[RSArchive Icon] Rudolf Steiner Archive Home  Version 2.5.4
 [ [Table of Contents] | Search ]


[Spacing]
Searching The History of Art
Matches

You may select a new search term and repeat your search. Searches are not case sensitive, and you can use regular expressions in your queries.


Enter your search term:
by: title, keyword, or context
   


   Query type: 
    Query was: real
  

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:
    • bring forth really plastic works of art. We know from earlier
    • transposed into higher realms. We can see quite clearly how, as
    • already lost the faculty to represent real beauty — a
    • painting. Alas, it is no longer really visible today, not even
    • angels and the like. We must realise that all these paintings are
    • there to be illumined by the Impulses proceeding from a reality
    • the West. Indeed, it is Giotto, above all, who in the realms of
    • earthly-material realities. This must not be taken as a hostile
    • enter fully into the material reality, taking leave for a time of
    • ourselves this question: Who was the first really genuine
    • expression in the realm of art. Hence we see the same impulses
    • radiated in an earlier art from the higher realms on to the
    • things. Hence, as a rule, we do not realise how immense a change
    • creatures. Truly, in this respect St. Francis is a realist, a
    • the reality of things seen; we see things standing more and more
    • see in every case: The man who painted these pictures had really
    • all earthly creatures. All that he had felt in loving, realistic
    • receive his spirit. It was only out of the immediate, realistic
    • his later period, showing a consideraby greater realism than
    • realised. The desire to express oneself in allegories was
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
    Matching lines:
    • post-Atlantean age, which is heralded in the realm of Art. All three
    • they poured their impulses into the realm of Art. It is true, my dear
    • notion of High Mass. Of course, he cannot do so in reality. Or they
    • unknown (or was only just begining to be known and was not fully really
    • with the soul-nature of the Medici. But presently he had to realise
    • lectures. These inner connections could only be felt and realised in
    • would oppose it. Hence the real human greatness of his Last Judgment,
    • connection between the earthly and the spiritual realms, and so forth.
    • could thus slide so easily into the realms of Art. Such was the world
    • and show him once more at his real starting-point. The first picture
    • how a real individual life is poured out into each one: in every detail,
    • X. In this connection we must realise that Pope Julius II, although
    • of spiritual Rome. Of Julius II we must not fail to realise that he
    • custom of the time in the circles with whose help he realised his plans.
    • find its realisation in the world, but must always be realised one-sidedly.
    • be characterised with equal freedom: But we must also realise: —
    • and must be permeated by what comes down from Spiritual Worlds as real
    • 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
    • in a perfectly real, Occultly realistic sense, how the figure makes
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture III: Dürer and Holbein
    Matching lines:
    • what is really important in the evolution of this European Art, we
    • must realise, above all, the existence of a peculiar talent, a
    • the Universal, into a realm where the more special, earthly and
    • South. And, I may say, more than is generally realised, spread out
    • you will realise, working in all this, a Northern impulse that
    • Chapel we cannot but realise, even in this element of movement, an
    • certain realism. It comes to Europe on the Norman waves of culture.
    • intelligence, utility and realism (but we must not confuse this
    • with the later realism; this early realism sought to understand the
    • earthly realm and reaching up to Heaven. Hence the peculiar nature
    • himself, we must realise that to this day there thrives almost
    • abstractly. We fail to realise how the men of earlier ages stood in
    • the midst of real and concrete forces. Real light, real darkness,
    • in their mutual interplay, were a direct real experience to the men
    • surface of things. Many things as yet imperfectly realised will
    • familiar reality of earthly things, so that in his gestures, nay,
    • brings in a far more realistic element.
    • visionary picture is conceived most realistically and with great
    • which enables the artist to embody in such realistic figures the
    • human figure he places that which lives as a reality in the astral
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
    Matching lines:
    • by no means easy now to see how these things really worked
    • and borne by fancy into the realm of Art.
    • to the striving to realise the Story of the Passion — with all
    • there was really attained in Mid-Europe at that time an astonishing
    • from spiritual regions into the realms of sense. For this was,
    • sublimely in the realm of plastic, pictorial expression, and
    • Blood of the Redeemer flowing from the Cross. You will realise with
    • Chartreuse de Champmol at Dijon, which are really great of their
    • and Child of Sluter's with the next picture (Moses) and realise the
    • Post-Atlantean Epochs. And the more should we realise how
  • Title: History of Art: Lecture V: Rembrandt
    Matching lines:
    • at least a few of his main works, — only then do we realise how
    • or later we must realise the fact that just as one plant in the garden,
    • lectures here at Dornach during the last few weeks, you will realise
    • — what we cannot but realise — that the inner intensity of
    • to feel and realise once more all that is elemental, all that is truly
    • was too much a child of his age to realise that a renewal of all spiritual
    • in the realm of Art. Hermann Grimm rightly remarks that throughout this
