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Searching The History of Art

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    Query was: human

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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
    • the unfolding of some of the deepest human relationships which
    • spheres of human life and action, was characterised by a turning
    • forces in the human soul — those powers of imagination,
    • humanity did not possess sufficient powers of imagination to
    • created, of course, by human imagination, in the effort to
    • Look how the human
    • It was as though all the human confusion upon Earth was only
    • conception of human history it is fully justified. I mean that
    • can be experienced in the human soul, in the human being as a
    • Beings gazing down from beyond the Earth into this world of human
    • feels and experiences — impulses for which the human being
    • companions upholds the right of the single human individuality,
    • through each human soul. His vision is directed away from
    • individual and human life on Earth. Sympathy, compassion, a life
    • in fellowship with every human soul, an interest in the
    • all that the poor man was; wanted to feel the human being
    • entered lovingly not only into the human heart but into all
    • individual human character and figure. Giotto shows himself with
    • with it there is already the human element, in the way in which
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • by all the atrocities which have been placed before the human mind of
    • lost. European humanity, in a certain sense, no longer cares how a given
    • with an intensity of which the man of today has little notion. Human
    • the human figure from within — from a perception of the forces
    • in Anthroposophy as the etheric. Out of this inner feeling of the human
    • forces of the human organism might become his own inner experience.
    • human being might become as if transparent to him, revealing how the
    • the forces of Nature as they play their part in human life. He was no
    • in Leonardo is to see and feel what interests the human being of his
    • past him. He only skimmed off them, as it were, the uppermost and human
    • the great protest of humanity, of the human individual against all that
    • would oppose it. Hence the real human greatness of his Last Judgment,
    • the further evolution of the human race. This is the fall into sin.
    • with an individual and human feeling. Hermann Grimm drew the head of
    • human atrocities; for today it is permitted to write of them quite
    • of the picture as living in the very time itself. Below are the human
    • well aware that everything which human reason can discover is related
    • their human intellect. I have already spoken of these things and I believe
    • whose house is the great universal edifice and the quest of the human
    • intelligence which, as you see it here, goes on in an enclosed and human
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • human qualities will melt away. It is a striving to reveal how
    • well-measured Form that is appropriate to human nature, but in the
    • much as finished works of Art but as ideas of human life and cosmic
    • Spirit. They always express the individual human being himself,
    • Supersensible, using the human figure and human action like a mere
    • a direct expression of the human Will, the human life of soul.
    • human nature before the movement and mobility expressing the
    • mean that human form to which man himself, through his own
    • Classicism, Over against it all he sets the human individuality
    • contrast it? To understand how Faust opposes the human
    • nearer to this human impulse of movement than anything the Southern
    • elemental weaving of the light and shade that play around the human
    • and countless channels whereby the unconscious life of the human
    • Divine and spiritual, transcending the individual human being,
    • comes to expression in the human figure. It does not come natural
    • human figure, as it were, after the pattern first created by God.
    • follow up uhat brings the human nature into direct connection with
    • natural for the everyday, workaday things of human life to have
    • type that transcends the human individual, — such an Art will
    • imagination with all that is stamped upon the human being by the
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • transcend the human.
    • movement in the human soul. We cannot understand what took place
    • especially the tragic elements of Christianity, to human heart and
    • Christian Feeling for all human life. And the strange thing is that
    • and of all that is mobile in the human soul — the soul in
    • Superhuman
    • as is the Byzantine type of Christ, inwardly human is the
    • superhuman and typical; the superhuman and generic nature
    • of the soul, setting aside the individually human. The Southern
    • the generic nature of the soul in its superhuman and divine
    • individual, as it works its way upwards out of every single human
    • the human soul — this speaking from an inwardness of soul in
    • have painted. Raphael raises what he paints beyond the human; Van
    • Eyck lifts it into the still more deeply human, so as to seize the
    • human emotions with his paintings, the human hearts of those who
    • see them. Once more it is a question of grasping the human soul.
    • of the human soul in Europe. They reckoned with these things. They
    • human form, follows the lines of the form closely, continuing, as
    • Christian world-conception, deeply united with the human soul,
    • permeate it with the human heart and feeling, — to permeate
