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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
    Matching lines:
    • will try to cut a long story short, albeit this will inevitably
    • it came over brought with it, along with all the other
    • painting. Alas, it is no longer really visible today, not even
    • is probably no longer to be seen at any place. Hence Cimabue's
    • him. (All this is no longer extant, for reasons we shall
    • man himself, no longer hovering like the vast and distant sphere
    • them he looks with loving sympathy and understanding. Going along
    • still see in them the tradition of the former time, but along
    • will no longer find the mere traditional expression, but you will
    • long been working at his Hymn to Nature — the great and
    • artist carried along, as it were, by the living impulses of St.
    • Francis. Here in this picture, belonging as it does to a later
    • work, while this belongs to a very late period in Giotto's life.
    • we come on into the 14th and 15th century, we see the longing,
    • itself more and more. There is no longer that strong impulse to
    • longer represented for their own sake. True, they live on, but
    • Supper is no longer merely represented (as in the picture that we
    • already grown so strong that they no longer feel the same
    • him working very, very long at this wonderful picture, for he
    • Church. Thus, after long labour, he had not finished Judas
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • lost. European humanity, in a certain sense, no longer cares how a given
    • it was no longer given to him, as to the men of former ages, to trace
    • outward vision what could no longer be made known by inward feeling.
    • in Florence during his long life. We see this in the succession of his
    • worked upon during a long period. We have often spoken of it. We know
    • an intense delineation of character. It stands apart and alongside of
    • are no longer present.
    • it belongs to a somewhat earlier period, we give what Michelangelo created
    • idea which he carried throughout his long life, and is connected far
    • this standard. Truly, he underwent much in his long life. While he was
    • for a long time. It was certainly not the case that the Pope said:
    • long,” and thus together, so to speak, they arrived at the
    • Also belonging to the same
    • to a high degree; nor did he ever bind or fetter them, so long as they
    • Consider, alongside of this
    • that belonged to political history. Especially at the present moment,
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • they no longer contain what comes, as it were, out of the
    • there blossomed forth something that was afterwards no longer there
    • lives in the Form itself, in the Form that belongs to the pure
    • Art is able to express. Man walks along, man turns his head. With
    • in these sculptures of the Cathedral at Naumburg, belonging to the
    • very good copy in Dresden, so good that for a long time it passed
    • other, belongs, nevertheless, to the same artistic context.
    • the center; for this Madonna of Nuremberg belongs undoubtedly to a
    • Dürer, while on the other hand he also has in him the longing
  • Title: History of Art: Lecture V: Rembrandt
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    • came to Weimar, and it went on for two or three years longer. Everyone
    • Human souls no longer had the force to penetrate to the heart and center
    • of Classical antiquity, for he belongs to the Fifth and not to the Fourth
    • richer in soul-content than before. Henceforth it is no longer merely
    • Rembrandt, the man of genius — henceforth it is no longer merely
    • long time, my dear friends, making one observation or another about
    • people of one and the same class or calling, men who belonged together
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • Mid-Europe really has no talent for this belonging together, this
    • particular nation to which they belonged was not the point. Nor did they
    • group to which they might belong.
    • constructed: the figures distributed in Space so as to belong together
    • life, which belongs to the fifth post-Atlantean period. This pole is in
    • naturalistic principle in Art, which belongs to the fifth post-Atlantean
    • no longer as before, half child-like forms. In such a group as this, you
    • belongs.
    • continued working at it for many years, and scholars have long been
    • works more or less equally along the lines of Van der Weyden on the
    • and with it the landscape that belongs to it. In Dieric Bouts you will
    • what he has been striving for along this path.
    • artists who no longer show quite the same freedom and simplicity, but
    • element of composition. Also we have no longer the mere naturalistic
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • Plays with which we are familiar. Though the latter belong, of course,
    • which are no longer extant.
    • I remember having seen it there myself not long ago.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • are naturally no longer near us today. To represent so truly this wandering
    • of the soul in human form through the spiritual world, would no longer be
    • subject. No longer is there poured out over it the magic breath of a
    • and its seeking, its longing and striving.
    • only the outcome of a long line of evolution. But this outcome appears
    • imported from the South along the paths of evolution of the Church —
    • but you will find it in other works by Multscher belonging to the same
    • for comparatively long. They were brought over to Christianity at a
  • Title: History of Art: Lecture IX:
    Matching lines:
    • that tend in the long run to brutalise even the artistic life. Goethe
    • What can become of man if he proceeds along this path of modern sports,
    • of the body arises, in that he no longer separates, what even here is
    • a long time. It was felt that the line of the face, the features, the
    • It is no longer possible to gain by outer vision a conception of Phidias'
    • To the same epoch belongs
    • preserve the tradition of the Golden Age, although it belongs to a later
    • what is actually seen. It is no longer based on something felt and sensed
    • no longer lived within the soul in the same inward way as did the ancients.



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