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• Title: Memória e Amor
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  • Esta é a glória essencial da arte: ela nos leva, por meios simples, ao mundo espiritual, no presente imediato. Quem é capaz de olhar para a vida interior do homem dirá: de modo geral, o homem se lembra apenas das coisas que vivenciou no curso de sua vida terrena atual. Mas a força pela qual ele se lembra dessas experiências terrenas é a força enfraquecida de sua existência como um eu na vida pré-terrena. E o amor que ele é capaz de desenvolver aqui como um amor universal da humanidade é a força enfraquecida da semente que frutificará após a morte. E assim como no canto e na fala declamatória aquilo que um homem é deve estar unido, pela memória, àquilo que ele pode dar ao mundo por meio do amor, assim também é em toda arte. Um homem pode experimentar uma harmonia de seu eu com o que está fora, mas a menos que seja capaz de mostrar externamente o que está dentro dele – seja no tom, na pintura ou em qualquer outro ramo da arte –, a menos que mostre na superfície o que ele é, o que a vida fez dele, qual é o conteúdo essencial de sua memória, ele não poderá ser um artista. Tampouco é um verdadeiro artista aquele que é acentuadamente inclinado a ser egotista em sua arte. Somente aqueles dispostos a se abrir para o mundo, os que se tornam um com seus semelhantes, os que desdobram o amor, são capazes de unir esse desdobramento do amor intimamente a seu próprio ser. Altruísmo e egotismo se unem em uma única corrente. Confluem naturalmente e mais intimamente nas artes sonoras, mas também nas artes plásticas. E quando, por meio de um certo aprofundamento de nossas forças de conhecimento, nos é revelado como o homem está conectado a um mundo suprassensível, no que diz respeito ao passado e ao futuro, podemos também dizer que o homem tem um antegosto presente desse vínculo, no criar e fruir artístico. Na verdade, a arte nunca adquire todo o seu valor se não estiver, em certa medida, de acordo com a religião. Não que tenha d
  • Prova abundante disso reside na maneira como a arte se desenvolveu. Originalmente era uma com a vida religiosa. Nas eras primitivas da humanidade, ela era imbuída nos cultos religiosos. As imagens que os homens formavam de seus deuses eram a fonte das artes plásticas. A título de exemplo, recordemos os Mistérios da Samotrácia a que alude Goethe na segunda parte de Fausto, onde fala dos Cabiros. [Vide ciclo de palestrasGoetheanism as an impulse for man's transformation,Dornach, janeiro de 1919.] Em meu estúdio em Dornach tentei fazer um desenho desses Cabiros. E o que resultou disso? Foi algo muito interessante. Simplesmente me propus a desvendar intuitivamente a maneira como os Cabiros teriam aparecido nos Mistérios da Samotrácia. E imagine só: cheguei a três jarros, mas jarros, é verdade, moldados plástica e artisticamente. A princípio fiquei pasmo, embora Goethe tenha realmente falado de jarros. O assunto ficou claro para mim apenas quando descobri que esses jarros ficavam sobre um altar: então, algo semelhante a incenso era colocado neles, as palavras sacrificiais eram cantadas, e pelo poder das palavras de sacrifício – que nos tempos mais antigos da humanidade carregavam uma força de estímulo vibratório bastante diferente de qualquer coisa possível hoje – a fumaça do incenso era formada na imagem desejada da divindade. Assim, no ritual, o cântico imediatamente se expressava plasticamente na fumaça do incenso.
  • A humanidade realmente adquiriu a arte da vida religiosa. E Schiller tem razão ao dizer: “Somente no alvorecer da beleza se avança para a terra do conhecimentoâ€�, que geralmente se encontra citado nos livros como “Somente através da porta da beleza se avança para a terra do conhecimento.â€� Se um artista comete um lapso, isso é passado para a posteridade. A leitura certa, é claro, é: “Somente no alvorecer da beleza se avança para a terra do conhecimentoâ€�. Em outras palavras: todo conhecimento vem por meio da arte. Fundamentalmente, não há conhecimento que não seja intimamente relacionado à arte. É apenas o conhecimento ligado ao exterior, à utilidade, que aparenta não ter ligação com a arte. Mas esse conhecimento só pode se estender ao que, no mundo, um mero lapidador saberia sobre pintura. Assim que na química ou na física se vai além – estou falando figurativamente, mas você sabe o que quero dizer – do que a mera retificação de cores implica, a ciência se torna arte. E quando o artístico é compreendido em sua natureza espiritual da maneira correta, ele gradualmente avança para o religioso. Arte, religião e ciência eram uma coisa só, e ainda é possível termos uma noção de sua origem comum. Isso alcançaremos apenas quando a civilização e o desenvolvimento humano retornarem ao espírito; quando levarmos a sério a relação existente entre o homem aqui, em sua existência física terrena, e o mundo espiritual. Devemos nos apropriar desse conhecimento sob os mais diversos pontos de vista.
