Searching The History of Art
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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- such a way as to sweep past the single life of man, even as the
- spheres, for impulses transcending what the single man on Earth
- companions upholds the right of the single human individuality,
- experiences of every single man, a looking away from the golden
- poor man on Earth. Every single man now becomes the main concern,
- every single man a world in himself. Yes, one desires to live in
- such a way that every single man becomes a world. The Eternal,
- are conceived still more as single human individuals. In the
- place of the Earlier Art, creating as from a single centre of
- may study every single countenance. Wonderfully it is expressed
- — raying outward from the centre — how each single
- single face. I beg you to observe this carefully, for in the
- thing. Every single figure in the composition is such that we
- their conception of the single individual on Earth. But now, as
- see the vision as a whole and thence derive the single figures,
- subjects. Now we see the single figures more and more emancipated
- more we see the human figures standing out as single characters,
- root-idea, as to represent in every single one a human
- individual, a single character. More and more we see the single
- there is a greatness in the composition, still we see the single
- Maximum number of matches per file exceeded.
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- he creates out of a single impulse, and for this reason the chronological
- These reproductions of the single figures are in Weimar.
- Title: History of Art: Lecture III: Dürer and Holbein
- bring out many a single point; for these things cannot all be said,
- Title: History of Art: Lecture IV: Mid-European and Southern Art
- individual, as it works its way upwards out of every single human
- loves to dwell on every single face. The next picture:
- another. C. single moment is presented to us, while at the same
- individual characterisation of all the single figures round the
- single head alone:
- Title: History of Art: Lecture V: Rembrandt
- lantern lectures, we will today pick out a single artist — albeit
- Dürer was. Truly, one might say that not in a single fiber of his
- the single moment in the weaving, ever-moving element that plays round the
- see to it that this time no single face is eclipsed. Every face must
- in the creations of single individualities. Rembrandt, above all, makes
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- within each single form; we place the several individual figures side
- by side, seeing the Spirit in each single one. We seek to bring to the
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- in the composition, how the single figures should be placed, and so forth.
- look how he brings out the single items according to his own vision.
- quality of soul of every single person. And yet the artist's relation to
- they are seen from a frontal aspect. There is no single visual point
- as a whole, from above. There is no single point of vision according
- Title: History of Art: Lecture IX:
- the plant in this way: A single fundamental organ, whose basic form he
- be said in connection with the single works that will be shown.
- for a single moment — in repose.
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