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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- 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
- 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
- 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
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- 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
- 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
- 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:
- 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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