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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • series of lantern slides representing a period of Art to the
    • Witness the evolution of the forms in which they represented the
    • first Christian centuries. Should the Redeemer be represented in
    • and all that were connected with Him should be represented
    • already lost the faculty to represent real beauty — a
    • over from Eastern tradition the earliest representations,
    • world, are his representations of the Saviour and of saints and
    • and that this unearthly world could not be represented in mere
    • art represents the rise of the new age, the 5th post-Atlantean
    • rich imaginations of an earlier Art had represented sublime
    • represents the life of man in the midst of mighty Powers from
    • representations of St. Francis.
    • how the artist seeks to represent the inner life of St. John,
    • the hounds of Lord. Angelico represents these Domini Canes
    • root-idea, as to represent in every single one a human
    • longer represented for their own sake. True, they live on, but
    • from the familiar story, using it as an occasion to represent the
    • portray man as man — to represent what is purely human in
    • Supper is no longer merely represented (as in the picture that we
    • the Last Supper is now taken as an opportunity to represent the
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • men in recent times, by way of pictorial representation and the like.
    • True understanding for the manner of representation has been
    • represented in sculpture or in painting and it is frequently embodied,
    • let us paint it, and it will represent a work of Art. Of course, it
    • represented something. Namely, he who imagined the scene to himself
    • Chapel, representing the creation of the World and the great process
    • Savonarola represents the great protest against this elimination of
    • Renaissance; they represent three elements of the Renaissance feeling,
    • I said, are not in historic order, represent Leonardo in the quality
    • it was modified and painted to represent Bacchus.
    • whom I have spoken in a former lecture. They represent the one
    • representing this idea, this scene, or, rather, the motif of it.
    • to the Disputa — the knowledge of the Divine Mysteries represented
    • — human figures are portrayed, to represent beings standing within
    • nroduce by way of murder, misrepresentation, cruelty and poison. And
    • kind of cruelty, never scrupling to use misrepresentation and even poison
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • representations of their ideas about the world and life. If more of
    • Cathedral at Naumburg in Germany, representing individual human
    • of that time to represent the Church as the power that overcometh.
    • represented in the figure of this woman.
    • Isenheimer Altar. The representation of character in these works of
    • Grünewald who represents in a certain respect the very summit of
    • represents Jesus among the Doctors of the Law, but needless to say,
    • represented — the Christian knight who has revolted thoroghly
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • rather, would be recognisable, if the dramatic representations
    • expression wonderfully in Dürer's representations of the
    • study of the progress in the representation of the Christ-Figure,
    • attitudes, representing the interchange between one soul and
    • represents the figure of:
    • representation at that time. Last time we saw the corresponding
    • represented once more with bound and downcast eyes. The whole
    • posture is intended to represent this contrast in every detail,
  • Title: History of Art: Lecture V: Rembrandt
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    • arch-representative of those who felt themselves in the 17th century so
    • works for the particular subjects which the pictures represent, is to
    • “Entombment,” which undoubtedly represents a considerable
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • representations in line and color do not really constitute a pictorial Art
    • He did not try to represent Space as it is; he simply fixed on to the
    • flat surface what he desired to represent. The various things that he
    • attempt is made to represent the ordering of things in Space, at any rate,
    • foreground, are represented as being smaller in proportion. In Space they
    • costume, is representing God the Father. Conceived in the spirit of the
    • Church, God the Father is actually represented as a Pope. Nevertheless,
    • form till they had so grown together with this conception as to represent
    • architecture in the background. To represent the Waters of Life, the Well
    • the prevalent idea that it is meet to represent in pictures what the
    • thing or that ought to be represented in such or such a way. Though
    • The realistic representation
    • who, educated in the School of Van der Weyden, represents, in a certain
    • achieves a greatness of its own in representing the human
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • Representations of the Nativity
    • Representations of the Nativity
    • the same great trend of evolution, as we pass from the artistic representations
    • First you will see the more typical representations of an early time.
    • to Naturalism, the pictorial representations growing less and less adequate
    • and typical representations are the most fitting. For the real truth
    • On the other hand, the representations of Jesus grow the more
    • based on the typical representations of the ancient Myths which came
    • over largely from the East. In a most natural way the typical representations
    • of the Myth grew into the representations of the Christian theme. The
    • down from earlier representations of Myth or Cult or Ritual, and taken
    • to represent the new impulse, the Christ event; and so it was with many
    • showed parallel representations from the Old and New Testaments. They
    • all around the picture, representations of what was cosmically connected
    • You see how the representations
    • representations of the Adoration of the Child by the Shepherds.
    • representing the Adoration by the Three Wise Men. To begin with, an
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • are naturally no longer near us today. To represent so truly this wandering
    • with something childlike, as it is is represented by the angel figures
    • represented. But it will never be sufficient to answer: The subject
    • is such and such; it represents this or that. In Raphael's case you
    • representatives of Christianity are being crowned with roses by Mary,
    • that the characteristic pictures we choose does not fully represent
    • flowing together of two factors. The one represented by all that was
    • Here is a representation
    • his way into the representation of landscape. Note how deeply he has
    • to paint, to represent the spiritual Mysteries, still lies inherent.
    • pictures by Multscher which we have shown today. They represent, if
  • Title: History of Art: Lecture IX:
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    • representations of Greek sculputre. Goethe was writing from Italy to
    • an outcome of the materialistic conception of life — represent,
    • represent the world of the Gods and all that was connected with them, in
    • is moved — or represented in movement — it means something for the whole
    • the artist endeavors to represent the body in such a way that the position
    • represent not the dead human being — the mere physical body —
    • of Salamis. They chiefly represent battle-scenes. Dominating the whole
    • as it were, was now given to the bodily figure, as it should be represented
    • is more difficult to date; it represents about the turn of the 4th and
    • This picture represents the so-called Aphrodite of Cnidos. Praxiteles
    • repose; it must represent moments which can at least be imagined —
    • Zimmermann rightly pointed out: The whole representation is such that
    • unconsciousness. Hence the artist represents it as though the body of
    • Belvedere — Apollo represented as a kind of battle-hero.
    • Another representation of
    • A Bas-Relief representing
    • Eastern door was also given to him to do. It represents scenes from the
    • this age is founded on what is seen — the faithful representation of



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