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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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    • time, let us say, of Dante's birth. For external history, what
    • brief description. We must not forget that the time of the origin
    • the very earliest times of Christian Art we find the figure of
    • time when in the West, under the influence of Rome, men had
    • impulses by the time of Dante's birth. We see them, as it were,
    • When in that time men let these pictures with their golden
    • entering into during that time, when we find Dante and Giotto
    • criticism of Materialism. The time had to come to mankind to
    • enter fully into the material reality, taking leave for a time of
    • as you know, was before Dante's time. Such things always appear
    • a later time, living already in the soul of Francis of Assisi.
    • that time onwards, turned the soul's attention quite away from
    • thought unthinkable in former times, comes forth in Francis of
    • feeling. For the last time, we might say, Dante in his great poem
    • still see in them the tradition of the former time, but along
    • when the life that had found expression in pictures at that time,
    • evolution of Christianity until the time of Dante and Giotto, we
    • proceeds from the human intellect. After Giotto's time a
    • the times from which Cimabue still rayed forth, when men's
    • that for his time the artist's answer is magnificent.
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  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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    • same time, in these three masters we must also see the starting point
    • ourselves at the starting point of the new age. At the same time,
    • friends, that in our time people have little understanding for what is
    • important in this respect, for in our time — I do not say this as
    • case at all. Indeed, it is only in our own time that this distinction
    • men in recent times, by way of pictorial representation and the like.
    • spiritual life of their time and created out of this. In saying this,
    • life of their time. I mean far more than this. Into the specifically
    • the specific quality of the world-conception of that time. In our time,
    • of their time. For this civilisation entered livingly into the artistic
    • time, on the other hand, people fail to understand the artistic element
    • be living in the whole way of feeling of their time. We cannot understand
    • had assumed at the time when these artists blossomed forth. You need
    • speaking. And when in later times it emerged again — in pietist
    • midst of this same world. We need but call to mind: In that time, even
    • equally inclined to the feelings of the former time and of the latter.
    • in the olden time. Yet he had a mighty impulse to that conception of
    • even the men of later times during the 4th Post-Atlantean age —
    • figure the Greek artist created. In course of time this faculty was
    • Nature. I showed you last time, how Francis of Assisi was among the
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  • Title: History of Art: Lecture III: Dürer and Holbein
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    • in Middle Europe up to the time when Dürer and Holbein entered
    • impulses of fancy they go back into very olden times. In a certain
    • way they were undoubtedly at work even at the time of the first
    • back into the oldest time, we find that to begin with it makes no
    • to us of what was there in olden times, — I do not mean so
    • in this direction. The time will come when men will see and unravel
    • Europe at that time, give us a feeling of something absolutely
    • meantime from the South. It lost itself, for instance, in the
    • been preparing in the meantime. Once more, then, the impulse of
    • Europe they felt the Classical and in later times even the Gothic
    • Nay, in later times they even feel in the Gothic an element beneath
    • spirit, as it works at the same time in man himself and in the
    • biblical tradition. At the same time, he has great difficulty in
    • beings of that time.
    • absorbed by this time from the South. You will see this especially
    • thirteenth century. At that time the Mid-European feeling had grown
    • the time which brought to the surface these great poets, we shall
    • of that time to represent the Church as the power that overcometh.
    • mastered by that time. The conception is here worked out in
    • Dürer's ‘Holy Trinity,’ painted almost at the same time as
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  • Title: History of Art: Lecture IV: Mid-European and Southern Art
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    • time have to bring more and more light into these matters.
    • will remember what I emphasised last time. From underlying impulses
    • characteristic abuse of our time to consider Art — even the
    • the specifically artistic qualities. At the same time there is
    • general life of civilisation. Out of the common feeling of his time
    • The time itself works through the soul of the artist. The whole
    • We saw last time how
    • or less independently, while at the same time it grows together
    • know of the spread of Christianity in the succeeding time. For the
    • later times that the rigidly dogmatic qualities which so repel us,
    • friends, could it come about that in the time of the Renaissance
    • centuries from that time onward until the 12th and 13th there
    • Yet, as I explained last time, even now when another element once
    • shall see again today and which we say last time. There followed
    • Christ till Dürer's time, and in other things as well, we find
    • there was really attained in Mid-Europe at that time an astonishing
    • of the Passion had found its way into their lives by that time.
    • showed last time of the Cathedrals at Naumburg and Strasburg, we
    • time the two contrasting characters are well expressed.
