and the
- preceding period. Here we see it beautifully presented as the fundamental
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- but can still be characterised fundamentally in the same way as the former
- Title: History of Art: Lecture IX:
- 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
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