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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- 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
- 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
- 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
- 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
- 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
- the element of light. It is most interesting to study this in Dürer.
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- 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:
- — 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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