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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:
    • at a final culminating point. Cimabue's paintings are frescoes on
    • point. It is true that under Giotto's name many works are
    • materialism? Considering the matter from a somewhat higher point
    • described from a standpoint beyond the Earth come before us in
    • It was as though, from the starting-point of Heaven, Earth had
    • seeks to enhance his power of expression to the highest point by
    • often he disappointed his clients — the dignitaries of the
    • as a starting-point, not for the mere sake of allegory in itself,
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • same time, in these three masters we must also see the starting point
    • ourselves at the starting point of the new age. At the same time,
    • what should be said on this point), it was only natural for them to
    • out of the whole man, standing in the very midst of the turning-point
    • in a freely chosen order, for in Leonardo the main point is to see how
    • so many absurdities at this point. A man can only create as Michelangelo
    • and show him once more at his real starting-point. The first picture
    • Leonardo drew — how he tried, even to the point of caricature,
    • the subject-matter, the point was to study and portray with precision
    • going in the other direction to the point of caricature. I have, however,
    • individual features even to the point of caricature.
    • fast to one point, which is revealed by the fact that some elements
    • but that is not the point of the picture. The real point is, that in
    • use of this or that tradition. But that is not his real point; the point
    • by pointing to this figure (the figure of the boy). It is portrayed
    • with perfect regularity in his evolution. Hermann Grimm pointed out
    • that we come to the chief culminating points in Raphael's creative work
    • stimulus if, starting from any point of their work, you dwell on the
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • can do no more than emphasise a few salient points. To understand
    • as I said, is combined with great uncouthness in point of Form; I
    • bring out many a single point; for these things cannot all be said,
    • less the culminating point of all that flowed together in the
    • which comes on the following day in this one The point is not the
    • (At this point some one interposed the question: Has the picture
    • bring before you a few of the important points in the old Christian
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • attention to the contrasts from certain other points of view. You
    • plastic Arts — far too much from the mere point of view of
    • Here we may point to
    • that on the right is particularly fascinating from this point of
    • for instance, what I pointed out the other day — how the
    • showing — from whatever point of view you may consider it
    • unique power of individual characterisation. From many points of
  • Title: History of Art: Lecture V: Rembrandt
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    • creations more from the point of view of the history of his times. For
    • This is the essential point
    • this point of view, the book nonetheless expressed something of great
    • a human point of view, to witness what wrestles its way through to outward
    • we are pointing to no matter of chance when we recall the fact that
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • point of view, this is one of the most important moments in the evolution
    • will only indicate a few general points of view.)
    • relates stand side by side on this flat surface. From our point of view,
    • which are in front from our point of view can, indeed, be smaller than
    • a presentation arising from his own point of view. Hence it is that the
    • art of perspective, strictly related to the visual point of the spectator,
    • at that point of time. Moreover, the South, through the impulses I
    • is called a “vanishing point.” It has a whole “vanishing
    • point, but in a vanishing line. In this is, indeed, expressed the radical
    • real starting point of the modern art of color, which seeks to hold
    • particular nation to which they belonged was not the point. Nor did they
    • with the world, will he attain his liberation at every point of this
    • in mind the points of view I emphasised just now. The individual principle,
    • highest degree. It is scarcely conceivable — (pointing to the
    • especially, from the point of view of landscape-painting. Such landscape
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • arranged from a different point of view than in our former lectures;
    • more from the point of view of subject-matter. The pictures today will
    • principles, but draw your attention to some other points of view which
    • reproduction of that which may be called reality from the point of view
    • recently. Our friends drew up the Horoscope for that point in the course
    • lie inherent in the composition. I may take this opportunity to point
    • consciousness of our age has altogether lost the point of view which
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • From a certain point of
    • We can regard them from a Christian aspect (and the above two points of
    • tradition. There is also another point I would ask you to consider.
    • 16th centuries. We must remember that at such times, at the turning-point
    • causes and effects. At characteristic moments, at the turning-points
    • point from which the whole picture might be seen, you will get into
    • for a point from which these figures with the sarcophagus (for so we
    • they are seen from a frontal aspect. There is no single visual point
    • as a whole, from above. There is no single point of vision according
    • There is another interesting point, — less evident in these pictures,
  • Title: History of Art: Lecture IX:
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    • starting point. He had a certain feeling. To exprec it in our fully
    • they do so more or less obviously or indistinctly is not the point). To
    • which the living starting-point is given in Goethe's
    • such a way that the outer form was the human form idealised. The point
    • Laocoön group — the starting-point, as you know, of many an
    • Zimmermann rightly pointed out: The whole representation is such that



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