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Searching The History of Art

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    Query was: power

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
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    • spiritual Powers break through into this earthly life? What was
    • forces in the human soul — those powers of imagination,
    • humanity did not possess sufficient powers of imagination to
    • succeeding centuries they lost the power to create true plastic
    • something working in with abundant power from distant worlds.
    • with the deeper powers that ensoul and radiate and sparkle
    • represents the life of man in the midst of mighty Powers from
    • Observe the far greater freedom, the far greater power to enter
    • power going forth from the Church dignitaries, poured out into
    • expression with anything like the same power. Though the
    • the Roman power. Feel in this composition, in the expressions of
    • the several figures, how the Roman concept of power is expressed.
    • are highly individualised figures — men who desire power
    • and who join together for the sake of power, while in the former
    • of the individuals, each of whom is, in a sense, a power in
    • more and more emancipated, while the artist's power to portray
    • knowledge of the human form, with all its powers of expression.
    • drawing, in his composition and in his power of expression.
    • seeks to enhance his power of expression to the highest point by
    • in the composition, combined with a powerfully architectural
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • lost. Another faculty now had to appear: the power to take hold of things
    • of “great powers,” of mighty States. Its colossal character
    • It was they who mattered, — who in the meantime had become powerful,
    • the world once more. Now, however, there arose the great Roman powers,
    • what an essential progress in the artistic power of expression is visible
    • the individual characters come out in spite of the powerful unity of
    • composition. Here we look deep into the mysterious creative powers of
    • were, raised into a new form and power of composition. You recognise
    • here the growth of this power of composition, too. But if you compare
    • the power to transcend his Age. For while he was most intensely receptive
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • impulses of imagination are rooted in a certain power of perception
    • relationships — a power of composition which, as you know,
    • together in Mid-Europe with the power of form which they received
    • of that time to represent the Church as the power that overcometh.
    • great technical power. Grünewald, in many respects, is far more
    • qualities in Dürer to bring out with such creative power mthe
    • Dürer intended in his treatment of light and shade, his power
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • — the power to express the ever-mobile life of the soul. The
    • finds expression in the power of composition, and in features which
    • sphere of Art, where there was a wrestling for plastic power of
    • of the soul's life and its artistic power of expression. It finds
    • suggestive power in the Art of the Mosaics, and in all that is
    • much that arose out of this wrestling for artistic powers of
    • appears in the St. John and in the Mary-Figure, as the power that
    • Saints and supersensible powers than ordinary mortals do.
    • unique power of individual characterisation. From many points of
    • power of one and the same man to characterise these two.
  • Title: History of Art: Lecture V: Rembrandt
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    • felt, as I have said, that the soul's power of perception must be brought
    • period, when the powers of mighty States were overwhelming Europe, sweeping
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • of Art an elementary power of understanding — that is to say, if we
    • By a mysterious power they flood their pictures with light, introducing
    • arrive at a certain power of composition by the placing together of
    • landscape appears, often with a mighty and overpowering grandeur, in the
    • clearly how great was the artist's power of characterisation and
    • feeling. The picture is note at Danzig. A powerful trader stole the
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • the underlying subject-matter. Here, however, the artist's power is
    • reluctance. Nor had they yet the power to obey the laws of space out of
    • — out of the forming and shaping power of the light — will
  • Title: History of Art: Lecture IX:
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    • the Greeks evolved the power to express in the outer physical form the
    • Niccola Pisano and Donatello were two artists who powerfully
    • St. George by Donatello. All the power of his naturalism is in it. Such

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