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Searching The History of Art

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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
    Matching lines:
    • Raphael,
    • Raphael's Disputa.
    • conception which emerges in Raphael's great picture, generally
    • Michelangelo and Raphael. Let us observe a few of Leonardo's
    • Raphael's teacher, to see how Raphael's art grew out of his
    • imagination. On this, the greatness of Raphael very largely
    • "https://www.rudolfsteinerelib.org/Lectures/GA292/English/UNK1981/images/HA01-069_Raphael_Bethrothal.jpg"
    • 69. Raphael and Perugino: The Betrothal.
    • you will recognise how Raphael, starting from his teacher,
    • Raphael brings soul and Spirit into his pictures and combines
    • Raphael receive' such powerful influences, we see the entry of an
    • it plays in Raphael. In the former pictures we cannot speak of it
    • Italy where Raphael and his predecessors had their home, we see
    • 72. Raphael: Pope Leo X. (Pitti Gallery. Florence.)
    • spiritual element finds its way into the soul of Raphael
    • 73. Raphael: Pope Julius II. (Uffizi. Florence.)
    • at last to full expression in the creations of Raphael,
    • in which direction Raphael achieved the highest eminence. Lastly,
    • you can see in this very picture. Indeed, in Raphael it grew once
    • 78. Raphael: Saint Cecilia (Bologna, Pinacoteca)
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
    Matching lines:
    • Leonardo, Michelangelo and Raphael
    • Leonardo, Michelangelo and Raphael
    • Raphael.
    • wondrously united in Leonardo, in Michangelo and in Raphael. Yet at the
    • 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
    • say artists such as Raphael, Michelango and Leonardo were by no means
    • when we say of Leonardo, Michelangelo and Raphael, that they bore within
    • to be prevalent today they can set to work and ciriticise Raphael or
    • had carried Florence into Rome. With Raphael once again it was different.
    • Of Raphael we may say, he carried Urbino — East-Central Italy
    • Raphael grew forth. Consider the creations of these artists — the
    • man and Nature. In Raphael it is a native quality, and he continues
    • What Raphael thus bears
    • as it were, alone within the time; and yet taking its start from Raphael,
    • Raphael with this element were carried everywhere upon the waves of
    • out over the influence of Raphael.
    • his time; this becomes the dominant impulse of his feeling. Raphael,
    • And now we come to Raphael.
    • 71. Raphael. Portrait of himself. (Uffizi. Florence.)
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture III: Dürer and Holbein
    Matching lines:
    • reaches its highest eminence in Raphael.
    • this process in Raphael, whose imagination, growing up amid the
    • less purely Southern. All that Raphael observed in Leonardo, in
    • we will now once more show Raphael's famous picture known as
    • 40. Raphael. Disputa. (Vatican. Rome.)
    • 41. Raphael. Christ carrying the Cross
    • (undoubtedly a later picture), Raphael had Dürer's drawings
  • Title: History of Art: Lecture IV: Mid-European and Southern Art
    Matching lines:
    • plastic works of Donatello, Michelangelo, Raphael, Leonardo and
    • the countenance and gesture — all this, Raphael would never
    • have painted. Raphael raises what he paints beyond the human; Van
    • Northern impulses worked down even into the creations of Raphael
    • 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
    Matching lines:
    • Michelangelo, Raphael and others — to reveal the background of his
    • and Raphael, living as they did in the Fifth post-Atlantean age, could do
    • 516. The Archangel Raphael leaving Tobias. (Louvre.
  • Title: History of Art: Lecture VIII: Raphael and the Northern Artists
    Matching lines:
    • Raphael and the Northern Artists
    • Raphael and the Northern Artists
    • Raphael,
    • show some further reproductions of pictures by Raphael, and I wish to
    • Anyone who lets Raphael's
    • creations work upon his soul, will admit that in Raphael — with
    • 1. Raphael. Madonna With Child.
    • of expression have been found by Raphael for one of the most mysterious
    • It is always so with Raphael.
    • being that worked to create it — the human being, Raphael himself.
    • artist as Raphael, as the artist of an epoch that was drawing to it
    • 2. Raphael. Sistine Madonna With Child
    • 3. Raphael. Sistine Madonna With Child (detail)
    • Looking at some of Raphael's
    • characterised. For Raphael to create in this way — for his pictures
    • was already emphasized by Hermann Grimm. Raphael's work takes its course
    • Raphael. Truly, we here have something that proceeds from a great cosmic
    • background. Hence Raphael's work is so strongly separated from his
    • that great Art in the center of which is Raphael.
    • in Raphael — the Art of the Italian Renaissance. Thus in the outer
    • Maximum number of matches per file exceeded.
  • Title: History of Art: Lecture IX:
    Matching lines:
    • and, through Perugino, of Raphael himself. For all these were influenced

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