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    Query was: raphael
  

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)
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• 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.)
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• Title: History of Art: Lecture III: Dürer and Holbein
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  • 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
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  • 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
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  • 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