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Searching The History of Art

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    Query was: life

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • springing from a conception of life altogether remote from our
    • spheres of human life and action, was characterised by a turning
    • spiritual Powers break through into this earthly life? What was
    • the inner life of soul, the mighty event that was being enacted
    • their outlines conceived more out of the life of feeling —
    • feeling-life; colossal figures, conceived at any rate on a
    • life of spiritual vision. Such vision knew full well that the
    • life by the whole world in which he found himself through all
    • 5th Post-Atlantean period: into a life in the midst of
    • soul-life of mankind was St. Francis of Assisi. I admit it is a
    • in the soul-life of mankind a little earlier than their
    • enjoyment in all things that make life pleasant, or that enhance
    • personal experiences his inner life was revolutionised. It was at
    • life. From a man who in his youth was altogether addicted to
    • life of feeling directed purely to the inward things of the soul.
    • all that sprang from the old visionary life. He, rather, turned
    • such a way as to sweep past the single life of man, even as the
    • midst of all this life, St. Francis with his ever more numerous
    • with all that the inner life of man can experience in connection
    • individual and human life on Earth. Sympathy, compassion, a life
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • spiritual life as a whole. It is even considered a failing of the
    • if he seeks once more to give Art its place in the spiritual life as
    • spiritual life of their time and created out of this. In saying this,
    • life of their time. I mean far more than this. Into the specifically
    • its living connection with the spiritual life as a whole. At the same
    • of his life, by all that he had seen, he lived with his feelings still
    • knew life quite differently than we do, — that is to say, out
    • first who sought to perceive Nature through a deep life of feeling.
    • the forces of Nature as they play their part in human life. He was no
    • were then enacted in Italy. Leonardo's whole life — his artistic
    • life included — bears the stamp of this his fundamental character.
    • purpose; and though he entered well into all the life at Milan, we find
    • intended to glorify a victory over Milan. Then we see him end his life
    • in Florence during his long life. We see this in the succession of his
    • life-periods. As a young man, when his career was only just beginning,
    • of that time could offer to a man's spiritual life. Whatever of ancient
    • Florence. What Michelangelo experienced through all the spiritual life
    • within the life of the Church against what was characteristic of that
    • life against an Art that was free of morals, — I do not say, void
    • life. Michelangelo among others had built his hopes on such ideas as
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  • Title: History of Art: Lecture III: Dürer and Holbein
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    • token, and the inner life which it contains underlies this kind of
    • with the individual expression of the soul's life; with all that
    • 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
    • in all the cultural life that spread from the North towards the
    • from the Southern spirit. See what dramatic life and movement he
    • a direct expression of the human Will, the human life of soul.
    • creation with inner life and impulse of the soul, combined with a
    • individual life of the soul, works from within and pours itself
    • practicality of life, a cleverness in skill and understanding, a
    • which the individual must groan and soffocate. In the artistic life
    • Here we have the mysterious manifestations of the life of soul and
    • with the glistening life of color that springs from light and
    • a connection between Man and the naturalistic life and being of the
    • and countless channels whereby the unconscious life of the human
    • soul is connected with the life and civilisation around him,
    • impulse I described just nau. Here and throughout his life,
    • natural for the everyday, workaday things of human life to have
    • the everyday life of man stamps itself upon his form and figure,
    • his life. In the Mid-European Art, on the other hand, this element
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • of the Mid-European spiritual life, there arose what we may call
    • — the power to express the ever-mobile life of the soul. The
    • nowadays from the general life of culture and civilisation, and
    • treated as though it were something that lives a life apart. This,
    • general life of civilisation. Out of the common feeling of his time
    • centuries we witness the development of a unique artistic life in
    • strongly individual characterisation of all that is life and
    • their way most wonderfully into the soul-life of the people —
    • This statement is of infinite importance. The appeal is to the life
    • the Christian ideas entering, above all, into the imaginative life,
    • moral life, as we showed in a recent lecture, fell to the state
    • infinitely rich life of Christian vision and imagination in the
    • continually breaks through into the life of feeling. But in the
    • Christian Feeling for all human life. And the strange thing is that
    • Mid-European soul to assimilate into its deepest inner life all
    • Christianity into the life of the people is also recognisable, or,
    • stories and the sacred legends. Out of this life with the Christian
