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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- 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
- 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
- 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
- — 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
- 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
- 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
- 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:
- 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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