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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • study of which we may presume the human mind will ever and again
    • wanted to gain a conception of these things. And if one desired
    • from spheres beyond the Earth. Again, in the faces themselves you
    • Christian world of feeling. Once again I do not say the
    • us again in a more highly evolved, more perfect form, in
    • refuge, as it were, in the soul's domain, tending, again, rather
    • again emancipates, within the life of soul, the Human from the
    • Angelico, we have shown a series of Botticelli's so as to gain an
    • way. This, of course, was in a time when all that had been gained
    • Angelico. This impulse once again rays forth into the world; we
    • a new way in the taking hold of Nature, — might work again
    • shall have gained a conception, how the great epoch of the
    • Italian Renaissance gradually came into being. Again and again, I
    • his own soul, to discover again in Nature what is already there
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • speaking. And when in later times it emerged again — in pietist
    • An understanding of Nature as against a feeling for Nature: this is
    • to a subsidence of the soil. He wished to raise it again — a task
    • again and again into the soul of Michelangelo. And when again and again
    • over Rome, making Florence arise again in Rome.
    • into Florence once again. He poured out this new feeling into the
    • It is the protest of free Florence against the encroaching principle
    • Again, when he was summoned
    • penetration into Florence, drove him back again to Rome. And now he
    • the great protest of humanity, of the human individual against all that
    • within the life of the Church against what was characteristic of that
    • Savonarola represents the great protest against this elimination of
    • life against an Art that was free of morals, — I do not say, void
    • from the Catholic side as a counter-Reformation, against the Reformation.
    • had carried Florence into Rome. With Raphael once again it was different.
    • Here, again, you see how
    • strong characteristic features, as against what had come forth in earlier
    • in this picture as against the earlier pictures of the Last Supper by
    • a triad complete and self-contained; and, again, each of these triads
    • from which we gain a more accurate conception of the composition than
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • we observe again in quite another sphere in Shakespeare. For
    • description, as it were. Now the ‘sign’, once again, is
    • old Bibles. Again and again you will see it is the artist's impulse
    • I have just characterised rayed out again and again from Middle
    • was gained from the South by way of mastery of Form and of Color,
    • Again and again we feel impelled to ask: What would have evolved
    • which poured themselves into the Gothic flowed over again from the
    • observed in Art. Again and again, this impulse tends to bring out a
    • and again more or less repelled, pushed back again. In Middle
    • Classicism, Over against it all he sets the human individuality
    • Here, again, we have
    • Dürer again and again, as an individual figure, it is true,
    • Again and again you will find these motifs of conquered demons or
    • element of expression rebels once more against the element of Form,
    • Here, again, you have
    • movement flows into this state of rest. Now let us return again to
    • against all the doctors, masters, scribes and priests that have
    • time he seems to ray it back again out of himself. Man and animal —
    • Here, again, you have
    • in the Madonnas which we showed today will be found again in this
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • again — the Christmas and Easter Plays, and Plays of the Three
    • shall see again today and which we say last time. There followed
    • we find the distinguishing feature of the Northern as against the
    • against the Roman element.
    • its way into Middle Europe,because they tried again and again to
    • that time? The next Picture, from the Cathedral at Bamberg again,
  • Title: History of Art: Lecture V: Rembrandt
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    • German. His desire was to bring the life of the human soul back again to
    • his creations gain in depth from this time onward — grow infinitely
    • must stand over against his object from without. He lets the world work
    • and significant meaning in the fact that he had to seek again and again
    • also, how much can be gained from the use of lantern slides and projectors
    • pictures thrown upon the screen, people in the audience again and again
    • the Batavians against the Romans, 1661. (Stockholm.)
    • Here, again, we have a picture
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • again, by painting a naturalistic space such as forms itself around the
    • Bible tells. The whole event is felt again and re-experienced in the
    • reached a high degree of perfection. The same subject again:
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • the consciousness of humanity again when — not the Gnosis this
    • time, it is true — but anthroposophical Spiritual Science gains
    • important here, again, to realise that there is a certain underlying
    • He was then led back again into the realm of the Star. In this is contained
    • idea is brought out again and again in these “Bibles of the Poor.”
    • We pass again to the more
    • Going North again:
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • we ask ourselves again and again: What is it that comes to expression
    • way, the theme places itself at once in a great context of Nature. Again
    • Madonna della Sedia. Again we should have to say: What is here placed
    • before us interests us, above all, inasmuch as it stands out against
    • years later, once again, the Cartoons for the tapestries in the
    • personality. Again and again the question comes to us: How is it that
    • soul of Raphael. And, again, he is only conceivable as one who stands
    • of Melanchthon, the theological bearer of the Reformation, as against
    • the Jesus Child and St. Dominic. The two figures against the tree trunk
    • again and again in that time: —
    • interest us again and again: How is it with the origin and evolution
    • on the water. But that, again, will not agree with the aspect of the
    • against the Southern tradition and tended to overcome it, and to find
    • of the Birth of Christ. Once again there is really nothing of those
    • these same impulses. Again and again we see how wonderfully the
    • again we see the element which afterwards became so great in German
    • break; they turned back again to the Roman, Latin principle. And in
    • — notably in the great artists whose works we have seen again
    • against the Latin and Roman.
    • find it again even in Hegel's Philosophy. Hence Hegel's Philosophy, if I
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  • Title: History of Art: Lecture IX:
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    • may remind you of it once again today, now that we shall show a few
    • in them were to gain thereby a real feeling of what lives invisibly
    • these matters, to gain some understanding of those noble forms of Humanity
    • bring ancient Greece to life again on a higher level, permeated this
    • probability been lost. We can only gain some idea of them from the
    • It is no longer possible to gain by outer vision a conception of Phidias'
    • again to the best, ideal tradition of the older times; it reminds us
    • things up again,” said Brunelleschi. “I see I shall never be
    • was in Italy that the Antique came to life again. On the other hand,
    • we were reminded again and again of the life of the free cities and the
    • deeply into the Antique and brought it forth again, in a time when men
    • They brought to life again in outer vision, contemplation, what the
    • caught the actual moment of resolve to go out against Goliath.
    • radiates from the Greek Art itself, and on the other, its lighting-up-again
    • with the help of the Greek Art which came to life again.



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