Searching Rudolf Steiner Lectures by Date Matches
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- Title: Tree of Life/Knowledge: Lecture VI: Tree of Knowledge - II
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- attention to what takes place in it as paintings and
- the colours and thinks he is painting man, he ought really to leave
- it empty: then one would be painting spiritually-realistically, for
- Title: Meditative Knowledge of Man: Lecture II: The Three Fundamental Forces in EducatioN
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- those that need to be used especially in drawing, painting and writing. We
- dentition is completed, to introduce the child to drawing and painting,
- an apollonian element as we teach the plastic arts, painting and drawing.
- or paint, etc. has its origin. This is what makes the art of painting one
- devotion to the world. That which lives itself out in painting and drawing,
- motion we execute as men in painting, in drawing, in graphic activity. When
- in the other case a more intellectual element through drawing and painting.
- 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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- painting understand the meaning of what he draws: when I let the child draw
- book on aesthetics, read everything that was said there about painting and
- Title: Lecture: Art As A Bridge Between The Sensible And The Supersensible
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- ‘Non-representational painting is a protest against
- Title: Raphael's Mission in the Light of the Science of the Spirit
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- in regard to the art of painting — an inwardness that had
- one of his best-known paintings may be singled out, so as to
- The Paintings. Prestel Verlag, Munich 1999.
- Title: Leonardo's Spiritual Stature: Lecture
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- This is all that remains of the original painting that has
- technique previously employed in painting such walls. He found
- the painting method made use of earlier [fresco] insufficiently
- something that had not been done before in painting murals. A
- painting, an indescribable magic emanates from it. In spite of
- all barbarity, all overpainting, all soddenness, the magic that
- partly the painting as such; it is also the idea that
- it to cease painting altogether, since he saw himself outdone
- see him growing up in Florence, his talent in painting
- following his painting ability, one has the feeling: Year by
- way with this or that painting project or theatrical event, but
- inwardly Leonardo was not pleased as a result of painting this
- survived there is a wonderful Treatise on Painting. [See
- painting as an art is set forth — how perspective and
- on painting is a wonderful work, like nothing else that has
- been written on painting otherwise. The principles of the art
- of painting are presented as only the greatest genius could
- everywhere in his own painting to study how reality presents
- in this work of Leonardo on painting. And it confirms the
- everywhere in the Treatise on Painting; in that one
- Maximum number of matches per file exceeded.
- Title: The Worldview of Herman Grimm in Relation to Spiritual Science
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- “'Marriage of Mary and Joseph,” a painting, of the
- “painting” in which the characters are featured,
- Title: Imperialism: Lecture 3
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- green,” you are painting something dead. The way we combine
- Title: Impulse of Renewal: Lecture VII: Anthroposophy and the Science of Speech
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- painting as in today's sense, but in such a way as to
- Title: Community Building
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- paintings and forms of the auditorium, and the stage was in the
- Title: Community Building
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- interior architecture, sculpture, and painting corresponded
- Title: Polarities in Evolution: Lecture 6: Materialism and Mysticism, Knowledge as a Deed of the Soul
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- painting or sculpture—‘Here is the threshold
- Title: Problems of Our Time: Lecture III
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- perspective in an Eastern drawing or painting differs from a
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