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    Query was: soul
  

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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • to express in pictorial Art what was thus living in the souls of
    • forces in the human soul — those powers of imagination,
    • the inner life of soul, the mighty event that was being enacted
    • soul-life of mankind was St. Francis of Assisi. I admit it is a
    • of the soul turned to the Earth, the sympathy with earthly
    • in the soul-life of mankind a little earlier than their
    • a later time, living already in the soul of Francis of Assisi.
    • life of feeling directed purely to the inward things of the soul.
    • that time onwards, turned the soul's attention quite away from
    • can be experienced in the human soul, in the human being as a
    • with the deeper powers that ensoul and radiate and sparkle
    • through each human soul. His vision is directed away from
    • in fellowship with every human soul, an interest in the
    • the West more inward. His soul wanted to live in sympathy with
    • connection of soul between Giotto and Francis of Assisi —
    • fervent life of soul his sympathy with all the growth of Nature
    • soul of the world.
    • expression the inmost and intensest life of the soul.
    • devotion of his soul, in sympathy with Nature, is gathered up so
    • from the Church through all the souls on Earth. The physiognomies
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • one-sidedly artistic, but carried in their souls the whole of the
    • with the Mystery of Golgotha, we find them still living in the souls
    • souls lived in the ideas connected with the Mystery of Golgotha, as
    • to come forth, — that one is Leonardo. The soul of Leonardo was
    • His soul had most decidedly a Janus head. By his education, by the habits
    • again and again into the soul of Michelangelo. And when again and again
    • work. Indeed, he loved his protector, and grew together in his own soul
    • with the soul-nature of the Medici. But presently he had to realise
    • his soul. Any one who has a deeper feeling for such things will see
    • out of the mourning soul of Michelangelo — Michelangelo mourning
    • impression. He felt uplifted in his soul, — Freedom had entered
    • in his soul. How many events had he not experienced, how much did they
    • taken abstractly today, but in the soul of Michelangelo they worked
    • without a doubt as very deep soul-impulses. But we must add that I have
    • within his soul, having evolved in the lonely country of Urbino, stnads,
    • inner connection in the artist's soul. If he desires to create a work
    • time and lived in the soul of Michelangelo himself: — the belief
    • more deeply than one imagines with the fundamental feeling of his soul.
    • have reproduced the basic mood of his soul in a somewhat different way.
    • of the Mystery of Golgotha arises in the soul of Michelangelo in this
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  • Title: History of Art: Lecture III: Dürer and Holbein
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    • which it portrays; it seeks to express what comes from the soul's
    • gesture in which the soul itself is living, in which it seeks to
    • with the individual expression of the soul's life; with all that
    • springs directly from the Will-impulse of the soul. Little is left
    • individual characters of soul which shine out of these faces. Then
    • further, my dear friends. Strange though it may sould today, if we
    • a direct expression of the human Will, the human life of soul.
    • creation with inner life and impulse of the soul, combined with a
    • individual life of the soul, works from within and pours itself
    • he himself may have experienced in soul. A guilty conscience, for
    • example — all such experiences of the soul are expressed
    • between the inner expression of the soul of man that flows into his
    • Here we have the mysterious manifestations of the life of soul and
    • the soul. And man himself, through this, comes into relation with
    • soul is connected with the life and civilisation around him,
    • hand, the perfect striving for expressiveness of soul, and on the
    • work, you see the life of the soul poured out into the facial
    • expressiveness of soul, not in the least immersed in any Universal
    • that you may compare and see the wonderful contrast of the soul's
    • the life of the soul, not only in facial expression and in gesture,
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • — the power to express the ever-mobile life of the soul. The
    • soul in movement — that is the goal of the Mid-European
    • The time itself works through the soul of the artist. The whole
    • movement in the human soul. We cannot understand what took place
    • their way most wonderfully into the soul-life of the people —
    • soul.
    • Christianity into the soul found expression especially in the
    • of the fancy and the imagination, which is present in the souls of
    • speaks differently and appeals to a different element of soul,
    • impulse of the soul, this impulse did not find its way into the
    • own in heart and soul.
    • arises out of the very soul of Middle Europe an inherently
    • Mid-European soul to assimilate into its deepest inner life all
    • of work and progress in the best souls, from the 11th century on
    • of the soul's life and its artistic power of expression. It finds
    • and of all that is mobile in the human soul — the soul in
    • created directly out of the inner life of the soul.
