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Searching The History of Art

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • is probably no longer to be seen at any place. Hence Cimabue's
    • Yet all this took place in a peculiar and unique way. For Francis
    • whole, when we see him placed alone, entirely upon his own
    • conceive the life of man placed in the universal order. Past were
    • place of the Earlier Art, creating as from a single centre of
    • known as the 'School of Athens.' Human beings are placed together
    • faces. See how the artist's work is placed at the service of this
    • human characters simply placed side by side. Though undoubtedly
    • whole. Here, you see, the whole is placed together; it is
    • Spirit to expression by composition deliberately placed together,
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • if he seeks once more to give Art its place in the spiritual life as
    • by all the atrocities which have been placed before the human mind of
    • intensely into all that was taking place through the political conditions
    • which — to put it bluntly — replaces the sacramental by
    • this took place quite as a matter of course, and the gradual elimination
    • in the Christian sense. Imagine him placed in the midst of that time,
    • is marvellously placed into the whole. The colour and lighting are inexpressibly
    • Love took place, of an intensity that will hover for ever before the
    • Gorgias in Rome replaced by Pope Julius, and then by the Medici, Leo
    • about Christian Art. Pope Julius, who replaced the political Borgia
    • two pictures. In this present picture the whole thing is placed in an
    • his incarnation, which impulse he steadily unfolds and places into the
    • high places. And yet they were of such a character as to take with them
    • into these high places the worst extremes which even that age could
    • working then: — how the artistic life sought and found its place
    • place in Florence at the beginning of the 16th century, while under
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • did not take place continuously but more or less by sudden starts.
    • straightforwardly to a great Art? What actually took place was very
    • composition, where things are placed in quiet balance side by
    • placed when he would stand firm on his own personality alone. He
    • but placed as he is in the whole context of Mid-European culture, I
    • human figure he places that which lives as a reality in the astral
    • light that floods the room. Placed into the light, there is the dog
    • saint and animal — are contrasted simply by being placed in the
    • placed into the world for the express purpose of showing what
    • polyhedron. So that in every place you have the question: What says
    • of Goethe's Faust — which must, of course, be placed in the
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • movement in the human soul. We cannot understand what took place
    • that a certain decline had taken place. The next picture is also
    • Moses — for why should these things not be placed together
    • revolution took place at the turn of the fourth and fifth
  • Title: History of Art: Lecture V: Rembrandt
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    • life and times, would be a little out of place. With an individual artist
    • aware of this harmony at that very place where it can best be studied
    • because he places his figures into that element in which man always
    • pours out over his figures, and so places them into this living interplay
    • “realistically,” but places his figures into the true reality
    • in which, beside all the devastation that was taking place in Europe,
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • are smaller in idea. Hence, while they are placed in the
    • within each single form; we place the several individual figures side
    • chance that this special development in the 15th century took place
    • to that Art which places the individual so thoroughly into the world.
    • place their subject in the immediate reality which surrounds them. The
    • period in Art places the Biblical narratives into the midst of the
    • Germanic burgher-spirit of those times and places.
    • moment when this development in Art took place.
    • be able to imagine a spectator situated with his eye in such a place
    • placed this line, and this, side by side. Here, however, the painter's
    • places his figures quietly side by side; they influence one another,
    • especially notice this art — to place the human being fittingly
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • thus be concerned today, not in the first place with the artistic elements,
    • one; that a fertilisation of the Earth had taken place out of the
    • of the East came to the birthplace of Christ Jesus, led by the Star which
    • had to take place which did not entirely accord, as it were, with the
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • this picture is placed in a great world-perspective: It is so, indeed,
    • way, the theme places itself at once in a great context of Nature. Again
    • Madonna della Sedia. Again we should have to say: What is here placed
    • the line of the arm, reaching out on either side, is placed into the
    • the time, expressing the mighty transformation that is taking place.
    • in the composition, how the single figures should be placed, and so forth.
    • this very reason I wanted to place Moser and Multscher before you at
  • Title: History of Art: Lecture IX:
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    • tried to show, you will remember, how the poet describes is not placed

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