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• Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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  • will try to cut a long story short, albeit this will inevitably
  • it came over brought with it, along with all the other
  • painting. Alas, it is no longer really visible today, not even
  • is probably no longer to be seen at any place. Hence Cimabue's
  • him. (All this is no longer extant, for reasons we shall
  • man himself, no longer hovering like the vast and distant sphere
  • them he looks with loving sympathy and understanding. Going along
  • still see in them the tradition of the former time, but along
  • will no longer find the mere traditional expression, but you will
  • long been working at his Hymn to Nature — the great and
  • artist carried along, as it were, by the living impulses of St.
  • Francis. Here in this picture, belonging as it does to a later
  • work, while this belongs to a very late period in Giotto's life.
  • we come on into the 14th and 15th century, we see the longing,
  • itself more and more. There is no longer that strong impulse to
  • longer represented for their own sake. True, they live on, but
  • Supper is no longer merely represented (as in the picture that we
  • already grown so strong that they no longer feel the same
  • him working very, very long at this wonderful picture, for he
  • Church. Thus, after long labour, he had not finished Judas
  • Maximum number of matches per file exceeded.
• Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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  • 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
  • outward vision what could no longer be made known by inward feeling.
  • in Florence during his long life. We see this in the succession of his
  • worked upon during a long period. We have often spoken of it. We know
  • an intense delineation of character. It stands apart and alongside of
  • are no longer present.
  • it belongs to a somewhat earlier period, we give what Michelangelo created
  • idea which he carried throughout his long life, and is connected far
  • this standard. Truly, he underwent much in his long life. While he was
  • for a long time. It was certainly not the case that the Pope said:
  • long,” and thus together, so to speak, they arrived at the
  • Also belonging to the same
  • to a high degree; nor did he ever bind or fetter them, so long as they
  • Consider, alongside of this
  • that belonged to political history. Especially at the present moment,
• Title: History of Art: Lecture III: Dürer and Holbein
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  • they no longer contain what comes, as it were, out of the
  • there blossomed forth something that was afterwards no longer there
  • lives in the Form itself, in the Form that belongs to the pure
  • Art is able to express. Man walks along, man turns his head. With
  • in these sculptures of the Cathedral at Naumburg, belonging to the
  • very good copy in Dresden, so good that for a long time it passed
  • other, belongs, nevertheless, to the same artistic context.
  • the center; for this Madonna of Nuremberg belongs undoubtedly to a
  • Dürer, while on the other hand he also has in him the longing
• Title: History of Art: Lecture V: Rembrandt
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  • came to Weimar, and it went on for two or three years longer. Everyone
  • Human souls no longer had the force to penetrate to the heart and center
  • of Classical antiquity, for he belongs to the Fifth and not to the Fourth
  • richer in soul-content than before. Henceforth it is no longer merely
  • Rembrandt, the man of genius — henceforth it is no longer merely
  • long time, my dear friends, making one observation or another about
  • people of one and the same class or calling, men who belonged together
• Title: History of Art: Lecture VI: Dutch and Flemish Painting
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  • Mid-Europe really has no talent for this belonging together, this
  • particular nation to which they belonged was not the point. Nor did they
  • group to which they might belong.
  • constructed: the figures distributed in Space so as to belong together
  • life, which belongs to the fifth post-Atlantean period. This pole is in
  • naturalistic principle in Art, which belongs to the fifth post-Atlantean
  • no longer as before, half child-like forms. In such a group as this, you
  • belongs.
  • continued working at it for many years, and scholars have long been
  • works more or less equally along the lines of Van der Weyden on the
  • and with it the landscape that belongs to it. In Dieric Bouts you will
  • what he has been striving for along this path.
  • artists who no longer show quite the same freedom and simplicity, but
  • element of composition. Also we have no longer the mere naturalistic
• Title: History of Art: Lecture VII: Representations of the Nativity
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  • Plays with which we are familiar. Though the latter belong, of course,
  • which are no longer extant.
  • I remember having seen it there myself not long ago.
• Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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  • are naturally no longer near us today. To represent so truly this wandering
  • of the soul in human form through the spiritual world, would no longer be
  • subject. No longer is there poured out over it the magic breath of a
  • and its seeking, its longing and striving.
  • only the outcome of a long line of evolution. But this outcome appears
  • imported from the South along the paths of evolution of the Church —
  • but you will find it in other works by Multscher belonging to the same
  • for comparatively long. They were brought over to Christianity at a
• Title: History of Art: Lecture IX:
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  • that tend in the long run to brutalise even the artistic life. Goethe
  • What can become of man if he proceeds along this path of modern sports,
  • of the body arises, in that he no longer separates, what even here is
  • a long time. It was felt that the line of the face, the features, the
  • It is no longer possible to gain by outer vision a conception of Phidias'
  • To the same epoch belongs
  • preserve the tradition of the Golden Age, although it belongs to a later
  • what is actually seen. It is no longer based on something felt and sensed
  • no longer lived within the soul in the same inward way as did the ancients.