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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • Mantegna,
    • study of which we may presume the human mind will ever and again
    • the unfolding of some of the deepest human relationships which
    • spheres of human life and action, was characterised by a turning
    • of man's spiritual faculties towards the Cosmic, the Spiritual
    • that transcends the Earth. To a great extent, all man's thought
    • forces in the human soul — those powers of imagination,
    • humanity did not possess sufficient powers of imagination to
    • lectures that the Romans were an unimaginative people. It was
    • into the unimaginative Roman culture that Christianity, coming
    • Christianity found its way into the West, the Roman
    • in Him for mankind? This type of the Saviour, and similar types
    • fell into decay amid the unimaginative Romans. Thus in the
    • created, of course, by human imagination, in the effort to
    • Look how the human
    • overwhelming force pouring in from distant worlds into mankind.
    • It was as though all the human confusion upon Earth was only
    • point. It is true that under Giotto's name many works are
    • What was mankind
    • criticism of Materialism. The time had to come to mankind to
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • by all the atrocities which have been placed before the human mind of
    • True understanding for the manner of representation has been
    • lost. European humanity, in a certain sense, no longer cares how a given
    • movement in Germany a man once came to me in Berlin, bringing with him
    • but the man — if you will pardon me the apt expression —
    • quality of their work, into their whole manner of presentation; nor
    • that a man can build a Gothic church even if he has not the remotest
    • It was only natural (though I should need many hours to say in full
    • demands of morality, nor need one be in any way a pietist to say so.
    • with an intensity of which the man of today has little notion. Human
    • say, it was as though a man only need lift his arm, to grasp with his
    • world of the senses which contained mankind. Even their view of Nature
    • the human figure from within — from a perception of the forces
    • in Anthroposophy as the etheric. Out of this inner feeling of the human
    • with outward vision. Man felt impelled to feel and understand external
    • from within outward the forces that are at work in man, he tried to
    • forces of the human organism might become his own inner experience.
    • human being might become as if transparent to him, revealing how the
    • brought all manner of toads and reptiles into his studio, to study the
    • creation of Nature's forces. For Leonardo was truly a man who sought
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  • Title: History of Art: Lecture III: Dürer and Holbein
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    • too, spring forth from deeper manifestations which lie hidden, in a
    • human qualities will melt away. It is a striving to reveal how
    • impulses, to portray how the living Will of man expresses
    • well-measured Form that is appropriate to human nature, but in the
    • much as finished works of Art but as ideas of human life and cosmic
    • impulses flowed together from many quarters. Consider, for
    • Spirit. They always express the individual human being himself,
    • Supersensible, using the human figure and human action like a mere
    • a direct expression of the human Will, the human life of soul.
    • human nature before the movement and mobility expressing the
    • mean that human form to which man himself, through his own
    • spread of Christianity and Romanism. Moreover, that which rayed out
    • too, inasmuch as it manifests the underlying spirituality of
    • different; the Romanesque and Classical carried forward on the
    • the manifestation of the underlying Spiritual that is expressed in
    • Romanesque grew into it, spreading into the tributary valleys of
    • certain realism. It comes to Europe on the Norman waves of culture.
    • craftsmanship, which is never absent from the Gothic. The sublime
    • craftsmanship.
    • Roman and Classical something that is hostile to the individual.
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • transcend the human.
    • Middle Europe, uniting the more Roman or Latin elements with a
    • movement in the human soul. We cannot understand what took place
    • manner of excesses even before the twelfth century. And while in
    • many others.
    • especially the tragic elements of Christianity, to human heart and
    • Christian Feeling for all human life. And the strange thing is that
    • and of all that is mobile in the human soul — the soul in
    • Superhuman
    • as is the Byzantine type of Christ, inwardly human is the
    • superhuman and typical; the superhuman and generic nature
    • of the soul, setting aside the individually human. The Southern
    • the generic nature of the soul in its superhuman and divine
    • individual, as it works its way upwards out of every single human
    • still contains mankind as a whole. Think how intensely an Athenian
    • called man a “Zoon politicos” — a political animal.
    • height in Rome, where, we might say, man lived more in the streets
    • in Middle Europe. In Middle Europe man lives within himself; seeks
    • summoned to it. Many of the underlying impulses of Gothic
    • interweaving of the light into the darkness, man finds an element
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  • Title: History of Art: Lecture V: Rembrandt
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    • one of the very greatest in the artistic evolution of humanity. I refer
    • unique a figure is Rembrandt in the history of mankind. We should, indeed,
    • Rembrandt, as a human phenomenon, stands, to a great extent, isolated.
    • when we contemplate the creative work of human individualities, we cannot
    • by the activity of the Spiritual that ensouls humanity.
