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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • much in darkness. So far as anything outwardly preserved is
    • wanted to gain a conception of these things. And if one desired
    • among other things — which can, as it were, make visible to
    • eyes of sense the things from beyond this Earth. Now Western
    • something working in with abundant power from distant worlds.
    • name. It is true, indeed, that a whole world of things from
    • those things to which they had hitherto looked up and whose light
    • more to the things beyond the Earth. On the other hand the vision
    • things, comes forth with all intensity in Francis of Assisi, who,
    • as you know, was before Dante's time. Such things always appear
    • things. He delighted in the splendour of external riches; he had
    • enjoyment in all things that make life pleasant, or that enhance
    • his absorption in external things and turned him to the inner
    • life of feeling directed purely to the inward things of the soul.
    • things, turned their attention to the joys and sufferings of the
    • things. Hence, as a rule, we do not realise how immense a change
    • therefore, valued by nothing else than what he simply is as a
    • Nature. Everything on Earth became his brother and his sister; he
    • the external things that are so often written about his life.
    • the reality of things seen; we see things standing more and more
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • something is contained in these artists which we must undoubtedly regard
    • represented something. Namely, he who imagined the scene to himself
    • it so, no doubt. But there was absolutely no reason why such a thing
    • It is a very different thing
    • believe the most extraordinary things. They will believe, for instance,
    • lost. Another faculty now had to appear: the power to take hold of things
    • know these things by contemplation from without. He tried to know by
    • that could easily be carried out today; but in that time such a thing
    • one beside Leonardo thought such a thing was possible. He also thought
    • no one else could make anything of them. What poured into his artist's
    • his soul. Any one who has a deeper feeling for such things will see
    • with him something that could never have arisen at that time in Rome
    • of man. You will find further explanations on these things in earlier
    • created if he believes in these things and lives in their midst. It
    • things I have indicated were of great importance to him. They may be
    • course, the sacred figures. These things had been objectified, loosed
    • on the other hand, remaining more or less untouched by all these things,
    • he stood alone in things like this; they had, indeed, been done by others
    • composition. This is the new thing in Leonardo. The adaptation of the
    • Considering Leonardo once again, you will see there is something in
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  • Title: History of Art: Lecture III: Dürer and Holbein
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    • something that lies beneath the outer objects works into their
    • things will always feel through it the working of ancient runes,
    • express something through their positions as they fell. The sign or
    • these things had been preserved, even the outer world would feel
    • how the essential thing in the Northern Art is this imagination
    • spread mysteriously towards the South. Something is here poured
    • Europe at that time, give us a feeling of something absolutely
    • they decorate the covers of their books. Truly, in all these things
    • there blossomed forth something that was afterwards no longer there
    • another thing. We may say that with the decline of the Ottonian
    • Universe, the Cosmos, and wanted to see all earthly things in their
    • mind another thing in this connection. It is true that in the
    • things to interweave with one another, layer upon layer; for every
    • Roman and Classical something that is hostile to the individual.
    • Heaven and Earth — seeking to comprehend all other things by laws
    • it all something quite different is holding sway; it comes to
    • individuality to all these things in the midst of which he finds
    • unnoticed, in Middle Europe, something that unites this country
    • darkness — Ormuzd and Ahriman — we take these things too
    • composition, where things are placed in quiet balance side by
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • by no means easy now to see how these things really worked
    • treated as though it were something that lives a life apart. This,
    • tendency to explain everything symbolically, or in other artificial
    • whole spread of Christianity was a very different thing in those
    • namely, to mind and feeling. Once more, these things must not be
    • Christian Feeling for all human life. And the strange thing is that
    • things that come to it, so that, after all, there is a continuity
    • Christ till Dürer's time, and in other things as well, we find
    • soul. The more these things are understood, the more this will be
    • must first be called to the group-life. And the same thing
    • In all these things
    • of the human soul in Europe. They reckoned with these things. They
    • But he saw nothing of the sublime heights of artistic creation; he
    • who created out of al altogether different mood of soul, something
    • Crucifixion Group. I will only say one thing to characterise what
    • depth. In Mary, if you have a feeling for these things, you will
    • These things must not
    • pictures how very differently the clothing and drapery is treated
    • things must not be pressed too far; yet it is true to say that in
    • overcomes all things. The Christian world-conception had entered
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  • Title: History of Art: Lecture V: Rembrandt
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    • for something elemental and original. Many people in Mid-Europe began
    • this point of view, the book nonetheless expressed something of great
    • of the Cosmic Order, to draw from thence something which could give
