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    Query was: lecture
  

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • History of Art: Lecture
    • Lecture I
    • are images of the artworks that were presented with the lectures. The
    • Lecture I
    • lectures that the Romans were an unimaginative people. It was
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • Lecture II
    • are images of the artworks that were presented with the lectures. The
    • Lecture II
    • In our last lecture we
    • indications in my other lectures, you know that the Greeks — and
    • lectures. These inner connections could only be felt and realised in
    • other lectures. The painting is based on proven designs and sketches of
    • whom I have spoken in a former lecture. They represent the one
    • lectures given at Leipzig, on “Christ and the Spiritual World,”
    • spoken of these tombs of Juliano and Lorenzo in a lecture which I believe
    • to you all, and we, too, have spoken of it in former lectures. Many
    • that Lecture, too, has been made accessible. I think if we take the
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • Lecture III
    • are images of the artworks that were presented with the lectures. The
    • Lecture III
    • in the last lecture. For Dürer it is a sour task — this
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • Lecture IV
    • are images of the artworks that were presented with the lectures. The
    • Lecture IV
    • moral life, as we showed in a recent lecture, fell to the state
  • Title: History of Art: Lecture V: Rembrandt
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    • Lecture V
    • are images of the artworks that were presented with the lectures. The
    • Lecture V
    • lantern lectures, we will today pick out a single artist — albeit
    • lectures here at Dornach during the last few weeks, you will realise
    • lectures as the Southern European stream. He is even less dependent than
    • recent lantern lectures, have brought before our souls the flowering
    • during the lecture, which thus became a kind of running conversation
    • you that in lecture halls, which are generally well lighted, a more
    • we are reminded of what I said in one of our last lectures — how
    • from the other artists whose works we have seen during these lectures:
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • Lecture VI
    • are images of the artworks that were presented with the lectures. The
    • Lecture VI
    • characterised in one of the earlier lectures, is the inventor of
    • we saw in a former lecture. You will see how great a difference there is.
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • Lecture VII
    • are images of the artworks that were presented with the lectures. The
    • Lecture VII
    • arranged from a different point of view than in our former lectures;
    • Plays of which we have been speaking in the last lectures. We shall
    • we have described in the past lectures of this series. You will observe
    • composition (compare my Lecture Cycle held in Cassel on the Gospel of
    • lecture. Here you have a beautifully naive conception of the Nativity.
    • spoken in a former lecture. For we now have the same subject by
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • Lecture VIII
    • are images of the artworks that were presented with the lectures. The
    • Lecture VIII
    • that came before our souls in former lectures. I shall draw attention
    • not yet seen in these lectures.
    • pictures which we did not see in the former lectures. In Albrecht Dürer,
    • lectures, is a peculiar characteristic of the German stream, —
    • as I tried to explain in the lecture on Rembrandt — the inner
    • All that we recognised in the lecture the day before yesterday —
  • Title: History of Art: Lecture IX:
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