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Searching The History of Art

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Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • portray appear before us in an altogether unnaturalistic form,
    • naturalistic forms.
    • naturalist. The birds are his brothers and his sisters; the
    • increasingly the portrayal of the natural, individual creature,
    • see how natural it was to the men of that age to express
    • faithfully to portray the individual and Natural, emancipating
    • individuals emancipated naturalistically from the idea that
    • naturalism. But in face of all this realism, his inner life seeks
    • now expended on the vision of the Natural, the soul took refuge
    • picture it was a life of the Spirit, finding a naturalistic
    • certain naturalism in the expressions of the soul.
    • case something essentially spiritual found naturalistic
    • — of arms and legs, of head and trunk — as a natural
    • you not feel it as a natural totality, a thing that goes without
    • which grew into Naturalism.
    • spiritual power and a life of soul poured out into Naturalism;
    • them: The Spirit striving into Naturalism; the life of soul,
    • more into a perfectly natural spirituality, a spirituality that
    • around us, in its natural material content and in its soul and
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • It was only natural (though I should need many hours to say in full
    • what should be said on this point), it was only natural for them to
    • of the moral element was a natural concomitant of the whole process.
    • often drawn attention to this fact. Think of the inherently natural
    • This arose out of a belief which was still absolutely natural in that
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • expression of the word itself in signs quite naturally wedded with
    • natural. In the oldest period of Christian culture we find the
    • Here, therefore, we have the natural transition from that which
    • natural course of civilisation there was always a tendency for
    • Faust in his study, which we may naturally conceive in Gothic
    • a connection between Man and the naturalistic life and being of the
    • perfectly natural to Leonardo to take up the study of anatomy and
    • comes to expression in the human figure. It does not come natural
    • natural for the everyday, workaday things of human life to have
    • time. It was natural in that age to put such things as these
  • Title: History of Art: Lecture V: Rembrandt
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  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • perspective first arises. We see how it evolves quite naturally out
    • we shall naturally live in the element of composition. One who has
    • this tendency will have a natural understanding for the art of
    • naturalistic principle in Art, which belongs to the fifth post-Atlantean
    • immediate naturalistic reality. Men of the Netherlands stand before us as
    • off, as it were, from the outer naturalistic world — the golden
    • naturally and inevitably, that they everywhere surround their human
    • again, by painting a naturalistic space such as forms itself around the
    • we see arising quite naturally, the art of landscape painting. The
    • of Life, in connection with the Sacrifice of the Lamb, was natural to the
    • unnaturally, as the picture was painted in Spain.
    • an invention of the most modern naturalistic materialism.
    • element of composition. Also we have no longer the mere naturalistic
    • treatment could naturally only originate in the age of attempted
    • naturalism; only then does landscape begin to have a real meaning
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • from the Spiritual World. Less concerned with naturalistic expressions
    • Christian Art evolve towards Naturalism, that is, towards a certain
    • naturally enough, the text is often quite unintelligible. But in the
    • to Naturalism, the pictorial representations growing less and less adequate
    • intimate and tender, the more naturalistic they become. For in this
    • case the naturalistic quality is fitting. All that goes out to meet the
    • therefore, with the life of Nature — is naturally best portrayed
    • over largely from the East. In a most natural way the typical representations
    • of the theme are gradually passing into Naturalism.
    • course of time Naturalism takes hold of it more and more.
    • — remote from all Naturalism, lifted into a higher sphere.
    • you see how Naturalism progresses. This is especially interesting when
  • 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
    • the picture, you may naturally ask yourself about the event or personality
    • plane. Naturally, this brought in its train all the phenomena of reaction
    • time, whom we have now considered. Look at the element of naturalism
    • disregard of some of the simplest natural facts. The tiled roof and
    • There is a decided beginning of Naturalism. He tries to be naturalistic
    • I do not mean naturally admissible mistakes, but errors which by themselves
    • Naturalism; but it can never find its culmination in Naturalism. For in
    • this is, after all, a beginning of new artistic impulses. Naturally,
  • Title: History of Art: Lecture IX:
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    • how naturally the Antique grew together with the Gothic.
    • combined already with a decided tendency to Naturalism. His vision has
    • a naturalistic stamp. Donatello enters lovingly and sympathetically into
    • Nature. But while he becomes a real naturalist, he derived his technique
    • His naturalism went so far
    • his naturalistic vision — to create human figures strong and firm,
    • In Donatello Naturalism
    • the Northern sculpture, but a decidedly naturalistic vision of what
    • St. George by Donatello. All the power of his naturalism is in it. Such
    • the naturalistic tendency everywhere was bound up with the mood and
    • naturalism, with clear outward vision. They thus became the fore-runners of

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