    • research will in course of time be confirmed, in that it does not
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  • Title: History of Art: Lecture V: Rembrandt
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    • life and times, would be a little out of place. With an individual artist
    • creations more from the point of view of the history of his times. For
    • influence a certain book had which was published about that time. The
    • of time, all manner of ideas that had occurred to him. He might then
    • our souls. All people of that time passed by unheeding — passed
    • deep well-springs of the people. What was the time when Rembrandt lived
    • time. Hermann Grimm, who undoubtedly had a feeling for such things,
    • on the history of Europe — notably in that time when the Fourth
    • of the Gothic. We witness the life of this Gothic and Latin Art in the time
    • especially in the domain of sculpture — which we showed last time.
    • — but it will become so in good time) — the discovery in
    • lights up in the realm of Art for the first time in Dürer and finds
    • and more in Rembrandt's work as time goes on, the boldest imaginable
    • his creations gain in depth from this time onward — grow infinitely
    • long time, my dear friends, making one observation or another about
    • time of his creative work was near the climax of that period when Roman
    • the same time. Under the influence of his artistic way of feeling —
    • not time to go through them beforehand, and saw them for the first time
    • which most probably preceded this one in time. There is probably an
    • of individual figures. Rembrandt was not the only artist of his time
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  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
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    • olden times, the artist had in his mind's eye some story which he wished
    • which are further away. In olden times they often made use of this kind
    • thing you will frequently find in older times — I mean what we may
    • at that point of time. Moreover, the South, through the impulses I
    • at a time when the districts where these artists lived did not possess
    • people of those regions, and of that time, had no inclination to think
    • times, was taken right away from their immediate surroundings. But this
    • Germanic burgher-spirit of those times and places.
    • and blossoms forth until the time when the whole thing is eclipsed,
    • evolution which we shall illustrate today is at the same time a period
    • in time to realise its full significance. Compare the subject —
    • ideas of that time. Once more, as in the former picture, you have the
    • present time. These pictures were painted about the thirties of the
    • his own time.
    • The Art of that time
    • also familiar to those times. The various events connected with the
    • landscape-painting — Joachim Patinir. It was at this time and from
    • into the full artistic life. Only from this time onward was it really
  • Title: History of Art: Lecture VII: Representations of the Nativity
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    • of the early Christian centuries into the times of the Renaissance.
    • First you will see the more typical representations of an early time.
    • time, it is true — but anthroposophical Spiritual Science gains
    • speak of it at great length today; we may return to it another time.
    • of Time which was indicated as the day of Christ Jesus's Death.
    • to a later time, nevertheless they are from earlier Christmas Plays
    • course of time Naturalism takes hold of it more and more.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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    • boundary of times, often bring forth their very highest.
    • conceptions, out of which such a picture proceeded even in Raphael's time,
    • the time in Middle Europe, — the German towns and cities. Invisibly
    • the whole life of the time comes vividly before you. Truly, in this
    • document tells us so well, what the people of that time were like.
    • again and again in that time: —
    • by Hans Baldung, who worked for a certain time, at any rate —
    • 16th centuries. We must remember that at such times, at the turning-point
    • the time, expressing the mighty transformation that is taking place.
    • same time many things emerged out of the former epoch, reaching over
    • of that time we see, for instance, the intense preoccupation of man
    • drew near to men at the very time when their Souls had to prepare to
    • were entering most terribly into the physical world just at that time.
    • The people of that time
    • had great delight in pictures such as these. This was the time when
    • his works. At the same time he tries to contribute something of what
    • time, whom we have now considered. Look at the element of naturalism
    • of Art, and tries to be realistic at the same time, and the two things
    • You will realise the immense progress that has been made by the time
    • of Dürer and Holbein. And yet how short was the intervening time!
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  • Title: History of Art: Lecture IX:
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    • as I have often said, grew different in later times, for afterwards
    • He did not work after the model as was done in later times — (whether
    • witness in our time things that are little noticed yet — movements
    • the impulses of hindrance and of progress in our timei — we cannot
    • today must sometimes be described grotesquely; otherwise we do not describe
    • of our time: On the one hand theoretically, they are at pains to understand
    • time by conscious knowledge, according to the true impulses of the fifth
    • everything in that time was more or less instinctive) the need to
    • for a more dramatic quality, holding fast the moment of time in the
    • In time to come this will be recognized as arising from the effort to
    • already in, to the Age of Periclean. From the time of Phidias, of whomwe
    • a long time. It was felt that the line of the face, the features, the
    • this was handed down, even into the times when they were able to imitate
    • feel the truth about these things we cannot but admit: In the time when
    • like a later continuation of the type that was evolved in the time of
    • again to the best, ideal tradition of the older times; it reminds us
    • the rise of a new Art, which grew in time into the Art of the Renaissance.
    • though the number at that time was relatively small.
    • We see at the same time
    • works as a great stimulus and inspiration. Yet at the same time the Art of
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