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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:
    • 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
    Matching lines:
    • 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
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    • bring out many a single point; for these things cannot all be said,
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
    Matching lines:
    • 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
    Matching lines:
    • 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
    Matching lines:
    • 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
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    • 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:
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    • 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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