• Title: New Spirituality: Lecture 3: The New Spirituality and the Christ Experiance of the Twentieth Century - 2
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  • existed in Greece, primarily as artistic beauty but also as a certain insight; and how already in
• Title: New Spirituality: Lecture 4: The New Spirituality and the Christ Experiance of the Twentieth Century - 3
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  • artistic nature, but in the 1780s and the beginning of the 1790s he was strongly influenced by
• Title: New Spirituality: Lecture 5: The New Spirituality and the Christ Experiance of the Twentieth Century - 4
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  • human system of ideas; but only, if I can put it so, artistic elaborations of it. In neither
  • belong to an artistic pedagogy and didactics to be able to discern that one child is suited for
• Title: New Spirituality: Lecture 6: The New Spirituality and the Christ Experiance of the Twentieth Century - 5
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  • judgement arose. All that was developed for the affairs of the religious life, the artistic life
• Title: "Heaven and Earth will pass away but my words will not pass away"
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  • perception; each separate form must be artistically created — I
  • the old mediums of artistic production.
• Title: Meditative Knowledge of Man: Lecture I: The Pedagogy of the West and of Central Europe: The Inner Attitude of the Teacher
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  • of artistic speech is the most important. Also the second of 15 lectures given
  • regard we must as teachers become artists. Just as it is quite impossible
  • for the artist to take a book on aesthetics in hand, and then to paint or
  • consider anyone a right-minded artist who doesn't say to himself on
  • properly disposed as an artist, if he is satisfied with any work he has
• Title: Meditative Knowledge of Man: Lecture II: The Three Fundamental Forces in EducatioN
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  • of artistic speech is the most important. Also the second of 15 lectures given
  • artistically, that as a group [
  • that would shift over from the more abstract lingual form to the artistic.
  • scientific into the artistic, even in the shaping of his thoughts. But only
  • through the artistic do we grasp the world. And we can always say, the man
  • body, only when your knowledge assumes an artistic form, do you become a
  • from science to an artistic grasp of the world, from the moon-calf to the
• Title: Meditative Knowledge of Man: Lecture III: Spiritual Knowledge of Man as the Fount of Educational Art
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  • of artistic speech is the most important. Also the second of 15 lectures given
• Title: Meditative Knowledge of Man: Lecture IV: The Art of Education Consists of Bringing Into Balance the Physical and Spiritual Nature of the Developing Human Being
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  • of artistic speech is the most important. Also the second of 15 lectures given
  • — as I have indicated in my article on the artistic
  • artistic education. What does this mean?
  • true artistic treatment in education we can avoid that even in a man with
  • education one has to create an artistic balance. Because if one does not
  • artistic, creative pedagogy.
• Title: Social Understanding: Lecture II: Social Understanding Through Spiritual Scientific Knowledge
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  • of artistic speech is the most important. Also the second of 15 lectures given
  • thing to a good teacher as the aesthetics of colour is to an artist. He can
  • educators in the same way as people become artists or botanists. It is that
  • day after to-morrow. But if you are the artist kind of teacher you are not
• Title: Lecture: Art As A Bridge Between The Sensible And The Supersensible
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  • — we were talking about artistic monuments
• Title: Raphael's Mission in the Light of the Science of the Spirit
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  • them, including artists, the words of Savonarola still echoed
  • its isolation (joining other artists and painters working in
  • realms of the spiritual, but assumes artistic form — much as
  • spirit, with the Greek artistic mood and sense for beauty,
  • we can then say: Through what he created artistically, Raphael
• Title: Leonardo's Spiritual Stature: Lecture
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  • this wall as something of an artistic miracle, not only in
  • year he went about with the greatest artistic intentions, with
  • and he took the artist to task. Leonardo replied that Christ
  • us now look at him as an artist in the first place. Art had
  • transpose ourselves, for example, into how a Greek artist
  • we sense that the artist created as Nature does, in standing
  • ideas both in his written works and in his artistic
  • Immersing oneself in them, it becomes evident that as an artist
  • artist.” In making use of these words with reference to
  • artist who could ultimately only work with the means available.
