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Searching The History of Art

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • in Him for mankind? This type of the Saviour, and similar types
    • overwhelming force pouring in from distant worlds into mankind.
    • What was mankind
    • criticism of Materialism. The time had to come to mankind to
    • soul-life of mankind was St. Francis of Assisi. I admit it is a
    • great conceptions in which the evolution of mankind is still
    • in the soul-life of mankind a little earlier than their
    • came forth entirely from that kind of outer world which Roman
    • kindled to an experience of the sacred action. No; the story of
    • kindled in their souls. Such pictures bring home to us the
    • been conquered by mankind. That deepening of life which had come
    • for Judas Iscariot; but now the Abbot himself, if he would kindly
    • out of a kind of memory of the totality of vision which is lost,
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • world of the senses which contained mankind. Even their view of Nature
    • in him today, but as a kind of court entertainer. From the skull of a
    • house. We need not say that he was intended as a kind of
    • feeling into Rome. As an artist he achieved a kind of spiritual conquest
    • that the sons of his patron were of quite a different kind. He who had
    • it spread far and wide into the civilisation of mankind. It is as though
    • that other tendency in which he does not seek this kind of composition.
    • that the pictures of this kind do not exist from every period in his
    • of that which went before mankind.
    • the evolution of mankind.
    • Art, in the evolution of mankind. It lies in the deep tragedy of human
    • kind of cruelty, never scrupling to use misrepresentation and even poison
    • Art, while on the other hand the moral feelings of mankind made vigorous
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • impulse of artistic fancy is of a very different kind. Tracing it
    • token, and the inner life which it contains underlies this kind of
    • Art is perfect in its kind.
    • the right, and other things of that kind, — it is far better simply
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • still contains mankind as a whole. Think how intensely an Athenian
    • kind. Most, if not all of them are the independent work of the
  • Title: History of Art: Lecture V: Rembrandt
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    • kind of introduction, indicating the historic background of the artist's
    • unique a figure is Rembrandt in the history of mankind. We should, indeed,
    • to mankind: “Remember once more what lives in the elemental depths
    • he probably fell more and more into a kind of despair — despair
    • of the presence of any such living sources in the evolution of mankind.
    • pictures or anything of that kind. Rembrandt stands out as the
    • historic evolution of mankind. From the aspect of artistic history,
    • during the lecture, which thus became a kind of running conversation
    • we might describe as a kind of cramp, or paralysis, poured out over
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • in the most manifold quarters in the evolution of mankind.
    • in the modern sense. They are more like a kind of narrative or
    • we could, at most, regard this as a kind of primitive illustration.
    • which are further away. In olden times they often made use of this kind
    • taken shape — this idea of the Salvation, the Redemption of mankind
    • There is a kind of echo of artistic tradition. In Van Eyck's work we
    • who was in a sense only a kind of imitation of David. We now come to
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • Our friends have been kind
    • fallen into the hands of utter dilettanti, who carry on all kinds of
    • of whatever kind is a mere antiquated superstition.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • today will enable us to give a kind of recapitulation of various things
    • once more the thing is perfect in itself, the highest of its kind.
    • exoteric life today is more or less of this kind. All its available
    • one of the earliest appearances of this kind. Then we find many pictures
    • showed any kind of talent for the Art of painting. They had no talent
    • surface. He seems quite unable to obey any kind of perspective law.
    • There are countless faults of the same kind. It is all clue to the fact
    • not yet worked his way through to any kind of perspective or observation
  • Title: History of Art: Lecture IX:
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    • they are working hard to turn him into a kind of carnivorous monkey.
    • Indeed, they are often thought of as a kind of resurrection of the spirit
    • Belvedere — Apollo represented as a kind of battle-hero.
    • subjugated by Rome. In Rome, to begin with, there was a kind of imitation
    • the early Middle Ages, the contemplation of the ancient works kindled
    • bas-reliefs of the doors of the Baptistery in Florence are, of their kind,
    • kind of pinafore. Just as he entered, Brunelleschi unveiled his Christ.

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