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Searching The History of Art

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    Query was: light

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • those things to which they had hitherto looked up and whose light
    • things. He delighted in the splendour of external riches; he had
    • 22. Giotto: The Flight into Egypt.
    • case it was a spiritual light which shone through all their
    • Christianity took flight into these tender pictures, so widely
    • however imperfectly — may still have brought to light.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • of Biblical history, we have the twilight of an ancient world-conception.
    • Christianity. And so he entered on the twilight of his life.
    • is marvellously placed into the whole. The colour and lighting are inexpressibly
    • have pure light — the colours together are pure light. Such is
    • 34. Separation of Light from Darkness. (Sistine Chapel. Rome.)
    • first stage, which we might describe as the creation of Light out of
    • 90. Flight of Heliodorus. (Vatican. Rome.)
    • 91. Flight of Attila. (Vatican. Rome.)
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • part that was played in the primeval Persian culture by light and
    • the midst of real and concrete forces. Real light, real darkness,
    • weaving of the World, light and darkness weave together. Influences
    • of light and dark ray out upon all that lives and moves on Earth,
    • as man and animal. Through light and shade, and through their
    • every step, with every turning of the head, new impulses of light
    • and shade appear. When we study this connection between light and
    • interplay of light and darkness; it is color playing over the
    • cast on to the surface, springing from the interplay of light and
    • shade, glistening forth out of the weaving and willing of the light
    • the interplay of light and shade — light and darkness —
    • elemental weaving of the light and shade that play around the human
    • relationship with the light and shade that play around him, and
    • with the glistening life of color that springs from light and
    • through light and darkness. Think how beautiful this feature is:
    • Faust himself working and weaving in the wondrous twilight of the
    • morning! Think how the play of light and darkness enters the famous
    • (above) bringing out the light and shade of the figure, modelling
    • all things moving in the outer world, — with light and shade
    • picture as a whole. We can only reproduce it in light and shade;
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • time have to bring more and more light into these matters.
    • flow of the masses of light themselves, than any artificial
    • the southern people with a slight, suggestion of a sanguine
    • century, had been preserved. All that we now bring to light
    • lies inherent in the whole treatment of light and darkness which I
    • interweaving of the light into the darkness, man finds an element
    • 51. Hans Baldung. The Flight into Egypt.
  • Title: History of Art: Lecture V: Rembrandt
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    • from the common soil under the influence of the common sunlight, so
    • artistic evolution, he threw many a beautiful and brilliant search-light
    • case of Dürer — the weaving in the elemental play of light
    • light and darkness of an elemental weaving on the waves of which the
    • lights up in the realm of Art for the first time in Dürer and finds
    • in the ever more perfect working out of light and darkness. Color to
    • him is only that which is born, as it were, out of the light and the
    • surging and weaving of the light and dark. Hence he delights to observe
    • how the play of light and dark brings forth its remarkable plastic painting
    • weaves in the element of light and shadow, tracing it with inner joy
    • life and movement of the light and darkness, a Cosmic, universal principle
    • I may so describe it) painting plastically but painting with light and
    • light and weaves in them is the element we must always seek in Rembrandt;
    • nearer to the secret of creating out of the light and the darkness,
    • were, to reveal the working of the pure distribution of light and darkness
    • of sublimer forms out of the light and darkness. The plastic forms of
    • distributions of light and dark. When we stand face to face with his
    • catch the light. The figures give him the opportunity to seize the light.
    • The essential is the play of light and darkness which the figures enable
    • out of light and shade. The colors are everywhere born out of the light
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  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • light. Thus in the profoundly Germanic brothers, Van Eyck, we have the
    • By a mysterious power they flood their pictures with light, introducing
    • life of the Northern and Southern Netherlands. Influenced very slightly
    • The perspective is only carried through to a slight extent. You see the
    • 51. Patinir. The Flight into Egypt. (Madrid.)
    • 52. Patinir. The Flight into Egypt. (Berlin.)
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • Shepherds and by the Three Wise Men, and finally the Flight into Egypt.
    • some pictures of the Flight into Egypt. This, too, is connected with
    • The Flight into Egypt appears in direct connection with the Mission of
    • is the Flight into Egypt; the two are together in this slide. Apart
    • from this one, we shall show the Flight into Egypt at the end of the
    • 5. The Flight into Egypt. (Evangeliar of the 12th century.
    • the element of light. It is most interesting to study this in Dürer.
    • (In the Lantern Light. Etching, about 1652.)
    • theme: the Flight into Egypt. First we have a painter of the late 15th
    • 51. Herrad von Lanndsberg. The Flight into Egypt.
    • 52. Joachim de Patinir. Rest in the Flight.
    • 54. Bernhard Strigel. The Flight into Egypt.
    • 55. Albrecht Dürer. Resting on the Flight into
    • the Flight into Egypt.
    • 57. Hans Balding (Baldung). Rest in the Flight.
    • 58. Lucas Cranach. Rest in the Flight. (Berlin.)
    • 59. Rembrandt. Rest in the Flight. (Etching.)
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • very different it is when we consider in this light, say, the personality
    • had great delight in pictures such as these. This was the time when
    • by the crests, painted in lighter color. If you try to imagine a visual
    • by the distribution of light and dark.
    • to feel the quality of space by catching the light, using the spatial
    • virtue of the light itself. Here we do not take our start from the laws
    • light itself.
    • the spatial working of the light itself. Space is born, as it were,
    • out of the activity of light, and in this element the artist works with
    • once more to express the spatial by the effects of light. Here once
    • differentiation of the space through the effects of the light itself.
    • and quality which the light itself begets.
    • altar-piece. His fine feeling for light enables him to bring out the
    • in Art works out of the element of light and dark, and discovers —
    • connection of the world of color with the light and dark. Through the
    • laws of light and darkness which also contain the mysteries of color.
    • light and dark. And the possibilities in this direction can be extended
    • of Art must all be brought together. To create out of the inner light
    • — out of the forming and shaping power of the light — will
    • light. Anyone who has a feeling for finer, more intimate relationships
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture IX:
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    • of Greek Art which lighted forth in Winckelmann or in Goethe.
    • 27. Figure in Flight, from the Niobe Group. (Vatican.
    • radiates from the Greek Art itself, and on the other, its lighting-up-again

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