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    Query was: living
  

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • to express in pictorial Art what was thus living in the souls of
    • a later time, living already in the soul of Francis of Assisi.
    • artist carried along, as it were, by the living impulses of St.
    • the same impulses, living as a simple religious enthusiasm in St.
    • rather to convey the life of soul, pouring outward as a living
    • soul finds living expression in them all. Here is essentially a
    • cannot yet deepen his composition so that a living soul speaks
    • artist felt more as a living organism. Man, too, after all, is
    • then, were living in the feeling of the human being, — a
    • of what is living on the Earth are received into the midst of
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • were living, at the beginning of the 5th post-Atlantean age. Leonardo
    • of their time. For this civilisation entered livingly into the artistic
    • what is intended to be living in it. In this way, Art is expelled from
    • its living connection with the spiritual life as a whole. At the same
    • be living in the whole way of feeling of their time. We cannot understand
    • idea that a specific moral impulse must be living in what goes by the
    • with the Mystery of Golgotha, we find them still living in the souls
    • streams are living in him. The one, which comes out especially in his
    • to a tradition still living at that time as regards the creation of
    • idea living in his soul, Michelangelo saw Rome becoming Jesuitical.
    • living at that early stage, and was able to take shape in this remarkable
    • of the picture as living in the very time itself. Below are the human
    • about the inspiration, the Idea of the Trinity had been living in him
    • “Tell me of the idea that has been living in you for so
    • worlds. Thus they are dreamy Beings, living within the universal nexus.
    • have tried to describe a little of what was living in them, and of their
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • impulses, to portray how the living Will of man expresses
    • gesture in which the soul itself is living, in which it seeks to
    • instance, all that is living in the famous “Last
    • with different objects and living creatures. Of course, the main
    • man is living, is stamped upon his soul and character. Holbein
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • expression in the great works of Art, are also living in the whole
    • there still existed a living atavistic perception of what plays
    • world, this living with the group-soul nature — with all that
    • forms of the body. It is, rather, like a continuation of the living
    • dramatic element, the living movement of soul, is expressed in the
  • Title: History of Art: Lecture V: Rembrandt
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    • Rembrandt reached!” Yet when all this had been living in his soul,
    • of the presence of any such living sources in the evolution of mankind.
    • era. Nothing can teach us to understand so well what was living in the
    • and Raphael, living as they did in the Fifth post-Atlantean age, could do
    • to unfold this living and weaving in the light and dark and in the world
    • pours out over his figures, and so places them into this living interplay
    • in which the onlooker himself is living. That is the wonderful thing
    • it is really a living horse. No horse by Rubens, ever really moves.
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • ceased to be living in the composition, the space itself must be
    • the rest, Memling had absorbed all that was then living in the Art of
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • our souls, from another aspect, that which is living in the Old Christmas
    • Child, in whom the Zarathustra Soul was living, had to be taken out
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • themes in the whole Cosmos, as it lies before us human beings living
    • The ideas, the living
    • was living there as artistic tradition. Needless to say, this great
    • were living. Some element of the Southern style undoubtedly plays into
    • in the art of a Kaulbach or a Cornelius from what is living in this
  • Title: History of Art: Lecture IX:
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    • moment divined that something was living in the Greeks, in intimate unison
    • wanted to take hold in a really living way of the life of living things,
    • in its living forces and mobility underlies the forms and movements
    • the living forces that abound in the Etheric Body come to expression.
    • which the living starting-point is given in Goethe's
    • living life within the Spirit.
    • the spiritual ... The ancient Greek was living in it still. When he
    • vision, contemplation, — combined with the living Imagination
    • being in this striving towards a living conception of the Spiritual
    • the living etheric movement within.



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