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    Query was: outward
  

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
    Matching lines:
    • the outward course of history reveals in any epoch —
    • provided we perceive in history the outward picture of inner
    • much in darkness. So far as anything outwardly preserved is
    • the more immediate influence of Greece. For outwardly though
    • than the outward ‘historic’ truth. It is true, as the
    • sacred legend, and so he tries to reproduce in the outward
    • — raying outward from the centre — how each single
    • Henceforth, man's vision was impelled more and more to an outward
    • rather to convey the life of soul, pouring outward as a living
    • features, and upon all that comes forth outwardly in the
    • outward expression; the element of composition, placing together
    • after him in Giotto, who in turn carried it outward as a means to
    • let us see them outwardly as such. Man must learn what is there
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
    Matching lines:
    • 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
    • outward vision what could no longer be made known by inward feeling.
    • study characteristic faces, so that by dint of outward contemplation
    • thus bring out with emphasis whatever in the outward features of a being
    • evolution, proving even outwardly to some extent what I just said before.
    • sees the significance of outward political events for the spiritual
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • working more from within outward — from the impulses of Will
    • Europe, and as it did so it lost itself in what was raying outward
    • which I characterised just now, raying outward from the basins of
    • the Southern Art, is color driven outward from the inner nature of
    • physiology, and so receive into his faculty of outward vision uhat
    • revolutionary impulse. He shows how the soul finds outward
  • Title: History of Art: Lecture V: Rembrandt
    Matching lines:
    • And thus, if I may say so, it was only half-outwardly that they confronted
    • the object. Rembrandt confronted it altogether outwardly, and yet in
    • a human point of view, to witness what wrestles its way through to outward
    • Rembrandt — creates from outward, contemplative vision. But this
    • at the outward reality, not merely seeking to observe it realistically,
    • upon the waves of color, till the outward reality is merely the occasion
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • always find expression in external symptoms — in outwardly real
    • outward. Instead of seeing the Spirit, as it were, put forth
    • within, outwards. Only gradually and by dint of constant striving do they
  • Title: History of Art: Lecture IX:
    Matching lines:
    • outwardly before them. The Greek copies what he felt within himself.
    • etheric body. The man of today must go a different path. By way of outward
    • naturalism, with clear outward vision. They thus became the fore-runners of



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