    • lights up in the realm of Art for the first time in Dürer and finds
    • observer of the immediate reality. But he observes it not in the spirit
    • the reality? He confronts the object as an outsider — really and
    • outer reality — not to be the sublimer truth like the South-European
    • painters, but to the actual reality — he still lifts his characters
    • to a spiritual height. For that which floods through the realms of space as
    • in the realm of space. Then he is able to reveal the mysterious fashioning
    • outer reality only provide him with the opportunity. We see emerging more
    • him to grasp. The figures merely stand there as a background; the real
    • period of his work how really the colors in his pictures are created
    • really like a second life to him. But this loss became for Rembrandt
    • be the meaning of Art if it were only to produce the reality as human
    • Rembrandt. The result would only be to make us realise more and more
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
    Matching lines:
    • representations in line and color do not really constitute a pictorial Art
    • By this method of overlapping, the surface is really used to suggest,
    • things are really seen, we often find figures which are obviously to
    • are not really smaller, but according to the conception prevailing, they
    • always find expression in external symptoms — in outwardly real
    • Mid-Europe really has no talent for this belonging together, this
    • real starting point of the modern art of color, which seeks to hold
    • It is, in reality, an overcoming of the Group-soul principles in Art.
    • the second pole of that entry into the physical reality in the artistic
    • place their subject in the immediate reality which surrounds them. The
    • immediate naturalistic reality. Men of the Netherlands stand before us as
    • in time to realise its full significance. Compare the subject —
    • of real inwardness — to realise the inner experience. And then
    • The realistic representation
    • Truly, Realism has here
    • by Memling. With real genius, in his own way, he brings to expression
    • into the full artistic life. Only from this time onward was it really
    • naturalism; only then does landscape begin to have a real meaning
  • Title: History of Art: Lecture VII: Representations of the Nativity
    Matching lines:
    • reproduction of that which may be called reality from the point of view
    • of the Three Wise Men of the East cannot really be understood with the
    • important here, again, to realise that there is a certain underlying
    • is really the Star of Christ. But it goes on to relate that something now
    • He was then led back again into the realm of the Star. In this is contained
    • and typical representations are the most fitting. For the real truth
    • You really see how in the
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
    Matching lines:
    • reality. We must consider man in his full being, such as he really is. In
    • forms — not symbolic, but corresponding to spiritual Realities. And
    • — far more than we can realise from the ordinary textbooks of
    • of Southern Bavaria and Swabia. And we must realise that here was a
    • no doubt about it; they confronted many of these things without real
    • shall see that they had no real inner relation to the tradition that has
    • of Art, and tries to be realistic at the same time, and the two things
    • became the real greatness of the German Art, while on the other hand
    • — and yet the picture does not really recede towards the background.
    • You will realise the immense progress that has been made by the time
    • of the Birth of Christ. Once again there is really nothing of those
    • succeeds in making any real distinction between foreground and background.
    • beginning of what emerged with real greatness in the pictures of a
    • of Color. This possibility, therefore, still lies open and unrealised
    • striving for in this Building. Then it will be realised why certain
    • of which we have also seen) remained to this day unrealised. It will
    • I may say so, the native Swabian tendencies in the realm of Art. Here
    • projection of Reality on the flat — but into the full Reality
    • itself. And this “Reality,” I need not say, can be none
    • other realms of life, with regard to the history and civilisation of
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture IX:
    Matching lines:
    • wanted to take hold in a really living way of the life of living things,
    • in them were to gain thereby a real feeling of what lives invisibly
    • of ancient Greece. But in their real essence they can only be described
    • from the real monkey will lie in the fact that the latter is a vegetarian,
    • of the weaving of the Ethereal in the organic reelm, — he must
    • is really grasped, can bring salvation from the perils of materialism.
    • afield if I were to give you even an outline sketch of the real history,
    • was well aware that the figures of his Gods were based on real Being in
    • the ethereal universe. Out of this there arose quite instinctively (for
    • idea of an age that fails to understand the real depths. Through
    • in the ethereal life.
    • proceeds from a true feeling for the ethereal in movement.
    • descent of Art from this sublime feeling of the ethereal. Not that the
    • ethereal is left out; but they now try to master the actual forms of
    • permeated with the ethereal ... One feature of the earliest Greek
    • but really to seize the inner life. In the earliest period they could do
    • realise that in the 18th century, when Goethe and others, stimulated
    • the poor imitations that were then available. And if we really try to
    • is lifted down into a more human realm, even though the figures be still
    • likeness — by which I do not mean to say that they are really like
    • Maximum number of matches per file exceeded.



The Rudolf Steiner Archive is maintained by:
The e.Librarian: elibrarian@elib.com