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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • of the second millennium A.D. when Cimabue lived, — that
    • Giotto lived from 1266 to 1337. Francis of Assisi was a man who
    • his gaze to that which lives and moves immediately upon the
    • every single man a world in himself. Yes, one desires to live in
    • have no idea how intensely men had lived with these transcendent
    • the West more inward. His soul wanted to live in sympathy with
    • immediate interest in all that lives and moves on Earth. Thus we
    • St. Francis, and showing how directly Giotto lived in the same
    • passed over into that in which we live today, which takes its
    • might say: Just as St. Francis himself lived after all in a
    • world, still lived within the Spiritual and could unite it with
    • longer represented for their own sake. True, they live on, but
    • represent the sacred fact. The sacred legend lives on; and, being
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • civilisation in the midst of which they lived. Today, indeed, people
    • a different feeling of Christianity than inspired those who lived, for
    • souls lived in the ideas connected with the Mystery of Golgotha, as
    • of his life, by all that he had seen, he lived with his feelings still
    • created if he believes in these things and lives in their midst. It
    • the evolution of the world who does not live in it, like Michelangelo,
    • in which he lived. But he experienced withal the Northern protest of the
    • say: Leonardo lives in the midst of a large and universal understanding.
    • World-understanding. Michelangelo lives in the policical understanding of
    • time and lived in the soul of Michelangelo himself: — the belief
    • But the deep and pure Christian feeling that lives in Michelangelo comes
    • Yet, this was not all, for he lived to witness the transition to the
    • hand, live and move and have their being over and above the individual.
    • Even inasmuch as they are individual, they live and move in a cosmic
    • how in the one, in Leonardo, there lived much that has not yet been
    • developed further, even today. Think how there lived in Michelangelo
    • in the narrower and in the wider sense. Think how there lived in Raphael
    • the necessary tragedy of human history, which has to live itself out in
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • lives in the Form itself, in the Form that belongs to the pure
    • unable to come forth, being overwhelmed by the other. Yet it lived
    • of light and dark ray out upon all that lives and moves on Earth,
    • earthly Nature the man of Middle Europe lived with a special
    • and all that lives therein. This is Dürer's kingdom. Hence he
    • are clearly visible in him. I refer to Martin Schongauer, who lived
    • human figure he places that which lives as a reality in the astral
    • who lived from 1470 to 1529. In Grünewald you will admire more or
    • Augsburg, he then lives in Basle, and afterwards loses himself —
    • time in which he lives.
    • generally imagined, there lives in Dürer the greatness of that
    • there lived, artistically speaking, a goodly piece of Faust.
    • feeling of the time in which Dürer lived and out of which he was
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • treated as though it were something that lives a life apart. This,
    • height in Rome, where, we might say, man lived more in the streets
    • than in his own house; and with his soul-life, also, he lived more
    • of space. From the very outset men live together, live together as
    • in Middle Europe. In Middle Europe man lives within himself; seeks
    • of the Passion had found its way into their lives by that time.
    • what infinite depths Christianity had found its may into the lives
    • To live with the
    • Dürer's, who subsequently lived at Strasburg, and at Freiburg
  • Title: History of Art: Lecture V: Rembrandt
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    • to mankind: “Remember once more what lives in the elemental depths
    • deep well-springs of the people. What was the time when Rembrandt lived
    • egoism of one's human personality. It is, rather, to be able to live
    • applies in a still higher degree to Rembrandt. Rembrandt lives in the
    • sets down his figures; he lets them stand there and then he lives and
    • lives within and what can be observed from without — to become
    • that what lives in color is already there potentially in the light and
    • live among us.
    • lives — though he is unconscious of it — the element of
    • 567. Christ of the Mount of Olives
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • we shall naturally live in the element of composition. One who has
    • at a time when the districts where these artists lived did not possess
    • contemporary artist who outlived Van Eyck by a few years — the
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • alive. We must only find the connection of what surges through these
  • Title: History of Art: Lecture IX:
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    • in them were to gain thereby a real feeling of what lives invisibly
    • Goethe lived with his whole
    • the idealised human form they were able to express what lives and weaves
    • in Art. The way in which Phidias and his pupils saw it lived on for
    • quite superficially what had lived so strongly in this Golden Age of the
    • they lived together — had gone out to buy things for their breakfast.
    • no longer lived within the soul in the same inward way as did the ancients.



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