• Title: Fairy Tales: in the light of Spiritual Investigation
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  • Goethe who attempted, alongside his artistic
  • than do the sources of creativity and artistic appreciation
  • tragic, as well as other forms of artistic expression, results
  • aesthetic, artistic enjoyment of the fairy tale may
  • frequently — not only in artistic, but also in
  • a saga, or if one is of an artistic disposition,
  • has been presented artistically in pictures is interpreted
  • hand, nothing of the artistic form of the fairy tale is
  • gradually comes to feel that in all conscious artistic
• Title: The Worldview of Herman Grimm in Relation to Spiritual Science
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  • transformed it artistically, who have utilized it for cultural
  • “Künstler und Kunstwerke” [Artists and Works
  • artists like Michelangelo, Leonardo da Vinci,
  • his literary and artistic abilities.
  • research, which Herman Grimm so often touches upon in artistic
  • artistic soul of Herman Grimm touches upon these facts of the
  • pure artist-soul. That was a spirit, that was a soul that lived
  • humanity. After all, as an artist, he touched so intimately on
• Title: Impulse for Renewal: Lecture IV: Anthroposophy and Pedagogy
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  • as an artistic soul principle, something more pure and splendid
  • through which the child in an artistic way can be active in his
  • total being in the artistic form of writing which can evolve
  • artistic way. Out of pedagogic-artistic principles it commences
  • Working from an artistic basis results in the child handling
• Title: First Class, Vol. I: Lesson 4
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  • towards them. When artistically presented, however, I can
  • such excellent villains. This is possible in the artistic area,
  • possible to separate thinking from feeling in the artistic
• Title: The Social Question: Lecture I: The True Form of the Social Question
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  • that everything, from thought, artistic creativity and
• Title: The Social Question: Lecture III: Fanaticism Versus a Real Conception of Life in Social Thinking and Willing
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  • included in religious life, all that is artistic, literary and
  • everything from educational to artistic life need to be
• Title: The Social Question: Lecture V: The Social Will as the Basis Towards a New, Scientific Procedure
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  • relevant in religious convictions, all artistic life, all which
• Title: The Social Question: Lecture VI: What Significance does Work have for the Modern Proletarian?
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  • artistic life, a certain ethical life — what the
  • the artistic, right into the ethical life, yes, right into
• Title: Lecture: Richard Wagner and Mysticism
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  • Spiritual Science lived in one of the greatest artists of our time. In
  • no need to reiterate the generalisation that ‘an artist creates
  • which help us to understand the achievements of an artist need not be
  • our interpretation of these words will be put down as inartistic
  • was not one of those artists who think they must ‘out’ with everything
  • artists: Shakespeare and Beethoven. He saw in Shakespeare the
  • it unfolds in outer happenings. He saw in Beethoven the artist who was
  • artist, Richard Wagner recognised and knew of their existence.
  • Wherever we look we find that as an artist and as a human being,
• Title: Community Building
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  • sort of religious or scientific or artistic movement, but that
  • the artistic. Thus, it was quite impossible that the purpose
  • an artistic way the construction of this building, and for
  • artistic sensibilities. Yet in the background of all the work
• Title: Community Building
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  • Goetheanum possessed a very definite artistic style, born out
  • artistically appropriate style. This became the Goetheanum. At
  • Anthroposophy. For such things, the right artistic style had to
  • to the artistic style; and in the case of the Anthroposophical
• Title: Polarities in Evolution: Lecture 1: Evolution and Consciousness, Lucifer, Ahriman
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  • our creative artistic work, they are constantly trying to
• Title: Polarities in Evolution: Lecture 11: Modern Science and Christianity, Threefold Social Order, Goetheanism
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  • the work of creative artists and in aesthetic pleasures.
• Title: Problems of Our Time: Lecture I
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  • have hitherto sought in the form of beauty, artistic
  • which runs through our earthly civilization as artistic