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Searching The History of Art

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Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
    Matching lines:
    • in every single head of these disciples grouped around the
    • portrait with the head we saw before, by Ghirlandajo. In that
    • "https://www.rsarchive.org/Lectures/GA292/English/UNK1981/images/HA01-063_Apostles_Heads.jpg"
    • 63. Leonardo da Vinci: Heads of Apostles. (Weimar.)
    • These are the heads
    • "https://www.rsarchive.org/Lectures/GA292/English/UNK1981/images/HA01-064_Heads.jpg" align=
    • 64a. Leonardo da Vinci: Heads of Apostles. (Weimar.)
    • composed; but though he is composed of head and arms and legs and
    • — of arms and legs, of head and trunk — as a natural
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
    Matching lines:
    • His soul had most decidedly a Janus head. By his education, by the habits
    • 17. Head of Christ. (Study for the Last Supper.) (Brera. Milan)
    • at the Head of Christ. These reproductions are familiar.
    • with an individual and human feeling. Hermann Grimm drew the head of
    • to the head of the Apollo of Belvedere. We will now show some of the
    • 65. Head of Christ. (Detail from the Last Judgment. Sistine Chapel.)
    • 66. Head of Apollo Belvedere. (Rome, Vatican Greek sculpture))
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • Art is able to express. Man walks along, man turns his head. With
    • every step, with every turning of the head, new impulses of light
    • your minds not only the head with its peculiar expression, but the
    • 37. Lucas Cranach. Judith with the Head of
    • the heads of the characters are surch as the artist saw around him
    • 44. Dürer. Heads of St. John and St. Peter.
    • 45. Dürer. Heads of St. Paul and St. Mark.
    • his ‘Heads of Apostles.’
    • 62. "Heads of the Apostles."
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • Passion, and notably in the head of Christ Himself as conceived by
    • 2. Head of Mary. (Detail of the above.)
    • this Head of Christ would be an important station. Also the Head of
    • Christ in the Cathedral of Amiens, and afterwards, the Head of
    • Head of Christ by Albrecht Dürer.
    • 14. Head of “the Church.” (Detail of
    • 16. Head of the “Synagogue.” (Detail
    • well. The head, which we will now show in detail, is most
    • 19. Head of King Stephen. (Detail of above.)
    • 43. Head of Adam. (Detail of above. Wurzburg.)
    • 45. Head of Eve. Til Riemenschneider. (Detail of
    • single head alone:
    • 53. Hans Baldung. Head of an Old Man. (Berlin
  • Title: History of Art: Lecture V: Rembrandt
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    • in this isolation he creates out of the very fountain-head, out of the
    • man here, of whom only half the head is visible, made a great fuss.
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • epoch, found its essential fountain-head in these regions. These painters
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • the Seven-headed Dragon (1498.)
    • respects the source and fountainhead of German Art. They could not work
    • of the Head of Christ, which was elaborated by and by in the course
    • of time, had already reached. Compare this Head of Christ with the one
  • Title: History of Art: Lecture IX:
    Matching lines:
    • many of the activities that fall under the heading of sport —
    • 5. Head of a youth.
    • 10. Head of Athena
    • next, the head of Zeus, which is to be seen in Rome:
    • In this head of Zeus you
    • 32. Medusa Head. (Glyptothek. Munich.)
    • 79. Verrocchio. Head and Shoulders. (Detail of the above.)

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