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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- spheres of human life and action, was characterised by a turning
- it that came into this earthly world from spheres beyond? Men
- spheres, for impulses transcending what the single man on Earth
- all-embracing cosmic, spiritual spheres, directed to the
- man himself, no longer hovering like the vast and distant sphere
- from spheres beyond the Earth. Again, in the faces themselves you
- in the philosophy of Plato, where man looks up into a sphere
- another sphere, down to these painters.
- as Ghirlandajo we see the Spiritual, absorbed into the sphere of
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- the moral element, slid over by and by into a purely artistic sphere. All
- to Rome. Here we come to that strange magic atmosphere whose presence
- and ascetic sphere in Francis of Assisi. It enters here into artistic
- feeling and creation, and leaves a strangely magic atmosphere —
- as a work of art, it leads too far afield into a sphere of minute and
- in the human sphere, without the latter being influenced out of the
- Title: History of Art: Lecture III: Dürer and Holbein
- we observe again in quite another sphere in Shakespeare. For
- finds expression in another sphere, in the Reformation, — a
- the round sphere. In the sphere he shows how light and darkness
- work together; he lets the light fall on the sphere in a quite
- sphere, you may proceed to observe how the effects of light
- sphere. Now let us go on to the polyhedron, and compare this in
- Polyhedron and in the sphere. In this picture Dürer has
- together. But we do better to remain within the sphere of Art than
- impulse which led, in another sphere, to the assertion and
- Title: History of Art: Lecture IV: Mid-European and Southern Art
- the artist works into the spheres of form and color and expression.
- sphere of Art, where there was a wrestling for plastic power of
- in one way or another, for something in the outer worldly sphere.
- once more, in the sphere of painting, how everything is turned
- Title: History of Art: Lecture V: Rembrandt
- end of the 1880s, I went out of an atmosphere in which everyone was
- German. Such was its title. I found the same atmosphere when I
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- it, who draw near to it from all their different spheres of life —
- determined by certain influences from France. An atmosphere of elegant
- sphere of the peasantry. His works are born of the elemental simplicity
- Title: History of Art: Lecture VII: Representations of the Nativity
- — remote from all Naturalism, lifted into a higher sphere.
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- so magnificent that it draws the subject-matter into its own sphere.
- of epochs, characteristic phenomena emerge, in the most varied spheres
- with the phenomenon of Death. In many different spheres — as we
- Europe, is wonderfully confirmed, in all detail, in the sphere of Art.
- Title: History of Art: Lecture IX:
- In this sphere, as in all others, materialistic prejudices stand in
- — lifted far beyond the sphere of portraiture.
- a Goddess, it is brought down into a more human sphere. The sublimity of
- whose atmosphere made such a thing possible.
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