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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • from the East, first had to spread. Nevertheless, Christianity as
    • already lost the faculty to represent real beauty — a
    • spread over great surfaces, conceived, as it were, in two
    • a later time, living already in the soul of Francis of Assisi.
    • not to tread it underfoot. He looks up with admiration to the
    • friend, Giotto in his paintings already brings to expression the
    • with it there is already the human element, in the way in which
    • new conception of human life that was already pouring from out
    • onlooker may read.
    • which we have already seen, so that you may recognise the immense
    • immediate followers of Giotto, you will already have a
    • can already lose the feeling of one idea pervading the whole.
    • His pure spiritual Being, — still you can read in the
    • pictures, nevertheless, we can already study here the
    • already grown so strong that they no longer feel the same
    • spread abroad, though the most beautiful are undoubtedly in the
    • to be read in the book of Nature. But at first he often has to
    • learn his reading in clumsy devious byways. In such a work as the
    • clumsy and unskillful reading of the book of Nature. In Raphael's
    • St. Cecilia, on the other hand, we have a reading which contains
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • masters of the Renaissance. We ended by revealing the connecting threads
    • more to Florence, he was already driven, after all, by the new stream,
    • Reformation, which spread with comparative speed, even to Italy; and he
    • it spread far and wide into the civilisation of mankind. It is as though
    • Thus the idea was already
    • their human intellect. I have already spoken of these things and I believe
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • spread of Christianity in the more Southern regions. These Northern
    • spread of Christianity. Little is left of what wls contained in the
    • in all the cultural life that spread from the North towards the
    • South. And, I may say, more than is generally realised, spread out
    • spread mysteriously towards the South. Something is here poured
    • spread of Christianity and Romanism. Moreover, that which rayed out
    • Romanesque grew into it, spreading into the tributary valleys of
    • impulse always tends to spread. The Classical element of Form is
    • mood already voiced by spirits such as Tauler or Valentin Weigel.
    • most wonderfully with the East. When today we read or hear of the
    • this most wonderfully. Here we already recognise the working of the
    • into the picture by the spread veil, out of which God the Father
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • symbolism we may choose to read into these pictures. Then we shall
    • know of the spread of Christianity in the succeeding time. For the
    • whole spread of Christianity was a very different thing in those
    • what did it appeal already in antiquity? And elsewhere in the
    • epoch — (albeit the Fifth epoch already shone into the
    • are already running together of their own accord, but, on the
  • Title: History of Art: Lecture V: Rembrandt
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    • reading and discussing this book Rembrandt as an Educator, by a
    • was reading Rembrandt as an Educator. I myself — if I may
    • Counter-Reformation, spreading out over all Europe.
    • how in Rembrandt has continued what I have already explained in the
    • that what lives in color is already there potentially in the light and
    • quite obviously the work of a man who reads the Bible for himself.
    • on all Bible-reading. Bible-reading was anathema; it was forbidden.
    • 563. The Reader at the Window. (Copenhagen.)
    • reader in the light, the light itself is made of the subject-matter,
    • 541. An Old Woman Opening a Book to Read. (Paris.)
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • several figures are already made larger or smaller in proportion, taking
    • I have described already as the inherent impulses which then came to the
    • the Group-element, which is, of course, extensive (spread out in space),
    • Spain. In that period we see spread out over the Northern and Southern
    • whole picture on the surface — spread out like a tapestry. We will
    • Here we can already admire
    • the other hand, there is already an underlying opinion — this
    • Already in this picture
    • show brings us already very near the Reformation.
    • how strongly the Southern influence is already working in the element
    • in whom the element of composition is already strongly paramount. Indeed,
    • this is already in the 16th century.
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • when we read the Gospels. For the text is frequently corrupt and can
    • only be read in its true form by those who are able to read with the
    • any reader immediately, if he reads the Gospel carefully.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • wish to repeat what has already been set forth. Today we are able to
    • was already emphasized by Hermann Grimm. Raphael's work takes its course
    • this artist is already striving towards what afterwards emerged —
    • seems on the flat. But you will already observe the first attempt to bring
    • significantly in another artist, who already seeks for truth of Nature,
    • how all these things, which we find in the German Art, emerge already
    • of time, had already reached. Compare this Head of Christ with the one
    • we must admit that the thread is broken. For afterwards there came a
    • occult impulses that came already to expression in this art which we
    • already marred by Rome; they tried to recreate Christianity themselves
  • Title: History of Art: Lecture IX:
    Matching lines:
    • with the laws of the great Universe. Alread before his journey to Italy,
    • a connecting thread throughout the world of animals. We have often spoken
    • take hold of the whole body. In Myron we already see how when an arm
    • already in, to the Age of Periclean. From the time of Phidias, of whomwe
    • examples of the famous Parthenon. You may read the interesting story of
    • that was typical of Greek Art was already given. The stamp, the signature,
    • Indeed, this figure shows already the type of the later imitations of
    • the earlier artists is made more human. We see this already in Praxiteles.
    • Here we already see the
    • the etheric body) is already fleeing away. It is already a moment of
    • Laocoon were already falling asunder. That is the marvellous quality
    • about this figure. The body is already being differentiated into its
    • in the widespread unimaginativeness of the Roman people, to which we
    • Pisano. In his works you will observe already a far greater element
    • twenty years was already able to compete with the others in designing
    • was already allowed to do the Northern Portals. From a simple goldsmith's
    • combined already with a decided tendency to Naturalism. His vision has



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