Searching The History of Art
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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- came forth entirely from that kind of outer world which Roman
- forth. To begin with, his whole attention was turned to outer
- the more intensely to express itself, as a life of soul, in outer
- the inner being of man as it stamps itself upon his outer
- into man's grasp of outer Nature. Then, in such artists as Fra
- Spirit, lead to the recognition of the Spirit in the outer world.
- the outer world. Man must first feel and experience the Soul,
- sets out to seek it, the free and open-minded vision of the outer
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- inner being works into the outer form. Yes, there is truth in this,
- the outer trimmings of the picture. (Even in the architectural elements
- in the midst of the outer events, and how through these artistic and
- Title: History of Art: Lecture III: Dürer and Holbein
- something that lies beneath the outer objects works into their
- these things had been preserved, even the outer world would feel
- all things moving in the outer world, — with light and shade
- Title: History of Art: Lecture IV: Mid-European and Southern Art
- To possess themselves fully, they need this life in the outer
- in one way or another, for something in the outer worldly sphere.
- Title: History of Art: Lecture V: Rembrandt
- own full inwardness of soul. But to bring inwardness to the outer object
- outer reality — not to be the sublimer truth like the South-European
- outer reality only provide him with the opportunity. We see emerging more
- man himself, as an outer object, gives him the possibility of seeing
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- the soul to the outer surface of the body.
- off, as it were, from the outer naturalistic world — the golden
- interiors, not in their outer landscapes. I would express it thus. Having
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- in Raphael — the Art of the Italian Renaissance. Thus in the outer
- Title: History of Art: Lecture IX:
- that underlies the outer things. He started, as you know, from Botany
- such a way that the outer form was the human form idealised. The point
- the Greeks evolved the power to express in the outer physical form the
- It is no longer possible to gain by outer vision a conception of Phidias'
- the outer senses see.
- They brought to life again in outer vision, contemplation, what the
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