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• Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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  • forces in the human soul — those powers of imagination,
  • humanity did not possess sufficient powers of imagination to
  • lectures that the Romans were an unimaginative people. It was
  • into the unimaginative Roman culture that Christianity, coming
  • imagination. Thus, inner spiritual visions and imaginations were
  • unimaginativeness, if I may so describe it, took hold of what
  • came over, so rich in fancy and imagination, from the East. In
  • rich imagination of the Greeks. We find the Redeemer Himself
  • fell into decay amid the unimaginative Romans. Thus in the
  • created, of course, by human imagination, in the effort to
  • born of an imagination, in the background of which was still a
  • and tendencies which seized the artistic imagination of Giotto at
  • rich imaginations of an earlier Art had represented sublime
  • out like a magic broach ever the picture as a whole. More and
  • can scarcely imagine the entry into Giotto's pictures of any
  • of soul is poured like a magic breath over this picture.
  • "https://www.rudolfsteinerelib.org/Lectures/GA292/English/UNK1981/images/HA01-058_Adoration_Magi.jpg"
  • 58. Sandro Botticelli: Adoration of the Magi. (Uffizi.
  • 67. Leonardo da Vinci: Adoration of the Magi. (Uffizi.
  • imagination. On this, the greatness of Raphael very largely
• Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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  • represented something. Namely, he who imagined the scene to himself
  • as such, imagining that with aesthetic views and feelings which happen
  • (and when I say ideas I include “Imaginations”) connected
  • means (as we might naively imagine) as the great artist whom we recognise
  • a free imaginative
  • must imagine Michelangelo as a man who in his inmost heart and mind
  • in the Christian sense. Imagine him placed in the midst of that time,
  • to Rome. Here we come to that strange magic atmosphere whose presence
  • feeling and creation, and leaves a strangely magic atmosphere —
  • We need not imagine that
  • more deeply than one imagines with the fundamental feeling of his soul.
  • And now imagine, with this
• Title: History of Art: Lecture III: Dürer and Holbein
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  • peculiar activity of fancy, of imagination which had its
  • or imagination proceed from this region of Middle Europe. As
  • impulses of the imagination stand in clear contrast to those of a
  • impulses of imagination are rooted in a certain power of perception
  • perceptible. Accordingly, whatsoever the Southern imagination seeks
  • forms and colors. This impulse of imagination also evolves a
  • imagination, which is able, therefore, to unite itself far more
  • how the essential thing in the Northern Art is this imagination
  • and not contemplative vision. This imagination, working forth from
  • imagination — albeit correspondingly toned down — which
  • this process in Raphael, whose imagination, growing up amid the
  • expression very beautifully in the words of Goethe's Faust. Imagine
  • imagination of Mid-Europe is cast on to the surface by the
  • magical element which we find in the old Persian civilisation. For
  • is deeply connected with the ancient Persian wisdom of the Magi.
  • it brings the quality of magic into connection with the feelings of
  • coming to him from the South, gives himself up to magic. But in
  • imagination with all that is stamped upon the human being by the
  • individuality. It is, indeed, an extraordinarily true Imagination
  • influenced by the Southern imagination than Schongauer. It is most
  • Maximum number of matches per file exceeded.
• Title: History of Art: Lecture IV: Mid-European and Southern Art
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  • more southern regions? It appeals to the fancy and imagination.
  • of the fancy and the imagination, which is present in the souls of
  • the Christian ideas entering, above all, into the imaginative life,
  • infinitely rich life of Christian vision and imagination in the
  • element of fancy and imagination in the Southern culture which
  • Such, truly, was the Southern imagination as it worked in the world
  • the South, it was permeated by fancy and imagination, thus
• Title: History of Art: Lecture V: Rembrandt
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  • any nature like the Italian. He fertilised his imagination simply and
  • and more in Rembrandt's work as time goes on, the boldest imaginable
  • the people in the room. He is there — and if you imagined all
  • 547. Adoration of the Magi. (Buckingham Palace.)
• Title: History of Art: Lecture VI: Dutch and Flemish Painting
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  • today. In this “inverse perspective” we must imagine things
  • He must either imagine himself away, or he must think himself into
  • be able to imagine a spectator situated with his eye in such a place
  • 39. Gerard David. Adoration of the Magi. (Munich.)
  • 59. Pieter Brueghel. The Adoration of the Magi. (London.)
• Title: History of Art: Lecture VII: Representations of the Nativity
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  • of form and color, they try to reproduce the spiritual Imaginations,
  • Magi. Here I beg you to observe how the two streams evolve: the stream
  • Magi, on the other hand — the mission of the Three Wise Men from the
  • was that “Imaginations” appeared to the Shepherds, while
  • to the theme of the Wise Men. For the Wise Men or Magi, the most ancient
• Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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  • view you cannot imagine a further enhancement of this theme —
  • come to expression here in the highest imaginable way, seen from a certain
  • proportion? And so forth ... A magic breath is poured out over it
  • all, — a magic breath of aesthetic traditions, of harmony and
  • subject. No longer is there poured out over it the magic breath of a
  • always necessarily imagine him; but the pictures themselves are eloquent
  • imagine, as it were, the Genius of Christianity itself painting in the
  • and notably the Roman Church system. We must decidedly imagine (though
  • by the crests, painted in lighter color. If you try to imagine a visual
  • difficulties at once. We must imagine it high up so as to look down
  • certain other truths of Nature is very strained; Imagine you were in this
  • spiritual Imagination and artistic fancy join together and create a
  • true Imaginative Art.
• Title: History of Art: Lecture IX:
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  • vision, contemplation, — combined with the living Imagination
  • before the eyes. We must call it to life in our imaginations. Whereas
  • repose; it must represent moments which can at least be imagined —
  • peculiar way the body becomes differentiated. We could not imagine the
  • in the widespread unimaginativeness of the Roman people, to which we
  • own imagination fructified, as it were, by the Greek Art itself.
  • was so overwhelmed that he even imagined the breakfast had disappeared.