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- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
- 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
- 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
- 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
- infinitely rich life of Christian vision and imagination in the
- Title: History of Art: Lecture V: Rembrandt
- Rembrandt — creates from outward, contemplative vision. But this
- 537. The Vision of Daniel. (Berlin.)
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
- sees the human being — whatever presents itself to his vision
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
- 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:
- 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
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