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• Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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  • springing from a conception of life altogether remote from our
  • wanted to gain a conception of these things. And if one desired
  • connected with the early Christian conceptions.
  • of his colouring, with its wonderful two-dimensional conception,
  • conception (far more familiar in the Orient than in the West) of
  • with Giotto an entirely new artistic world-conception arose in
  • conception of human history it is fully justified. I mean that
  • great conceptions in which the evolution of mankind is still
  • two-dimensional conception, to Giotto, in whose work we see
  • new conception of human life that was already pouring from out
  • conception of the Jesus child. We have before us human beings,
  • a feeling and conception of the world which also finds expression
  • systematic conceptions such as you see in this picture, rising
  • conception of a world beyond the Earth proceeded still from the
  • conception which emerges in Raphael's great picture, generally
  • their conception of the single individual on Earth. But now, as
  • figures are emancipated from the conception as a whole. Far more
  • conception. Now it has passed over to the renewed conception of
  • the several figures, how the Roman concept of power is expressed.
  • immense change in the whole artistic conception.
  • Maximum number of matches per file exceeded.
• Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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  • 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
  • other hand, we consider the Christian traditions, the concepts and ideas
  • the earthly element. Such was the conception — a harmony, an
  • in the olden time. Yet he had a mighty impulse to that conception of
  • he bore with him? It was a whole world-conception, of which we can say
  • of Biblical history, we have the twilight of an ancient world-conception.
  • — the conception of the Trinity, of the Last Supper, of the
  • All these conceptions, lifted right out of the moral element, assumed
  • when the Christian conceptions had, as it were, become objectified and
  • from which we gain a more accurate conception of the composition than
  • in Rome, such ideas are brought together with the fundamental concept;
  • conception which we now see on the wall of the Segnatura.
• Title: History of Art: Lecture III: Dürer and Holbein
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  • conceptions of Nature, seeking to unite with bold intelligence
  • conception of the Christian tradition coming upwards from the
  • Christ. The whole conception shows how this very soul comes to
  • Dürer's Holy Trinity: Father, Son and Spirit. The conception is
  • truly born out of the whole spirit of the age — a conception
  • mastered by that time. The conception is here worked out in
  • fundamental conception of the picture is expressed in a restful
  • conception of movement, — movement proceeding directly out of the
• Title: History of Art: Lecture IV: Mid-European and Southern Art
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  • of the Christian world-conception. The Play concerning Anti-Christ,
  • world-conception as a whole, there arose the works of Art which we
  • conception with the Mid-European depth and tenderness of feeling.
  • Christian world-conception, deeply united with the human soul,
  • overcomes all things. The Christian world-conception had entered
  • historic conception of all earthly evolution. See how Adam, down
  • Cosmic conception.
  • world-conception. Once more, observe the deepening of the soul's
  • world-conception, was in any high degree influenced by the
  • and Michelangelo. Artistically, this conception is altogether a
• Title: History of Art: Lecture V: Rembrandt
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  • book Rembrandt as an Educator. He found the conceptions and
  • and the darkness. This artistic conception becomes so strong in Rembrandt
  • in the conception of these two pictures.
  • conception out of the element of light. He who aims at what is merely
• Title: History of Art: Lecture VI: Dutch and Flemish Painting
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  • we may regard as the fundamental frame-work of the artistic conceptions
  • are not really smaller, but according to the conception prevailing, they
  • the man who looks at the picture is included in the whole conception.
  • religious conception which had evolved during the course of many
  • form till they had so grown together with this conception as to represent
  • The greatest conception
  • his conception of the Last Judgment. There is a certain angular quality
• Title: History of Art: Lecture VII: Representations of the Nativity
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  • lecture. Here you have a beautifully naive conception of the Nativity.
• Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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  • outcome of the Christian world-conception. So perfectly does it express
  • 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
  • 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.
  • life the concepts to express this Art are the most perfect, and all
  • ideal, and we have few words at our disposal, few concepts and ideas,
  • conceptions, out of which such a picture proceeded even in Raphael's time,
  • here, is an absolutely true conception. The conception corresponds to a
  • conceptions of how the artist should work, ideas of artistic harmony
  • districts in the first half of the 15th century the spatial conception
  • do so according to the measure of his own elementary conceptions. He has
  • anthroposophical conception of the world. In the none too distant future,
• Title: History of Art: Lecture IX:
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  • vivid conception of what he intended. We are wont to conceive things
  • the way of a healthy conception of existence. The latter will have to
  • an outcome of the materialistic conception of life — represent,
  • being in this striving towards a living conception of the Spiritual
  • It is no longer possible to gain by outer vision a conception of Phidias'
  • impossible for these late imitations to inspire the lofty conceptions
  • Truly an ideal conception
  • the age of which I tried to indicate just now that the whole conception