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Searching The History of Art

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • spheres of human life and action, was characterised by a turning
    • not seem to have arisen from this earthly world at all. Such are
    • art represents the rise of the new age, the 5th post-Atlantean
    • the Infinite, the Immortal shall now arise within the breast of
    • Giotto. Here you see the rise of that compositional element which
    • Men tried, as it were, to see and summarise the world in
    • which has not yet arisen to the full height of Art.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • century Italian Christianity witnessed the rise even among the Popes, of
    • his creations arise. We shall present them not in chronological but
    • over Rome, making Florence arise again in Rome.
    • Yes, he witnessed on a small scale the rise in Florence of what was
    • that it shows the rise of the new age, just as truly as we can say,
    • with him something that could never have arisen at that time in Rome
    • itself, but that could only arise in Florence: the idea of one mighty
    • artistically somewhat later what had arisen earlier in a moralising
    • understanding of Nature which I sought to characterise just now.
    • of the Mystery of Golgotha arises in the soul of Michelangelo in this
    • be characterised with equal freedom: But we must also realise: —
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • characterise, but we may describe it somehow thus: the Southern
    • I have just characterised rayed out again and again from Middle
    • which I characterised just now, raying outward from the basins of
    • intensity whenever he could rise to creative fancy. Hence, though
    • the fact has scarcely been observed as yet, color arises very
    • the being to the surface. That which arises from the artistic
    • Dürer is particularly great in expressing what arises from the
    • characterised in this picture: Below, the College of Theologians
    • the composition here arises out of movement. It is wonderfully
    • elements which we tried to characterise before — quite universal
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • a truth which can be characterised in two very simple statements
    • arises out of the very soul of Middle Europe an inherently
    • a whole, and the life of Art itself arises out of this principle.
    • Crucifixion Group. I will only say one thing to characterise what
    • of these people. It had risen to a universal and truly
    • together in the effort which I characterised just now. The souls of
    • rise, and to some extent the decline of a stream of evolution
    • power of one and the same man to characterise these two.
    • Sophie Stinde — let us now rise from our seats.
  • Title: History of Art: Lecture V: Rembrandt
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    • dependent on that artistic movement which I have characterised in recent
    • he rises to the possibility of a certain composition. Rembrandt simply
    • and darkness. Here you will feel what I tried to characterise briefly in
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • characterised in one of the earlier lectures, is the inventor of
    • perspective first arises. We see how it evolves quite naturally out
    • as a Group. On the contrary, these wonderful groupings arise through
    • international consciousness arises. This freedom from separations, this
    • the idea which is here expressed. Not by man seeking in pride to rise
    • Eyck, and there arises in this period one of the greatest of all works
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • it rises free from the individually human; we seem to forget the human
    • coming to expression in him. This, indeed, is to characterise such an
    • characterised. For Raphael to create in this way — for his pictures
    • to arise out of a mighty world-perspective — something of cosmic law
    • in them strongly and characteristically. When we wish to characterise
    • but can still be characterised fundamentally in the same way as the former
  • Title: History of Art: Lecture IX:
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    • Nevertheless, in this very age there murst arise a new view of Nature, for
    • of the body arises, in that he no longer separates, what even here is
    • the rise of a new Art, which grew in time into the Art of the Renaissance.

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