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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • series of lantern slides representing a period of Art to the
    • return. For in the artistic evolution of this period we witness
    • lies before this period in artistic evolution is veiled pretty
    • 5th Post-Atlantean period: into a life in the midst of
    • in his subsequent period of life. You see how the figures here
    • period from which the former pictures were taken, we see the
    • period of his life, we see him coming more into his own. We will
    • his later period, showing a consideraby greater realism than
    • period.
    • work, while this belongs to a very late period in Giotto's life.
    • in the former periods was there to influence the artist. It is
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • showed the period of Art which finally merged into that of the great
    • life-periods. As a young man, when his career was only just beginning,
    • an early period of his development, showing how Leonardo grew out of
    • worked upon during a long period. We have often spoken of it. We know
    • that the pictures of this kind do not exist from every period in his
    • period in Florence: to the Medicis and the Chapel at which he had to
    • it belongs to a somewhat earlier period, we give what Michelangelo created
    • and Michelangelo was working at it in the very latest period of his
    • very latest period of his life. It is hard to say exhaustively how it
    • in his latest period painted visionary pictures, we need only reply
    • periods of four years. From his twenty-first year we have his Sposalizio;
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • natural. In the oldest period of Christian culture we find the
    • Carolingean and Ottonian periods, in the miniatures and sculptured
    • period the first Northern impulse came to an end. The classical and
    • with the period when the Classical impulse grew together with the
    • More in the period of
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • South, in the period of its decline and in its resurrection from
    • Carolingian period in Middle Europe, Mid-European paganism
  • Title: History of Art: Lecture V: Rembrandt
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    • what took its start in that period we must go back to the Carolingian
    • period, when the powers of mighty States were overwhelming Europe, sweeping
    • away the political individualities, in this period of the great
    • wrestled on and on for decades, — we might almost say, from period
    • to period of five years, and his pictures bear witness to his continual
    • period. Unfortunately we cannot show this, because the reproductions
    • period of his work how really the colors in his pictures are created
    • time of his creative work was near the climax of that period when Roman
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • of Art. It is, as you know, the period immediately after the dawn of the
    • the Third Post-Atlantean period, we find that this spatial treatment
    • continued into the Graeco-Latin period. Contrary to the way in which
    • Spain. In that period we see spread out over the Northern and Southern
    • life, which belongs to the fifth post-Atlantean period. This pole is in
    • period in Art places the Biblical narratives into the midst of the
    • Thus the period in artistic
    • evolution which we shall illustrate today is at the same time a period
    • by the German Christian Masters of the period immediately preceding
    • preceding period. Here we see it beautifully presented as the fundamental
    • Eyck, and there arises in this period one of the greatest of all works
    • character, with all the primitiveness of the period — needless
    • before us the pre-Reformation period in Art; the artist we shall now
    • characteristic of the Van Eyck period. We come now to Hieronymus Bosch.
    • reveals the characteristics of the period especially in his
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • in regular cyclic periods. At the age of twenty-one he creates the
    • stands unfinished when he leaves this physical plane. In cyclic periods
    • at the beginning of the four-year period which dominated all his work.
    • century. True, the pictures of the period, which we shall show, give
    • yet developed in themselves a vision for these things. For a period,
    • later period and by a rather external process — a conversion far
    • speaking, remained Heathen till a very late period.
  • Title: History of Art: Lecture IX:
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    • now is clearly recognisable. Albeit, in that early period the Greeks had
    • period the body was conceived, as it were, more in position, thus a
    • This is of an early period
    • but really to seize the inner life. In the earliest period they could do
    • period.
    • of the same period, but you will see a distinct contrast between the
    • re-discovery of the ancient Art in the period immediately preceding the
    • practically the whole period of the 15th century.
    • created — especially in his early period — remembered Donatello
    • Renaissance period, the early Renaissance.



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