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    Query was: idea
  

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • 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
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    • 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
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    • 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
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    • 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
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    • 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
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    • 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
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    • 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
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    • — 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:
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    • 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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