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• Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
  Matching lines:
  • Michelangelo and Raphael. Let us observe a few of Leonardo's
  • Michelangelo and their successors. Throughout, we see a spiritual
  • this epoch, attained by Michelangelo and Raphael. In all the
• Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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  • Leonardo, Michelangelo and Raphael
  • Leonardo, Michelangelo and Raphael
  • Michelangelo,
  • was born in 1452, Michelangelo in 1475 and Raphael in 1483; Leonardo
  • dies in 1519, Raphael in 1520, and Michelangelo in 1564. Here we find
  • when we say of Leonardo, Michelangelo and Raphael, that they bore within
  • Michelangelo or Leonardo, whose whole way of feeling was quite different.
  • common with him, was Michelangelo.
  • their way to the surface during later centuries), of Michelangelo, on
  • again and again into the soul of Michelangelo. And when again and again
  • feeling into the works he created; Michelangelo carried a Florentine
  • Thus Michelangelo entered
  • Art and artistry was then available, Michelangelo studied it under the
  • and his sons proved themselves more or less common tyrants. Michelangelo
  • out of the mourning soul of Michelangelo — Michelangelo mourning
  • on the other hand, that in the works of Michelangelo in the Sistine
  • Thus Michelangelo carries with him a whole world to Rome, — carries
  • Florence. What Michelangelo experienced through all the spiritual life
  • so many absurdities at this point. A man can only create as Michelangelo
  • the evolution of the world who does not live in it, like Michelangelo,
  • Maximum number of matches per file exceeded.
• Title: History of Art: Lecture III: Dürer and Holbein
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  • observe Michelangelo's wonderful foreshortenings in the Sistine
  • Michelangelo — influenced as they were by Northern impulses
• Title: History of Art: Lecture IV: Mid-European and Southern Art
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  • plastic works of Donatello, Michelangelo, Raphael, Leonardo and
  • and Michelangelo. Artistically, this conception is altogether a
  • beginning of the 14th century. Compare this with Michelangelo's
  • 26.b. Moses. Michelangelo. Rome.
  • time when Michelangelo and Raphael were born. The next picture,
  • — the time of Raphael and Michelangelo in Rome.
• Title: History of Art: Lecture V: Rembrandt
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  • Michelangelo, Raphael and others — to reveal the background of his
  • indicated when speaking of Michelangelo, there came the
  • truly as an outsider. Fundamentally speaking, even Leonardo, Michelangelo
• Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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  • eminence, say in the works of Michelangelo and, above all, Raphael,
• Title: History of Art: Lecture IX:
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  • Michelangelo,
  • Old Testament. Michelangelo said that these were worthy to be the gates
  • great influence on the whole Art of Michelangelo himself. Even in the
  • details we can recognise certain motifs in Michelangelo's paintings,
  • influenced Michelangelo. Those who afterwards saw what Michelangelo
  • and coined the phrase which then became current: Donatello Michelangelosed
  • or Michelangelo Donatelloised.
  • which also gave birth to Michelangelo.
  • the great artists of the Renaissance — of Leonardo, of Michelangelo,
  • in that time. Compare this David with the David by Michelangelo. Here
  • to take hold of it in movement. Michelangelo, on the other hand, in
  • 82. Michelangelo. David, Marble Statue