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


[Spacing]
Searching The History of Art
Matches

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: world
  

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:
    • it that came into this earthly world from spheres beyond? Men
    • worlds beyond the Earth, the figures of saints and apostles
    • express the new world-impulses springing from the Mystery of
    • say: From other worlds they gaze into this earthly world; they do
    • not seem to have arisen from this earthly world at all. Such are
    • world, are his representations of the Saviour and of saints and
    • impulses of Christianity had come to Earth from another world,
    • and that this unearthly world could not be represented in mere
    • something working in with abundant power from distant worlds.
    • overwhelming force pouring in from distant worlds into mankind.
    • life by the whole world in which he found himself through all
    • name. It is true, indeed, that a whole world of things from
    • with Giotto an entirely new artistic world-conception arose in
    • came forth entirely from that kind of outer world which Roman
    • resources. St. Francis was surrounded by mighty world-events
    • Beings gazing down from beyond the Earth into this world of human
    • surrounded by the world-historic conflict of the Guelphs and
    • every single man a world in himself. Yes, one desires to live in
    • such a way that every single man becomes a world. The Eternal,
    • man had felt and conceived the Spiritual World hitherto. We today
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
    Matching lines:
    • in the artistic world of feeling, which finally led up to what was so
    • the specific quality of the world-conception of that time. In our time,
    • a world-conception is a collection of ideas which can, of course, be
    • in a world that was their very own, and they saw Nature herself in the
    • midst of this same world. We need but call to mind: In that time, even
    • world of the senses which contained mankind. Even their view of Nature
    • the world which only came forth in the succeeding centuries. He had
    • world. Of Leonardo we can truly say, he bore his whole Age within him,
    • a true concentration of the existing order of the world. This Florence
    • whole world-order of that time played into these politics — entered
    • afterwards to take hold of all the world. It was a terrible experience
    • for him, and yet not unconnected with the whole surrounding world of
    • he bore with him? It was a whole world-conception, of which we can say
    • Chapel, representing the creation of the World and the great process
    • of Biblical history, we have the twilight of an ancient world-conception.
    • Thus Michelangelo carries with him a whole world to Rome, — carries
    • is easy for a man to say that he will paint the world's creation. Many
    • the evolution of the world who does not live in it, like Michelangelo,
    • not signify for the development of his picture of the world: For the
    • any worldly subject, with the only difference that it contained, of
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture III: Dürer and Holbein
    Matching lines:
    • representations of their ideas about the world and life. If more of
    • these things had been preserved, even the outer world would feel
    • weaving of the World, light and darkness weave together. Influences
    • mutual enhancement to the world of color, we feel the connection
    • all things moving in the outer world, — with light and shade
    • straight forward through the world. So, indeed, he must be
    • encumbered him. He has to go his way through the world alone,
    • placed into the world for the express purpose of showing what
    • interpretations. Is not the world deep enough if it contains such
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
    Matching lines:
    • of the Christian world-conception. The Play concerning Anti-Christ,
    • world-conception as a whole, there arose the works of Art which we
    • Such, truly, was the Southern imagination as it worked in the world
    • world, this living with the group-soul nature — with all that
    • Southern Art is such that the eyes look far out into the world; in
    • Christian world-conception, deeply united with the human soul,
    • overcomes all things. The Christian world-conception had entered
    • world-conception. Once more, observe the deepening of the soul's
    • world-conception, was in any high degree influenced by the
    • how the worldly and the religious elements played into one another.
    • are now dealing. The worldly and the religious were brought
    • look up in community, in congregation, to the spiritual world.
    • in one way or another, for something in the outer worldly sphere.
    • Hence the worldly is
    • freely far into the world, with wisdom.
    • And now a worldly, or
    • our thoughts to her soul as she works on in the Spiritual Worlds
  • Title: History of Art: Lecture V: Rembrandt
    Matching lines:
    • heart of things — even in the phenomena of the great world. He
    • must stand over against his object from without. He lets the world work
    • of human egoism. The very fact that he confronts the world, and even
    • world. And for the painter, this signifies the light and dark, surging
    • to unfold this living and weaving in the light and dark and in the world
    • in familiarising ourselves with the world of Art. But once when Hermann
    • which is the elemental world — he will achieve a real impression of
    • with the prime sources and elements of world-existence.
  • Title: History of Art: Lecture VI: Dutch and Flemish Painting
    Matching lines:
    • to that Art which places the individual so thoroughly into the world.
    • off, as it were, from the outer naturalistic world — the golden
    • things; but I wanted, above all, to fix your minds on the world-historic
    • in his soul that which streams through the world and patiently suffers
    • with the world, will he attain his liberation at every point of this
    • world's existence, his redemption.
  • Title: History of Art: Lecture VII: Representations of the Nativity
    Matching lines:
    • from the Spiritual World. Less concerned with naturalistic expressions
    • revealed out of the Spiritual World. Thenceforward you will see this
    • the events are shown thoroughly in connection with the Spiritual World
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
    Matching lines:
    • in his works, and how does it stand in relation to the World? Think
    • this picture is placed in a great world-perspective: It is so, indeed,
    • outcome of the Christian world-conception. So perfectly does it express
    • that we must say, 'The ides, the meaning, the impulse, the world-historic
    • soul. One of the ideas of the Christian conception of the world has
    • world-conception. Let us consider it in the way Herman Grimm once spoke
    • the mother and child — apart from the world-historic happenings,
    • Behind the artist stand great cosmic perspectives — world-conceptions
    • the background of a great world-conception. Without this background of a
    • great world-conception, the Sistine Madonna is, indeed, unthinkable.
    • to arise out of a mighty world-perspective — something of cosmic law
    • the themes — and they are world-historic themes — come to
    • of the soul in human form through the spiritual world, would no longer be
    • the souls of men. Here the world speaks to us directly — not
    • background of great world-perspectives. He is only conceivable if we
    • deeply on the penetration of the Spiritual world into the physical.
    • the spiritual world; inasmuch as the seeds of decay and destruction
    • were entering most terribly into the physical world just at that time.
    • the “Wandering of Death through the World,” Death's entry
    • the Reformation strove to put an end to all the growing worldliness
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture IX:
    Matching lines:
    • — the study of the Plant world. He tried to perceive the growth of
    • a connecting thread throughout the world of animals. We have often spoken
    • in the world. For this reason he was glad to refresh and strengthen
    • represent the world of the Gods and all that was connected with them, in
    • the spiritual world.
    • of a man, so firmly established in the world of space, this Florentine



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