[RSArchive Icon] Rudolf Steiner Archive Home  Version 2.5.4
 [ [Table of Contents] | Search ]

Searching The History of Art

You may select a new search term and repeat your search. Searches are not case sensitive, and you can use regular expressions in your queries.

Enter your search term:
by: title, keyword, or context

   Query type: 
    Query was: vision

Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

  • Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
    Matching lines:
    • imagination. Thus, inner spiritual visions and imaginations were
    • life of spiritual vision. Such vision knew full well that the
    • more to the things beyond the Earth. On the other hand the vision
    • all that sprang from the old visionary life. He, rather, turned
    • through each human soul. His vision is directed away from
    • Francis himself. Even when you take the visionary elements in
    • we rather have before us an original spiritual vision
    • old visionary life. Now came a purely human way of feeling; yet
    • spiritual vision, there arose the new element of composition. See
    • see the vision as a whole and thence derive the single figures,
    • "https://www.rsarchive.org/Lectures/GA292/English/UNK1981/images/HA01-043_Vision.jpg" align=
    • 43. Filippino Lippi: Vision of St. Bernard.
    • visionary and in the lesser figures. In every case the Human is
    • receives his vision.
    • saw just now) so that the vision of those that behold it may be
    • Henceforth, man's vision was impelled more and more to an outward
    • Spirit that had once held sway in vision of the Supersensible was
    • now expended on the vision of the Natural, the soul took refuge
    • 70. Perugino: Vision of St. Bernard. (Alte Pinakothek.
    • the earlier picture of the 'Vision of St. Bernard' which we saw
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
    Matching lines:
    • with outward vision. Man felt impelled to feel and understand external
    • outward vision what could no longer be made known by inward feeling.
    • times from higher vision and had grown a mere tradition. It was
    • of that time to seek for what appears directly to external vision, and
    • each one brings to expression a quite specific visionary character of
    • in his latest period painted visionary pictures, we need only reply
    • anyone who has vision for the facts of history in all its domains, and
  • Title: History of Art: Lecture III: Dürer and Holbein
    Matching lines:
    • and not contemplative vision. This imagination, working forth from
    • contemplative Vision — the Southern impulse, properly speaking,
    • physiology, and so receive into his faculty of outward vision uhat
    • visionary picture is conceived most realistically and with great
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
    Matching lines:
    • infinitely rich life of Christian vision and imagination in the
  • Title: History of Art: Lecture V: Rembrandt
    Matching lines:
    • Rembrandt — creates from outward, contemplative vision. But this
    • 537. The Vision of Daniel. (Berlin.)
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
    Matching lines:
    • sees the human being — whatever presents itself to his vision
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
    Matching lines:
    • 4. Raphael. The Vision of Ezekiel. (Florence,
    • 4. Raphael. The Vision of Ezekiel. (detail)
    • might. There were the excesses connected with the old divisions — the
    • yet developed in themselves a vision for these things. For a period,
    • shows how the artist combines a clear vision of Nature with an absolute
    • look how he brings out the single items according to his own vision.
    • as a whole, from above. There is no single point of vision according
  • Title: History of Art: Lecture IX:
    Matching lines:
    • vision, contemplation, — combined with the living Imagination
    • It is no longer possible to gain by outer vision a conception of Phidias'
    • combined already with a decided tendency to Naturalism. His vision has
    • his naturalistic vision — to create human figures strong and firm,
    • the Northern sculpture, but a decidedly naturalistic vision of what
    • They brought to life again in outer vision, contemplation, what the
    • naturalism, with clear outward vision. They thus became the fore-runners of

The Rudolf Steiner Archive is maintained by:
The e.Librarian: elibrarian@elib.com