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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- sense, or of painting true to Nature, or following this or that
- succeeding centuries they lost the power to create true plastic
- father and trained him in painting. Such legends are often truer
- than the outward ‘historic’ truth. It is true, as the
- name. It is true, indeed, that a whole world of things from
- point. It is true that under Giotto's name many works are
- longer represented for their own sake. True, they live on, but
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
- they poured their impulses into the realm of Art. It is true, my dear
- forget how much has been done to extirpate a true artistic understanding
- True understanding for the manner of representation has been
- needless to say, in forms and colours and the like which to the true
- the Bodhi Tree. It is true there sat a huddled figure under a tree,
- was not altogether at home there. True, he was a Florentine, but he
- a true concentration of the existing order of the world. This Florence
- is true, yet cultivating largesse and freedom — died in 1492;
- In Rome he mourns the loss of what he has experienced as the true
- but one who has true feeling will not be able to assent. No one can paint
- the commercial character. True, he was destined still to create the
- Supper — which he created, it is true, at an earlier time, and
- True, he could not have created it thus at every phase of his life.
- True, we may recognise in these figures many an ancient philosopher,
- Title: History of Art: Lecture III: Dürer and Holbein
- Spain, the true nature of the impulses that they contain. For these
- mind another thing in this connection. It is true that in the
- Dürer again and again, as an individual figure, it is true,
- these few abstract sketches), do we come to true understanding of
- 8. The Four Cardinal Virtrues.
- individuality. It is, indeed, an extraordinarily true Imagination
- very beautiful. It is quite untrue to suggest that in creating this
- “Tis true, I am
- us away from the true domain of Art. Even if deeper meanings can be
- Title: History of Art: Lecture IV: Mid-European and Southern Art
- things must not be pressed too far; yet it is true to say that in
- opposite is true.
- Title: History of Art: Lecture V: Rembrandt
- great in human evolution. True, if we feel, perhaps, in a still deeper
- true origin of color itself is to be sought — this, I would say,
- post-Atlantean age — and this is true in the highest degree of
- “realistically,” but places his figures into the true reality
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- nevertheless, it is true that oil-painting was discovered in the age
- for the Individual principle. The true native character of Middle Europe
- Title: History of Art: Lecture VII: Representations of the Nativity
- and less understood in the further course of centuries. True, it also
- time, it is true — but anthroposophical Spiritual Science gains
- only be read in its true form by those who are able to read with the
- nonsense and abuses with it. Few people nowadays are in true earnest
- only the Initiate can see.” This is a true statement, and this,
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- here, is an absolutely true conception. The conception corresponds to a
- for it is literally true: — “Artistic truth makes all the
- rest true, — compels all the rest into its circle.”
- century. True, the pictures of the period, which we shall show, give
- and if we desire to be true, it is by no means easy ... It may be
- works we have a true artistic impulse, born out of the very nature of
- true Imaginative Art.
- Title: History of Art: Lecture IX:
- True, there are weighty obstacles, as yet, to such a view of Nature.
- time by conscious knowledge, according to the true impulses of the fifth
- proceeds from a true feeling for the ethereal in movement.
- true; it gives us a right impression of the relation between the two
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