    • of the soul, setting aside the individually human. The Southern
    • the generic nature of the soul in its superhuman and divine
    • soul. The more these things are understood, the more this will be
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture V: Rembrandt
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    • some few reproductions. For only when we bring before our souls in sequence
    • by the activity of the Spiritual that ensouls humanity.
    • Human souls no longer had the force to penetrate to the heart and center
    • German. His desire was to bring the life of the human soul back again to
    • of the soul! You have lost touch; you are trifling everywhere on the
    • felt, as I have said, that the soul's power of perception must be brought
    • our souls. All people of that time passed by unheeding — passed
    • Rembrandt reached!” Yet when all this had been living in his soul,
    • soul was he in any way dependent as an artist on the Latin, Southern
    • our souls what had happened from a certain moment onward until Rembrandt's
    • recent lantern lectures, have brought before our souls the flowering
    • own full inwardness of soul. But to bring inwardness to the outer object
    • the source of a great, an infinite deepening of soul. Thus we see how
    • richer in soul-content than before. Henceforth it is no longer merely
    • we say that the Spiritual Soul, above all, is now wrestling its way into
    • epoch of development of the conscious Spiritual Soul that man should turn
    • other pictures of Biblical history by Rembrandt work upon our souls, we
    • the life of the soul comes to expression with great depth.
    • there was this immediate and original creation out of a human soul
    • a human soul of whom we may, indeed, believe that he was connected directly
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • with the development of the Spiritual Soul. In the Dutch and Flemish
    • characteristic way. We see in every detail how the Spiritual Soul begins
    • only been evolved by gigantic efforts of the human soul. The older
    • the Spiritual Soul was not yet so consciously born as afterwards. The
    • Truly, this corresponds to the age when the Spiritual Soul is born —
    • their fundamental character and mood of soul. In the South men have
    • more attachment to the Group-soul as such. Hence the people of the South
    • development of the Spiritual Soul this implies, to begin with, the
    • surface of the body what is there in the inner being of the soul.
    • the soul to the outer surface of the body.
    • characterisation of the soul.
    • It is, in reality, an overcoming of the Group-soul principles in Art.
    • individuals portrayed with inwardness of soul. Thus the one aspect of the
    • in his soul that which streams through the world and patiently suffers
    • soul.
    • qualities of the soul in this face is, indeed, remarkable. This is a
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • our souls, from another aspect, that which is living in the Old Christmas
    • Child, in whom the Zarathustra Soul was living, had to be taken out
    • is more individualisation— creation out of inwardness of soul,
    • Star with the incoming of the Christ Jesus Soul.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • that came before our souls in former lectures. I shall draw attention
    • creations work upon his soul, will admit that in Raphael — with
    • soul. One of the ideas of the Christian conception of the world has
    • and principle had to be working in his very soul. This is, indeed, the
    • before our souls a number of pictures by Raphael, most of which we have
    • of the soul in human form through the spiritual world, would no longer be
    • there when the etheric is freed from the physical. The union of the soul
    • enough to ask: What is going on in the soul of the boy? Your question
    • souls. We will begin with one by Martin Schongauer, who died in 1488.
    • the souls of men. Here the world speaks to us directly — not
    • our souls the personality of Albrecht Dürer; showing a number of
    • of all that is direct and intimate and near to the human soul, springing
    • from the soul with elemental force. Raphael paints with the ever-present
    • soul of Raphael. And, again, he is only conceivable as one who stands
    • fellow-men, bringing his own soul to expression. The Human element can
    • a cosmic principle working through his soul, as we can in Raphael. But
    • we cannot say so too often — with the human soul, its feelings
    • of life. Thus, at the transition from the age of the Intellectual Soul
    • or Soul of the Higher Feelings to that of the Spiritual Soul, phenomena
    • of the Spiritual Soul were drawing near. The evolution of the Spiritual
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  • Title: History of Art: Lecture IX:
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    • a product of the mood of soul of the fourth post Atlantean age —
    • and bring some of his works before our souls, we shall see how what
    • certainly finds its way in. It is not the inner soul that we found in
    • no longer lived within the soul in the same inward way as did the ancients.
    • these things to some extent before our souls: — On the one hand what



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