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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
    Matching lines:
    • their outlines conceived more out of the life of feeling —
    • — their outlines, as I said, inspired more out of the
    • Ghibellines. Here one might say there was a battling in greater
    • stream of evolution leading on from Cimabue's rigid lines and
    • even in the way the lines are drawn, the immense difference
    • spiritual world (albeit lovingly, realistically inclined through
    • to melt away the sharper lines of individuality, but striving all
    • expression. Down to the very drawing of the lines you can see
    • this difference. Look at the wonderful and tender flow of line.
    • soul even in the drawing of the lines.
    • course of evolution on these lines, we now come to the great
    • recognise how such achievements must be preceded by many lines of
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • equally inclined to the feelings of the former time and of the latter.
    • is connected with this great change in his feelings: Into the very line
    • cosmic process with all the Prophetic gifts and Sibylline faculties
    • an intense delineation of character. It stands apart and alongside of
    • of the Prophets. Here we have the Sibylline element. In my cycle of
    • was concerned. Julius II was an extraordinary man, inclined to every
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • loneliness of the Umbrian Hills, had remained, after all, more or
    • another thing. We may say that with the decline of the Ottonian
    • of its own inherent impulses be less inclined to portray uhat in
    • combines great delicacy of form and line with tender intimacy of
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
    Matching lines:
    • South, in the period of its decline and in its resurrection from
    • pressed; nevertheless, in such a statement guiding lines are given
    • from the 13th century onward a certain decline can be observed.
    • human form, follows the lines of the form closely, continuing, as
    • that a certain decline had taken place. The next picture is also
    • rise, and to some extent the decline of a stream of evolution
  • Title: History of Art: Lecture V: Rembrandt
    Matching lines:
    • spiritual life had declined considerably in Europe in the last decades of
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
    Matching lines:
    • representations in line and color do not really constitute a pictorial Art
    • line.” The scene we see seems to converge, not in a vanishing
    • point, but in a vanishing line. In this is, indeed, expressed the radical
    • placed this line, and this, side by side. Here, however, the painter's
    • we must say that the effect of this line, and this line, together, is
    • more from France. He recognise these influences in the “line.”
    • works more or less equally along the lines of Van der Weyden on the
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • bear in mind the general lines of development of Christian Art, which
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • the line of the arm, reaching out on either side, is placed into the
    • the Reformation strove to put an end to all the growing worldliness
    • only the outcome of a long line of evolution. But this outcome appears
    • how the lines should go, and so forth. All this that we see at its loftiest
    • of lineal perspective — laws of perspective drawing. We extend
    • for line perspective in this picture. You would find mistakes everywhere.
    • to get beyond the mere linear perspective by means of a spatial depth
  • Title: History of Art: Lecture IX:
    Matching lines:
    • afield if I were to give you even an outline sketch of the real history,
    • of Art are wont to do — of a decline in the latest works. In the earlier
    • whether we call this a decline or not.
    • a long time. It was felt that the line of the face, the features, the
    • of the ancient Greece gradually drew near its decline, when Greece was



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