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  • Title: History of Art: Lecture V: Rembrandt
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    • one of the very greatest in the artistic evolution of humanity. I refer
    • Rembrandt, as a human phenomenon, stands, to a great extent, isolated.
    • when we contemplate the creative work of human individualities, we cannot
    • by the activity of the Spiritual that ensouls humanity.
    • Human souls no longer had the force to penetrate to the heart and center
    • German. His desire was to bring the life of the human soul back again to
    • an individuality who had drawn from the very depths of elemental human
    • great in human evolution. True, if we feel, perhaps, in a still deeper
    • it means to wrest one's way through to such resources of humanity as
    • Mid-European humanity. He never even saw Italy. He had no relation to
    • that contains the highest and strongest assertion of human individuality
    • and human freedom, and his creations spring from the deep originality
    • egoism of one's human personality. It is, rather, to be able to live
    • a human point of view, to witness what wrestles its way through to outward
    • of human egoism. The very fact that he confronts the world, and even
    • be the meaning of Art if it were only to produce the reality as human
    • there was this immediate and original creation out of a human soul —
    • a human soul of whom we may, indeed, believe that he was connected directly
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • bring forth, out of the depths of human evolution, all that is connected
    • beforehand of the laws and impulses of human evolution as explained by
    • only been evolved by gigantic efforts of the human soul. The older
    • recognition of the personality, the human individual —
    • about its frontiers. What mattered to them was that human beings full,
    • thorough-going human beings — should develop, regardless of the
    • naturally and inevitably, that they everywhere surround their human
    • human being in the landscape. Thus with all the impulses of the new age
    • of free development of human beings. I might continue to say many other
    • The angels here are full-grown human beings, in spite of their clerical
    • and ceremonial garments — fully developed human beings —
    • in the several branches of human life. Here are some examples.
    • the treatment of landscape in relation to the human beings to whom it
    • qualities come to expression in this picture. The human element far
    • might say, is taken from that quarter. See with what deep human sympathy
    • sees the human being — whatever presents itself to his vision
    • there comes to expression here the full and immediate human inwardness,
    • especially notice this art — to place the human being fittingly
    • about it, and yet the whole event is permeated with humanity, with inward
    • achieves a greatness of its own in representing the human
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • personalities stand before us in a more and more human form.
    • the consciousness of humanity again when — not the Gnosis this
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • the Madonna with the Jesus Child — in its impression on the human
    • themes in the whole Cosmos, as it lies before us human beings living
    • it rises free from the individually human; we seem to forget the human
    • being that worked to create it — the human being, Raphael himself.
    • of the soul in human form through the spiritual world, would no longer be
    • not easily forget the personality, the human being. Not that we must
    • of all that is direct and intimate and near to the human soul, springing
    • fellow-men, bringing his own soul to expression. The Human element can
    • we cannot say so too often — with the human soul, its feelings
    • were being made external, flat and superficial. Those human beings,
    • into all human relationships — this becomes a very favorite theme.
    • Death draws near to human life.
    • of heart and mind of the human beings themselves who in these regions
    • of the human heart, to discover for itself the laws of artistic creation.
    • deep and significant laws of human evolution. This stream of evolution
  • Title: History of Art: Lecture IX:
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    • as working towards the ideal, to “monkeyfy” the human race.
    • work to bring out the apishness of Man. For if that human being were
    • these matters, to gain some understanding of those noble forms of Humanity
    • the way to raise the human form so marvellously to the Divine. The Greek
    • such a way that the outer form was the human form idealised. The point
    • was by no means merely to idealise the Human — that is only the
    • the idealised human form they were able to express what lives and weaves
    • etheric human being. In the earliest pictures we shall still see a certain
    • breathing organism, the forming of the chest. The human being as a whole
    • Nature, they follow the forms of Nature more faithfully, more humanly
    • It is, after all, a mere matter of choice — arbitrary human choice —
    • represent not the dead human being — the mere physical body —
    • is lifted down into a more human realm, even though the figures be still
    • a Goddess, it is brought down into a more human sphere. The sublimity of
    • the earlier artists is made more human. We see this already in Praxiteles.
    • are not done from the model, but still there is an attempt at a human
    • his naturalistic vision — to create human figures strong and firm,
    • in the age when Humanity was trying to find the life of Art once more

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