[RSArchive Icon] Rudolf Steiner Archive Home  Version 2.5.4
 [ [Table of Contents] | Search ]

Searching The History of Art

You may select a new search term and repeat your search. Searches are not case sensitive, and you can use regular expressions in your queries.

Enter your search term:
by: title, keyword, or context

   Query type: 
    Query was: high

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:
    • and interest was directed to the question: How did the higher
    • transposed into higher realms. We can see quite clearly how, as
    • materialism? Considering the matter from a somewhat higher point
    • radiated in an earlier art from the higher realms on to the
    • upward from a world below to a middle and thence to a higher
    • higher life — to connect it with a higher life, only now in
    • the three tiers, rising systematically into higher worlds from
    • us again in a more highly evolved, more perfect form, in
    • are highly individualised figures — men who desire power
    • his life — has reached a high level of perfection.
    • Nature, brought to a high level of expression. Here in this other
    • high degree, the Leonardo da Vinci, there is a working-together
    • seeks to enhance his power of expression to the highest point by
    • Iscariot, and when the Abbot, high dignitary that he was, kept
    • leads on to a higher stage of realism. Side by side with it we
    • in which direction Raphael achieved the highest eminence. Lastly,
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
    Matching lines:
    • notion of High Mass. Of course, he cannot do so in reality. Or they
    • may not have been high, but in which there were free and independent
    • with high ethical principles what had reached so great a height in Art.
    • times from higher vision and had grown a mere tradition. It was
    • His highest ideal, none the less, was that which he desired to bring
    • high places. And yet they were of such a character as to take with them
    • into these high places the worst extremes which even that age could
    • to a high degree; nor did he ever bind or fetter them, so long as they
    • and high-mindedness, human tyranny and striving towards freedom. If
  • Title: History of Art: Lecture III: Dürer and Holbein
    Matching lines:
    • reaches its highest eminence in Raphael.
    • type, is here united with a high technique of Form — a faculty
    • undoubtedly, a higher perfection in this artist than in the
    • of the Reformation through and through. To a high degree, the human
    • rising ever higher, — those who have passed through the Gate of
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
    Matching lines:
    • peoples brought to their Art, in a far higher degree, the ancient,
    • world-conception, was in any high degree influenced by the
    • highly individual figures were created was also especially great in
    • when the High Renaissance in Italy had not as yet begun. These
  • Title: History of Art: Lecture V: Rembrandt
    Matching lines:
    • that contains the highest and strongest assertion of human individuality
    • its highest expression in Rembrandt.
    • applies in a still higher degree to Rembrandt. Rembrandt lives in the
    • post-Atlantean age — and this is true in the highest degree of
    • but as these were especially high lords and masters, Rembrandt must
    • come out properly in full relief. And with the high artistic perfection
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
    Matching lines:
    • surface, and reached so high a degree of perfection.
    • groupings in Space, but withal a high degree of inwardness, and a strong
    • highest degree. It is scarcely conceivable — (pointing to the
    • reached a high degree of perfection. The same subject again:
  • Title: History of Art: Lecture VII: Representations of the Nativity
    Matching lines:
    • — remote from all Naturalism, lifted into a higher sphere.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
    Matching lines:
    • respect to certain artistic intentions — the highest ideal has
    • come to expression here in the highest imaginable way, seen from a certain
    • mother to the child. A mother with her child: Once more, the highest means
    • once more the thing is perfect in itself, the highest of its kind.
    • boundary of times, often bring forth their very highest.
    • ideas have been learned from the Art which finds its highest expression
    • Raphael's work is the last, the highest, the closing act in a great
    • or Soul of the Higher Feelings to that of the Spiritual Soul, phenomena
    • age. To a high degree, man was about to be fettered to that physical
    • riches of the higher orders, their overweening arrogance, their growing
    • rank — from the highest in the land to the lowest. Moreover, the
    • a high degree of perfection.
    • to follow the rules which were considered the highest requirements of
    • difficulties at once. We must imagine it high up so as to look down
    • might call it) are seen, you have to look high up above. We are looking
    • in a highly perfect form in the Hamburg Master, Meister Francke, who
    • Man of Sorrows, you see how high a degree of perfection the expression
    • case, attain the high perfection which Raphael attained, for instance.
  • Title: History of Art: Lecture IX:
    Matching lines:
    • bring ancient Greece to life again on a higher level, permeated this
    • highest degree in Phidias and his School and in Polycletus — in the
    • of the 5th century and find in such a shapes a tryly high degree of
    • between Donatello and Brunelleschi with his high idealism — immersed

The Rudolf Steiner Archive is maintained by:
The e.Librarian: elibrarian@elib.com