    • of the soul's life and its artistic power of expression. It finds
    • between the Mid-European and Northern, and the Southern life, which
    • life of the two regions in their essential difference. We need only
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  • Title: History of Art: Lecture V: Rembrandt
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    • life and times, would be a little out of place. With an individual artist
    • many people. He felt that the spiritual and intellectual life of men
    • had lost connection, as it were, with the mother-soil of spiritual life.
    • German. His desire was to bring the life of the human soul back again to
    • life. Remember it once more!”
    • spiritual life had declined considerably in Europe in the last decades of
    • in the subsequent course of his life. There was a deep sincerity of
    • life was necessary by a discovery of those fundamental sources which
    • impulse did not carry him far enough to reach that spiritual life which
    • Mid-European life — out of a source of life which he draws from the
    • of artistic life in that age. Hermann Grimm rightly says that to understand
    • of the Gothic. We witness the life of this Gothic and Latin Art in the time
    • his life, because of the elemental forces working in him so strongly,
    • life and movement of the light and darkness, a Cosmic, universal principle
    • that towards the end of his life's work, color recedes, as it were,
    • a grievous loss — a loss for his whole life. He lost the wife
    • really like a second life to him. But this loss became for Rembrandt
    • in his own inner life and being.
    • beings see it in ordinary life? It is the very purpose of Art to reproduce
    • what is not seen in the everyday life.
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  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • Southern aristocratic element. The life of the burghers gives birth
    • life, which belongs to the fifth post-Atlantean period. This pole is in
    • life of the Northern and Southern Netherlands. Influenced very slightly
    • it, who draw near to it from all their different spheres of life
    • near to the Lamb of Salvation, near to the Fountain of Life.
    • creating from out of the inner life, wrestles still with an inadequate
    • in the several branches of human life. Here are some examples.
    • 12. Jan van Eyck. The Waters of Life. (Prado. Madrid.)
    • architecture in the background. To represent the Waters of Life, the Well
    • of Life, in connection with the Sacrifice of the Lamb, was natural to the
    • life in this, whereas we might say Van Eyck is purely ethical. Van Eyck
    • life of Mary are here portrayed. Unfortunately it is too small in this
    • into the full artistic life. Only from this time onward was it really
    • discovered for the life of Art.
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • out of the spiritual beings that are bound up with the life of Nature.
    • came to life, as you know, in the Old Christmas Plays. But the appearance
    • therefore, with the life of Nature — is naturally best portrayed
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • case. It comes to expression in the remarkable course of his life, which
    • exoteric life today is more or less of this kind. All its available
    • life the concepts to express this Art are the most perfect, and all
    • hand, we feel in the background, as it were, the aura of the life of
    • his pictures are pervaded by all that blossomed forth in the free life
    • the whole life of the time comes vividly before you. Truly, in this
    • History — in the whole life of the 12th, 13th, 14th, 15th, and
    • of one epoch and another, many things are perceptible in the life of
    • of life. Thus, at the transition from the age of the Intellectual Soul
    • appear in all domains of life, revealing how men felt when the impulses
    • superficiality of life, — while the religious themes themselves
    • Death draws near to human life.
    • to the King, to tear him away from his royal life.
    • and emptiness of the religious life — to the corruption of the
    • works of Art, with the underlying laws of the spiritual life. Then will
    • other realms of life, with regard to the history and civilisation of
    • can trace it again in the life of Art. Bring before your minds again
    • the evolution of Art and in the evolution of the life of Thought. For
  • Title: History of Art: Lecture IX:
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    • wanted to take hold in a really living way of the life of living things,
    • that tend in the long run to brutalise even the artistic life. Goethe
    • living life within the Spirit.
    • an outcome of the materialistic conception of life — represent,
    • Fifth Post-Atlantean age, for man to leave behind him his life within
    • bring ancient Greece to life again on a higher level, permeated this
    • life and movement of the etheric body. By this means the Greek could find
    • in the ethereal life.
    • but really to seize the inner life. In the earliest period they could do
    • before the eyes. We must call it to life in our imaginations. Whereas
    • we have before us the very moment where the life (or, as we should say,
    • the etheric body. He brings to expression the actual moment where life is
    • was in Italy that the Antique came to life again. On the other hand,
    • arising out of the life of the free cities, where man became conscious
    • we were reminded again and again of the life of the free cities and the
    • They brought to life again in outer vision, contemplation, what the
    • in the age when Humanity was trying to find the life of Art once more
    • with the help of the Greek Art which came to life again.

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