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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- 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
- 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
- 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
- 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
- spiritual life had declined considerably in Europe in the last decades of
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- 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
- bear in mind the general lines of development of Christian Art, which
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- 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:
- 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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