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  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
    Matching lines:
    • 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
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    • 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
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    • 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
    Matching lines:
    • 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
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    • 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
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    • 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
    Matching lines:
    • 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
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    • 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:
    Matching lines:
    • 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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