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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • was to play so great a part in the subsequent history of
    • composition plays in his school of painting.
    • it plays in Raphael. In the former pictures we cannot speak of it
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • interplay of the spiritual above and the Earth beneath it, with the
    • the forces of Nature as they play their part in human life. He was no
    • whole world-order of that time played into these politics — entered
    • allowed free play to Art, he must now witness this mercantile spirit
    • were called upon to play their part in human evolution as rulers in
    • things, if we study how the world-historic process played into that
    • immediately afterwards, and played so great a part in the politics of
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • part that was played in the primeval Persian culture by light and
    • in their mutual interplay, were a direct real experience to the men
    • Nature with the elemental. In this interplay of elemental with
    • interplay of light and darkness; it is color playing over the
    • object and plays over its surface, while on the other hand it
    • cast on to the surface, springing from the interplay of light and
    • the interplay of light and shade — light and darkness —
    • elemental weaving of the light and shade that play around the human
    • relationship with the light and shade that play around him, and
    • morning! Think how the play of light and darkness enters the famous
    • Elements. This is a trait that also played its part in Mid-European
    • influences play into one another; and now into the midst of all
    • plays a great part, and in this respect a special impulse proceeded
    • inherent force of composition that lies in the interplay of light
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • again — the Christmas and Easter Plays, and Plays of the Three
    • of the Christian world-conception. The Play concerning Anti-Christ,
    • and a later Play on the Ten Virgins, these, too, are but echoes of
    • Plays that were presented everywhere, dramatising the Biblical
    • there still existed a living atavistic perception of what plays
    • how the worldly and the religious elements played into one another.
  • Title: History of Art: Lecture V: Rembrandt
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    • post-Atlantean age was playing over into the Fifth. We ourselves, in
    • case of Dürer — the weaving in the elemental play of light
    • how the play of light and dark brings forth its remarkable plastic painting
    • The essential is the play of light and darkness which the figures enable
    • pours out over his figures, and so places them into this living interplay
    • the single moment in the weaving, ever-moving element that plays round the
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • angels playing on instruments of music. Compare them with the angels
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • Plays of which we have been speaking in the last lectures. We shall
    • came to life, as you know, in the Old Christmas Plays. But the appearance
    • Plays with which we are familiar. Though the latter belong, of course,
    • to a later time, nevertheless they are from earlier Christmas Plays
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • were living. Some element of the Southern style undoubtedly plays into



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