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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
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  • We will now give
  • out into the world, where everything was conceived out of a given
  • when the composition was no longer given as a matter of course
  • we see how the longing to give voice to the great cosmic process
  • World itself will give what he desires. Nature herself is
• Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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  • if he seeks once more to give Art its place in the spiritual life as
  • lost. European humanity, in a certain sense, no longer cares how a given
  • it was no longer given to him, as to the men of former ages, to trace
  • layer. Indeed, in many respects he rather gives us the impression of
  • spirits, none the less, who were decidedly agreed to give a new form
  • Let us now give ourselves up
  • lectures given at Leipzig, on “Christ and the Spiritual World,”
  • it belongs to a somewhat earlier period, we give what Michelangelo created
  • when that was. Probability is that he did not simply go there in a given
  • has grown older than that which Raphael could give to it.
• Title: History of Art: Lecture III: Dürer and Holbein
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  • Europe at that time, give us a feeling of something absolutely
  • coming to him from the South, gives himself up to magic. But in
  • was formerly given to a more occult sensitiveness, as I explained
  • will now give some examples of the School of Cologne. The Cologne
• Title: History of Art: Lecture IV: Mid-European and Southern Art
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  • pressed; nevertheless, in such a statement guiding lines are given
  • the fact that what He had given to the Earth in His Son gives, at
  • — (or shall we say, in order not to give offence, so free
  • complete in itself, we will give a series of pictures from the
  • their churches. We will give two examples from the Frauenkirche in
  • Finally, we give two
• Title: History of Art: Lecture V: Rembrandt
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  • such as Rembrandt, it is more important to give ourselves up to the
  • of the Cosmic Order, to draw from thence something which could give
  • catch the light. The figures give him the opportunity to seize the light.
  • man himself, as an outer object, gives him the possibility of seeing
  • I hope it will be given
• Title: History of Art: Lecture VI: Dutch and Flemish Painting
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  • foreground, they are made smaller. This gives you the transition to a
  • Southern aristocratic element. The life of the burghers gives birth
  • and rebellious Bull has to be fought down — gives up his blood
  • by force; the Lamb gives His Blood of His own free will.
  • chief concern is not with the composition, but to give an impression
  • We now give two examples
• Title: History of Art: Lecture VII: Representations of the Nativity
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  • You will feel the connection of it with what is given in the old Christmas
  • We shall now give a series
  • Finally we give two works
• Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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  • today will enable us to give a kind of recapitulation of various things
  • century. True, the pictures of the period, which we shall show, give
• Title: History of Art: Lecture IX:
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  • which the living starting-point is given in Goethe's
  • give a pleasant name. I refer to what are now called sports and games,
  • afield if I were to give you even an outline sketch of the real history,
  • We will now give a few
  • that was typical of Greek Art was already given. The stamp, the signature,
  • as it were, was now given to the bodily figure, as it should be represented
  • Eastern door was also given to him to do. It represents scenes from the
  • true; it gives us a right impression of the relation between the two