[RSArchive Icon] Rudolf Steiner Archive Home  Version 2.5.4
 [ [Table of Contents] | Search ]


[Spacing]
Searching The History of Art
Matches

You may select a new search term and repeat your search. Searches are not case sensitive, and you can use regular expressions in your queries.


Enter your search term:
by: title, keyword, or context
   


   Query type: 
    Query was: paint
  

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
    Matching lines:
    • used to go — a number of pictures, church paintings,
    • sense, or of painting true to Nature, or following this or that
    • earlier work having been lost, — in Cimabue's paintings or
    • at a final culminating point. Cimabue's paintings are frescoes on
    • painting. Alas, it is no longer really visible today, not even
    • for the most part subsequently painted over. The full vividness
    • angels and the like. We must realise that all these paintings are
    • father and trained him in painting. Such legends are often truer
    • age. In painting, the 4th post-Atlantean age goes down with
    • Giotto were actually painted by him; for that is not the main
    • included of which we can but say that they are painted in his
    • we find reflected still in Cimabue's paintings.
    • friend, Giotto in his paintings already brings to expression the
    • the paintings ascribed to Giotto in the upper church at Assisi
    • whole life of St. Francis was painted by Giotto; and everywhere
    • paint them from within, so that the language of human feeling is
    • see in every case: The man who painted these pictures had really
    • painting. Quite a new inner life appears before us here. We may
    • respect, is most decidedly a painter of the life of soul. Yet he
    • impression of the progress in the painting of the soul's life, in
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
    Matching lines:
    • represented in sculpture or in painting and it is frequently embodied,
    • reproductions of a picture he had painted. The subject was: Buddha under
    • let us paint it, and it will represent a work of Art. Of course, it
    • should ever have been painted.
    • believe that one can paint the Trinity even if one has no feeling for
    • All this is founded upon fact. And when he had to paint a Medusa he
    • he went to Rome, he bore his Florence with him, and painting and sculpting
    • is easy for a man to say that he will paint the world's creation. Many
    • but one who has true feeling will not be able to assent. No one can paint
    • painted, as it were, into the Last Judgment, the protest of a Florentine,
    • landscape round this figure here was painted by Leonardo in the School
    • laid down his bruth and would paint no more.
    • 12. Dionysos – Bacchus, heavily painted over. (Louvre. Paris.)
    • other lectures. The painting is based on proven designs and sketches of
    • it was modified and painted to represent Bacchus.
    • Alexander VI, the Borgia. Then he was summoned to Rome, and painted
    • him to Rome and come to those pictures which he painted there for Pope
    • We may conceive that this picture is painted out of the will to unite
    • Paint me such and such a picture.” He rather said,
    • in his latest period painted visionary pictures, we need only reply
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture III: Dürer and Holbein
    Matching lines:
    • miniature paintings. This was no mere external habit. It sprang
    • the painted miniature or into the sculptured ivories with which
    • magnificently in the older Mid-European miniature painting. This,
    • It is equally a poem or a painting, out of the very depths of the
    • being is painted here to show how he reveres the Christ. A
    • Dürer's ‘Holy Trinity,’ painted almost at the same time as
    • received from the South. On the contrary, the Southern painters can
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
    Matching lines:
    • have painted. Raphael raises what he paints beyond the human; Van
    • human emotions with his paintings, the human hearts of those who
    • No doubt he met one or another of the great painters of Rome on the
    • three paintings by Hans Baldung, also known as Hans Grun,
    • once more, in the sphere of painting, how everything is turned
    • a portrait painter of no mean order. Here you have an example.
    • in Breisgau. He did some wonderful paintings of the Life of Christ,
  • Title: History of Art: Lecture V: Rembrandt
    Matching lines:
    • studies as other painters of his country did — studies of Italian
    • Masters of painting lay in the fact that they raised the individual
    • how the play of light and dark brings forth its remarkable plastic painting
    • effects in a crowd of figures. The Southern painters took their start
    • I may so describe it) painting plastically but painting with light and
    • painters, but to the actual reality — he still lifts his characters
    • into the background, and all painting becomes for him a problem of light
    • comprehensively, we must say that here at last we have the painter of the
    • Rembrandt painted so many portraits of himself. I think there is a deep
    • deeper meaning in the fact that the first great painter of the Fifth
    • post-Atlantean age painted so many portraits of himself.
    • world. And for the painter, this signifies the light and dark, surging
    • work, even when we stand before the colored paintings, we have the feeling
    • to paint such pictures as this. Only he did so with an unique perfection.
    • 535. Portrait of a Painter (New York.)
    • painted by special command of these great gentlemen. Yet it is one of
    • He is no less great as an etcher co, than as a painter.
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
    Matching lines:
    • Dutch and Flemish Painting
    • Dutch and Flemish Painting
    • today are to illustrate the development of Dutch and Flemish painting
    • of drawing and painting, we find that the laws of Space, for example, have
    • a profound truth — in the North oil-painting is discovered.
    • Although Hubert van Eyck was not the sole inventor of oil-painting,
    • nevertheless, it is true that oil-painting was discovered in the age
    • What is the underlying reason? For the art of oil-painting was then
    • oil-painting from the North to the South. What does this signify?
    • epoch, found its essential fountain-head in these regions. These painters
    • again, by painting a naturalistic space such as forms itself around the
    • we see arising quite naturally, the art of landscape painting. The
    • This picture was painted
    • to say. The next picture was painted by Jan van Eyck in Spain, whither
    • unnaturally, as the picture was painted in Spain.
    • placed this line, and this, side by side. Here, however, the painter's
    • present time. These pictures were painted about the thirties of the
    • 20. Rogier van der Weyden. St. Luke painting the Madonna.
    • St. Luke, who, as the legend has it, was a painter, painting Mary and
    • one hand, and the Van Eycks on the other. These pictures were painted
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture VII: Representations of the Nativity
    Matching lines:
    • of these painters. The next is by the artist who worked in Bruges and
    • theme: the Flight into Egypt. First we have a painter of the late 15th
    • Strigel painted also in
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
    Matching lines:
    • from the soul with elemental force. Raphael paints with the ever-present
    • imagine, as it were, the Genius of Christianity itself painting in the
    • Undoubtedly, many priests and clerics also became painters — good
    • showed any kind of talent for the Art of painting. They had no talent
    • by the crests, painted in lighter color. If you try to imagine a visual
    • later date, that we have seen. They paint out of a primitive feeling,
    • of technique in Dürer's work, — in his paintings, etchings
    • to paint, to represent the spiritual Mysteries, still lies inherent.
    • in evolution. The possibility to paint the spiritual Mysteries out of
    • like a great canvas, like an ideal painting of the world. It works from
  • Title: History of Art: Lecture IX:
    Matching lines:
    • details we can recognise certain motifs in Michelangelo's paintings,



The Rudolf Steiner Archive is maintained by:
The e.Librarian: elibrarian@elib.com