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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • afterwards discuss.) On the other hand, we must never forget that
    • more to the things beyond the Earth. On the other hand the vision
    • traditionally handed down — where Beings gaze from realms
    • See, on the other hand, the wonderful expressions of the faces in
    • Here, on the other hand, you see how all the characters are
    • impulses handed down through Giotto, and through Donatello in
    • hand downward to the Earth, even to the conquest of heresy, and
    • on the other hand upward into the heavenly regions where the rays
    • St. Cecilia, on the other hand, we have a reading which contains
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • time, on the other hand, people fail to understand the artistic element
    • other hand, we consider the Christian traditions, the concepts and ideas
    • hand the feet of the heavenly beings. Heaven still penetrated down into
    • hand was working, therefore, from a many-sided understanding of the
    • the other hand, we may say: he bore within him, above all, the Florence
    • on the other hand, that in the works of Michelangelo in the Sistine
    • his hand. For now, also, parts of it have been completely spoiled.
    • on the other hand, remaining more or less untouched by all these things,
    • the hand. It is no mere chance. Observe the look in her eyes, coming
    • super-sensible as an inspiration to man, on the one hand; and on the other
    • hand the attainment of a knowledge of the world of causes through the
    • two central figures are to be understood as follows: On the one hand
    • Michelangelo, on the other hand, portrays the human and individual in all
    • hand, live and move and have their being over and above the individual.
    • had assumed a form whereby it slid over on the one hand into the realm of
    • Art, while on the other hand the moral feelings of mankind made vigorous
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • connection with the heavenly). From the South, on the other hand,
    • Gothic who cannot see in it on the one hand this mystical element
    • it, on the other hand, there is an element of cool intelligence and
    • when we perceive how on the one hand the color is cast on the
    • object and plays over its surface, while on the other hand it
    • his life. In the Mid-European Art, on the other hand, this element
    • hand, the perfect striving for expressiveness of soul, and on the
    • other hand the relatively perfect mastery of form which they had
    • from the Classical. While on the other hand, the same Mid-European
    • but especially in the whole forming of the hands. That epoch, more
    • than any other, was working at the perfection of the hands, in
    • hands.
    • the whole action. Study the flowing of the soul into the hands.
    • hand; observe how the very hair is arranged to bring out the
    • Dürer, while on the other hand he also has in him the longing
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • character of the South or of the North, while, on the other hand,
    • on the other hand, we see the strong decided striving of the
    • of the soul. According to the gesture of the hand and the whole
    • On the other hand, in
  • Title: History of Art: Lecture V: Rembrandt
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    • hand, is an artist who makes felt — as an artist — something
    • beautiful, for Rembrandt was not a handsome man. No, for him the important
    • not time to go through them beforehand, and saw them for the first time
    • of them holds in his hand a piece of paper on which their names are
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • beforehand of the laws and impulses of human evolution as explained by
    • composition. If, on the other hand, we have a strong feeling for the
    • the other hand, there is already an underlying opinion — this
    • this peculiar position of the hand, nor this peculiar treatment of facial
    • one hand, and the Van Eycks on the other. These pictures were painted
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • Magi, on the other hand — the mission of the Three Wise Men from the
    • fallen into the hands of utter dilettanti, who carry on all kinds of
    • of the Stars. On the other hand, for the official Science of today Astrology
    • had their knowledge through the ancient Science that had been handed
    • On the other hand, the representations of Jesus grow the more
    • Orpheus type, for instance, the type of the Good Shepherd, was handed
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • his hand to speak? With Raphael we must ask: What angle will the arm
    • hand, we feel in the background, as it were, the aura of the life of
    • on the other hand, who attained some inwardness of soul were pondering
    • On the other hand, you see
    • that the artist is striving on the one hand towards what afterwards
    • became the real greatness of the German Art, while on the other hand
    • free and independent feeling. Thus on the one hand he observes what
    • he does according to tradition he does badly. On the other hand, we
    • the other hand, we see on all hands a radical rebellion and revolution
    • the Southern region, and Schelling's too; while, on the other hand,
  • Title: History of Art: Lecture IX:
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    • of our time: On the one hand theoretically, they are at pains to understand
    • Man as a more perfect ape, while on the other hand in practice they
    • moved his hand, he knew that the Spiritual — the etheric body
    • original works have been preserved. Most of them are only handed down
    • this was handed down, even into the times when they were able to imitate
    • see the tradition that was handed down from Phidias.
    • the Dionysos child in his left hand.
    • the other hand, we see a fresh attempt to bring in movement: —
    • was in Italy that the Antique came to life again. On the other hand,
    • to take hold of it in movement. Michelangelo, on the other hand, in
    • these things to some extent before our souls: — On the one hand what



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