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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- how he treats a very similar subject so far as the composition is
- subjects. Now we see the single figures more and more emancipated
- necessity to choose their subjects from the sacred legend. You
- other than a Christian subject. But when the Christian legend
- subject from the Christian Legend. So we see them going forward
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- to the content, to the subject-matter, and yet, this need not be the
- subject-matter is presented to it. In wide circles, artistic understanding
- I do not mean that they borrowed their subject-matter from the spiritual
- reproductions of a picture he had painted. The subject was: Buddha under
- the week, understands of Sunday. He simply thought, here is the subject;
- any worldly subject, with the only difference that it contained, of
- the subject-matter, the point was to study and portray with precision
- left we have the same subject treated by Perugino, and on the right
- Title: History of Art: Lecture III: Dürer and Holbein
- subject is the sable. We might even conceiyg,them as the Temptation
- detailed subject but the artistic treatment as such which shows,
- Title: History of Art: Lecture IV: Mid-European and Southern Art
- the narrative and subject matter, while appreciating far too little
- group whose subject is so similar. Observe the communion of soul
- Christian subjects with deep inwardness of soul. The following are
- Title: History of Art: Lecture V: Rembrandt
- works for the particular subjects which the pictures represent, is to
- reader in the light, the light itself is made of the subject-matter,
- as it were — the subject of the story the picture tells.
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- enthroned in the background of the picture. His subjects, in the
- place their subject in the immediate reality which surrounds them. The
- in time to realise its full significance. Compare the subject —
- outweighs the Biblical tradition. Only the subject, the occasion, we
- of secular subjects by the same artist.
- The same subject, treated
- reached a high degree of perfection. The same subject again:
- and “spooky” subjects.
- And another Biblical subject
- Title: History of Art: Lecture VII: Representations of the Nativity
- more from the point of view of subject-matter. The pictures today will
- and lovely in this as in all other subjects.
- Whichever subject it is,
- one follows the treatment of one and the same subject through the centuries.
- spoken in a former lecture. For we now have the same subject by
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- we have seen today. In every case, having distinguished the subject of
- represented. But it will never be sufficient to answer: The subject
- the subject is — in accordance with the ideas and canons of great
- the underlying subject-matter. Here, however, the artist's power is
- so magnificent that it draws the subject-matter into its own sphere.
- subject. No longer is there poured out over it the magic breath of a
- subject, we shall presently show a few pictures revealing how the several
- and yet to express what he feels should be. His subject is "Sleeping
- Title: History of Art: Lecture IX:
- Lessing's writings on this subject are, indeed, most interesting. He
- the body has been moulded. Much has been written on this subject. Robert
- the same subject: —
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