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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
    Matching lines:
    • study of which we may presume the human mind will ever and again
    • the study of an artist who, for the external history of art, is,
    • may study every single countenance. Wonderfully it is expressed
    • pictures, nevertheless, we can already study here the
    • you may see how he endeavoured to study man in a fully realistic
    • studying and holding fast all human needs. This was only possible
    • Leonardo is at pains to study the single human characters. We see
    • wanted to study the human characters in all detail. We know how
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • study characteristic faces, so that by dint of outward contemplation
    • possible expression of laughter and contortion and he could study them.
    • brought all manner of toads and reptiles into his studio, to study the
    • of morals, but free. Indeed, we must study Savonarola's will if we would
    • the subject-matter, the point was to study and portray with precision
    • 17. Head of Christ. (Study for the Last Supper.) (Brera. Milan)
    • engraving, — a reproduction which reveals the most minute study.
    • or other exercises, or by the study and interpretation of the Gospels
    • relation to these pictures. Rather should we study to observe the
    • things, if we study how the world-historic process played into that
    • life, will profit greatly by the study of that time. Consider what was
    • of our judgment in this present time, by studying the events which took
  • Title: History of Art: Lecture III: Dürer and Holbein
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    • Faust in his study, which we may naturally conceive in Gothic
    • and shade appear. When we study this connection between light and
    • perfectly natural to Leonardo to take up the study of anatomy and
    • study of anatomy, this studious mastery of the forms in which the
    • the whole action. Study the flowing of the soul into the hands.
    • Study once more the
    • Dürer's way, with his wonderful drawing. Study it carefully,
    • engaged in the study of the truths of Theology; and there bursts
    • 49. Dürer. Study of an Old Man. (Albertina.
    • be deep enough? Why look for any deeper meaning? If you only study
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • If we study the
    • Cross. Study the face of Adam, how he is touched by the influence
    • study of the progress in the representation of the Christ-Figure,
    • Study the expression
    • types among these twelve Apostles; one would like to study every
  • Title: History of Art: Lecture V: Rembrandt
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    • The purest study in light
    • stands alone and isolated. In the continuous study of the history of Art,
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • the element of light. It is most interesting to study this in Dürer.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • Down to this day, the study
    • The study of Art in the
    • a study from the Sposalizo, the picture with which Raphael's great career
    • intensive study of the significance of Death. It comes before us especially
  • Title: History of Art: Lecture IX:
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    • — the study of the Plant world. He tried to perceive the growth of
    • himself by all that came to him from the study of Greek Art.

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