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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- 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
- 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
- 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
- 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
- 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:
- 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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