    • heart of things — even in the phenomena of the great world. He
    • surface of things — in science and scholarship, and even in your
    • of such writers as Goethe or Lessing? They understood practically nothing
    • in something from the past — in old tradition — a consolation
    • pictures or anything of that kind. Rembrandt stands out as the
    • time. Hermann Grimm, who undoubtedly had a feeling for such things,
    • era. Nothing can teach us to understand so well what was living in the
    • names we cannot but find expressed in them something connected with the
    • hand, is an artist who makes felt — as an artist — something
    • in this way is not to carry all manner of things into it out of the
    • before him in space, as models or the like. The essential thing is
    • altogether different; it is something that hovers over the figures. The
    • of things. What he created to begin with is great in its way, yet it
    • thing was to become progressively aware of the harmony between what
    • few of Rembrandt's characteristic pictures, and see how these things
    • confirm what I said just now, and it will show you another thing at
    • in which the onlooker himself is living. That is the wonderful thing
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • misfortune to be quite so up-to-date, then, even if we knew nothing
    • flat surface what he desired to represent. The various things that he
    • attempt is made to represent the ordering of things in Space, at any rate,
    • things down on the flat surface, as described above, or else they used
    • things are really seen, we often find figures which are obviously to
    • thing you will frequently find in older times — I mean what we may
    • today. In this “inverse perspective” we must imagine things
    • perspective. For the South is much concerned with the ordering of things
    • in Art what we may call the gathering together of things in Space, where
    • forth as described when dealing with Rembrandt, for example. Something
    • which emerges out of the Mid-European, Northern element. These things
    • They have little understanding of the individual principle. Such things
    • something very different from the Mid-European who speaks of Patriotism.
    • where the State itself is the important thing — where the precise
    • Such are the things that
    • and blossoms forth until the time when the whole thing is eclipsed,
    • things; but I wanted, above all, to fix your minds on the world-historic
    • feel that everything is born out of an elemental inner need. Here, on
    • thing or that ought to be represented in such or such a way. Though
    • of things is working its way through more and more. Man as an artist
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • “Star” — which means, something that is made known out
    • is really the Star of Christ. But it goes on to relate that something now
    • course of the Star; something which was not in the consciousness of the
    • St. John) — in the composition there is something which will strike
    • of these things did not decay or die out absolutely until the 18th century.
    • Even as late as the 18th century people still spoke of something which
    • as you see, everything is conceived in typical form —
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • today will enable us to give a kind of recapitulation of various things
    • picture for a moment as though we knew nothing of the Christian
    • once more the thing is perfect in itself, the highest of its kind.
    • to arise out of a mighty world-perspective — something of cosmic law
    • of four years, something of the nature of a cosmic principle works in
    • Raphael. Truly, we here have something that proceeds from a great cosmic
    • this one. That is the unique thing.
    • with something childlike, as it is is represented by the angel figures
    • These are the things of
    • which Goethe said that nothing he had known till then could compare
    • learning that certain things should be done in certain ways, to correspond
    • things are always there before us. In Dürer's work, on the other
    • we may look for something intimate and deep; deeply connected —
    • of one epoch and another, many things are perceptible in the life of
    • same time many things emerged out of the former epoch, reaching over
    • Moreover. the things of
    • a great range of phenomena, we have to sum up many things in a few words;
    • all that is here intended. But if we take things on the whole, we shall
    • With all the other things
    • discuss such things with those who showed signs of artistic talent.
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  • Title: History of Art: Lecture IX:
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    • his friends in Weimer. He had seen something in Italy of the Grecian
    • moment divined that something was living in the Greeks, in intimate unison
    • that underlies the outer things. He started, as you know, from Botany
    • vivid conception of what he intended. We are wont to conceive things
    • wanted to take hold in a really living way of the life of living things,
    • witness in our time things that are little noticed yet — movements
    • regard is one thing to which — if able to look more deeply into all
    • The two things run parallel with one another. Needless to say, modern
    • everything in that time was more or less instinctive) the need to
    • is moved — or represented in movement — it means something for the whole
    • breathing organism, the forming of the chest. The human being as a whole
    • feel the truth about these things we cannot but admit: In the time when
    • Here you can see something
    • Pallas Athene. These things even become a little reminiscent of
    • was quite capable of producing something of the character of Genre: —
    • physical, and the physical falling asunder, is the characteristic thing
    • in the Laocoon; not the other things that are so often said, but the
    • among the greatest things in the whole evolution of Art. Afterwards the
    • what is actually seen. It is no longer based on something felt and sensed
    • they lived together — had gone out to buy things for their breakfast.
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