    • for something elemental and original. Many people in Mid-Europe began
    • German. Such was its title. I found the same atmosphere when I
    • To me it was as though the author — undoubtedly a man of keen
    • of time, all manner of ideas that had occurred to him. He might then
    • many people. He felt that the spiritual and intellectual life of men
    • Human souls no longer had the force to penetrate to the heart and center
    • German. His desire was to bring the life of the human soul back again to
    • to mankind: “Remember once more what lives in the elemental depths
    • an individuality who had drawn from the very depths of elemental human
    • great in human evolution. True, if we feel, perhaps, in a still deeper
    • it means to wrest one's way through to such resources of humanity as
    • of the presence of any such living sources in the evolution of mankind.
    • Mid-European humanity. He never even saw Italy. He had no relation to
    • time. Hermann Grimm, who undoubtedly had a feeling for such things,
    • historic evolution of mankind. From the aspect of artistic history,
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  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • bring forth, out of the depths of human evolution, all that is connected
    • Hermann Grimm an altogether inferior intellect. But if we have not the
    • beforehand of the laws and impulses of human evolution as explained by
    • in the most manifold quarters in the evolution of mankind.
    • only been evolved by gigantic efforts of the human soul. The older
    • is conceived as the observer of the scene. But to this end the man who
    • man of the fifth Post-Atlantean epoch cannot forget himself; he demands
    • the man who looks at the picture is included in the whole conception.
    • when man becomes conscious of himself.
    • When a man has been brought
    • recognition of the personality, the human individual —
    • light. Thus in the profoundly Germanic brothers, Van Eyck, we have the
    • about its frontiers. What mattered to them was that human beings full,
    • thorough-going human beings — should develop, regardless of the
    • Southern Netherlands, the regions of Flanders. The inner being of man is
    • naturally and inevitably, that they everywhere surround their human
    • human being in the landscape. Thus with all the impulses of the new age
    • Germanic burgher-spirit of those times and places.
    • of free development of human beings. I might continue to say many other
    • of many parts. This is the portion seen when the front is opened —
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  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • Andrea Mantegna,
    • personalities stand before us in a more and more human form.
    • the consciousness of humanity again when — not the Gnosis this
    • to represent the new impulse, the Christ event; and so it was with many
    • (15th century) The Nativity, etc. (German Woodcuts.)
    • some older Miniatures from Bible and Gospel Manuscripts.
    • 38. Mantegna. Adoration by the Wise Men. (Uffizi.
    • from the Brevarium Grimani.
    • (Germanisches Museum. Nuremberg.)
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • the Madonna with the Jesus Child — in its impression on the human
    • world-conception. Let us consider it in the way Herman Grimm once spoke
    • themes in the whole Cosmos, as it lies before us human beings living
    • it rises free from the individually human; we seem to forget the human
    • being that worked to create it — the human being, Raphael himself.
    • was already emphasized by Hermann Grimm. Raphael's work takes its course
    • of the soul in human form through the spiritual world, would no longer be
    • nature below expressed what man has cast aside from himself, but it is
    • reality. We must consider man in his full being, such as he really is. In
    • the Threefold being of Man. This threefold nature of man emerges
    • everywhere, where reference is made to the Spiritual part of man
    • emancipated from the Physical. We find this threefoldness in manifold
    • so we find it here, in the full-grown Man related to the Child and the
    • not easily forget the personality, the human being. Not that we must
    • of all that is direct and intimate and near to the human soul, springing
    • their Masters many a tradition of aesthetic law, artistic harmony, —
    • the time in Middle Europe, — the German towns and cities. Invisibly
    • rather, the ordinary individual man's approach to the Bible and to his
    • fellow-men, bringing his own soul to expression. The Human element can
    • we cannot say so too often — with the human soul, its feelings
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  • Title: History of Art: Lecture IX:
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    • found that the manifold forms of Nature can be referred to certain typical
    • to understand the several plant species as diverse manifestations of one
    • of the Physical. He felt how the Etheric is manifested or portrayed
    • within the visible being of man. And in his plastic art the Greek wanted
    • man as a merely more perfect ape, while at the other pole — through
    • many of the activities that fall under the heading of sport —
    • as working towards the ideal, to “monkeyfy” the human race.
    • What can become of man if he proceeds along this path of modern sports,
    • etc? Precisely a “monkeyfied” man, whose chief distinction
    • while monkeyfied man — presumably — will be a carnivorous
    • Man as a more perfect ape, while on the other hand in practice they
    • work to bring out the apishness of Man. For if that human being were
    • these matters, to gain some understanding of those noble forms of Humanity
    • Fifth Post-Atlantean age, for man to leave behind him his life within
    • etheric body. The man of today must go a different path. By way of outward
    • a man like Winckelmann, in the 18th century, strove so wonderfully to
    • recognise the essence of the art of ancient Greece. Winckelmann, Lessing
    • the way to raise the human form so marvellously to the Divine. The Greek
    • such a way that the outer form was the human form idealised. The point
    • was by no means merely to idealise the Human — that is only the
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