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Query was: pain

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: Lecture: Inner Nature of Music: Foreword
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  • the case with architecture, sculpture, or painting. Since every night
• Title: Lecture: Inner Nature of Music: Lecture I
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  • idealized reality of the human world. The same is true of painting,
  • less than a civilized human being who can experience the pain of
• Title: Lecture: Inner Nature of Music: Lecture II
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  • sculpture and painting, the mental images must be combined before the
  • painter, for example, goes far beyond the reality of colors in the
  • paints on his canvas, it is none other than a recollection, albeit an
  • he has experienced and that lives in him. We thus see in painting a
  • origin. I am thinking, for instance, of two paintings by Leonardo da
  • other St. John. Both paintings show the same face; evidently the same
  • The artistic mysteries of light contained in the paintings are based
  • more purely on their effects of color and light. The painting of
  • voluptuous nature, exuded it again. The painting of John, on the
  • and chaste, addresses the viewer from this painting.
  • which he created his paintings — that is not what matters —
  • painting the shadow, the precipitation, of the astral world in our
  • one feels pain in the soul, the predominance of the sentient body,
  • something that this world cannot provide. Painting speaks to the
  • and painters. These works are present externally and have taken on
• Title: Lecture: Inner Nature of Music: Lecture V
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  • as is the case with painting. Even in our age, in which
  • painter, not merely to someone who looks at nature. The ear is
  • painful. Man began to find the experience of the fifth more