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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- artistic ideal. Rather was it a question of calling forth those
- vivid ideas arose, as to how one should portray the figures that
- have no idea how intensely men had lived with these transcendent
- course more in thoughts and ideas communicated through the medium
- idea comes to expression here: in the background the mighty
- grand idea: The rule of the Church raying out over the Earth. You
- artist who was permeated by this idea, and was well able to bring
- fundamental idea of the composition — expressed so
- root-idea, as to represent in every single one a human
- individuals emancipated naturalistically from the idea that
- can already lose the feeling of one idea pervading the whole.
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- a world-conception is a collection of ideas which can, of course, be
- idea that a specific moral impulse must be living in what goes by the
- other hand, we consider the Christian traditions, the concepts and ideas
- (and when I say ideas I include “Imaginations”) connected
- souls lived in the ideas connected with the Mystery of Golgotha, as
- a question of the cost; in his time it was an idea of genius, for no
- itself, but that could only arise in Florence: the idea of one mighty
- ideas of Christianity were lifted out of their context and taken by
- themselves. I mean the ideas connected with the Mystery of Golgotha
- life. Michelangelo among others had built his hopes on such ideas as
- the strong Catholic ideas, the Jesuitical principle, and Paul IV became
- ideas as are expressed in this picture have vanished absolutely; they
- arose. One thing is certain: the group expresses an idea which Michelangelo
- idea which he carried throughout his long life, and is connected far
- the Mother, in this scene of the entombment. Again and again the idea
- eyes of man as a sublime ideal, but that can never be attained by man
- idea living in his soul, Michelangelo saw Rome becoming Jesuitical.
- With this idea in his soul, he underwent all the feelings of which I
- His highest ideal, none the less, was that which he desired to bring
- representing this idea, this scene, or, rather, the motif of it.
- Maximum number of matches per file exceeded.
- Title: History of Art: Lecture III: Dürer and Holbein
- much as finished works of Art but as ideas of human life and cosmic
- representations of their ideas about the world and life. If more of
- case; but the idea that Dürer himself was influenced must be
- Title: History of Art: Lecture IV: Mid-European and Southern Art
- the Christian ideas entering, above all, into the imaginative life,
- themselves there is very frequently the underlying idea (not
- The art of characterisation has, indeed, attained its ideal to a
- Title: History of Art: Lecture V: Rembrandt
- of time, all manner of ideas that had occurred to him. He might then
- ideas of men floating about on the surface; but in Rembrandt he saw
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- are smaller in idea. Hence, while they are placed in the
- evolution altogether steeped in Christian ideas — the Christian
- it thus. Throughout the centuries of Christianity this idea had gradually
- taken shape — this idea of the Salvation, the Redemption of mankind
- the idea which is here expressed. Not by man seeking in pride to rise
- ideas of that time. Once more, as in the former picture, you have the
- the prevalent idea that it is meet to represent in pictures what the
- Title: History of Art: Lecture VII: Representations of the Nativity
- idea is brought out again and again in these “Bibles of the Poor.”
- you still find a stronger adherence to ideal types, while here there
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- — a more special outcome of our ideas concerning the artistic
- respect to certain artistic intentions — the highest ideal has
- soul. One of the ideas of the Christian conception of the world has
- ideas have been learned from the Art which finds its highest expression
- ideal, and we have few words at our disposal, few concepts and ideas,
- The ideas, the living
- the subject is — in accordance with the ideas and canons of great
- conceptions of how the artist should work, ideas of artistic harmony
- like a great canvas, like an ideal painting of the world. It works from
- Title: History of Art: Lecture IX:
- as working towards the ideal, to “monkeyfy” the human race.
- developed, who is the underlying ideal of the extremer movements in
- we must start from such ideas as we have just set forth. In this respect
- 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
- idea of an age that fails to understand the real depths. Through
- the idealised human form they were able to express what lives and weaves
- probability been lost. We can only gain some idea of them from the
- accord with what was evolved in this ideal age.
- Truly an ideal conception
- again to the best, ideal tradition of the older times; it reminds us
- strive away from the ideal type, towards the quality of portraiture.
- between Donatello and Brunelleschi with his high idealism — immersed
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