Searching Rudolf Steiner Lectures by Location (Berlin) Matches
You may select a new search term and repeat your search.
Searches are not case sensitive, and you can use
regular expressions
in your queries.
Query type:
Query was: painting
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: Newborn Might and Strength Everlasting
Matching lines:
- painting. In it we can admire fundamental elements expressing the loftiest
- covered with paintings that expressed this, and the earth had been brought
- Among the paintings in the Campo Santo is one that was mentioned for the
- found depicted on these walls. This Purgatory painting expresses in the
- This painting depicts a train of kings and queens on horseback emerging
- in the painting. Thus we find in a painting of the Middle Ages the mystery
- "Purgatory" (kamaloka) is the correct name for this painting, not "The
- This painting in the Campo Santo shows in a most wonderful way that human
- divine spiritual heights, and they tried to express it in this painting in
- the Campo Santo. Because it is such a wonderful painting it has been
- human soul, entered his soul through the Child. In the painting the artist
- So this Campo Santo painting of the Middle Ages expresses all that is
- expression in the painting I have just described. Ever and again will we
- expressed, for instance, in the painting I have described, although we must
- painting as the childlike soul, borne aloft spiritually by the wings of
- Title: Being of Man/Future Evolution: Lecture 9: Evolution, Involution and Creation out of Nothingness
Matching lines:
- a Raphael painting. It would see what is there in the picture itself,
- Title: Michelangelo
Matching lines:
- about his new task, the painting of the ceiling of the Sistine
- done a good deal of painting, he did not feel himself really to be a
- sculpture to his painting the vital creative principle which informed
- paintings, how the Christ-impulse was foretold. The whole of
- of painting to do. He was to paint the two end walls of the Sistine
- Michelangelo's painting growing out into space. If we look at
- Painting nor sculpture now can lull to rest
- same spirit which we have found in his sculpture and painting. The
- Moses and David, or with the colour and form of his paintings in the
- Painting nor sculpture now can lull to rest
- contemporaries understood Michelangelo's paintings in the Sistine
- Title: Errors in Spiritual Investigation
Matching lines:
- grasped by the sound human intellect. Just as a painting is not made
- investigator. Nevertheless, paintings are able to originate only
- Title: Evolution/Aspect: Lecture 4: The Inner Aspect of the Moon-embodiment of the Earth (Part 1)
Matching lines:
- represents in painting an image of the cosmic purpose. The artist [is
- Title: Lecture: The Mission of Raphael in the Light of Spiritual Science
Matching lines:
- Then however we get the impression that in the Art of Painting itself
- Title: Goethe's Secret Revelation: Lecture I
Matching lines:
- sitting round a mountain, and painting it from different
- Title: An Impulse for the Future
Matching lines:
- painting: Mr. Hermann Linde. The work to be done is essentially
- painting of the domes, copies of which are preserved in Alinari's
- Title: Supersensible Knowledge: Lecture IV: The Origin of Evil
Matching lines:
- When a painting depicts wonderful figures of light, together
- Title: Supersensible Knowledge: Lecture VII: Education and Spiritual Science
Matching lines:
- make paintings of them; then happy human beings for whom life
- Title: Supersensible Knowledge: Lecture IX: Wisdom and Health
Matching lines:
- people who have no sense for music or paintings; likewise
- Title: Supersensible Knowledge: Lecture X: Stages in Man's Development in the Light of Spiritual Science
Matching lines:
- painting, and just as we do not feel the stab of the dagger
- depicted in a painting, so do we not experience either
- Title: Lecture: Foundations of Esotericism: Lecture XXI
Matching lines:
- painting works directly on the etheric body. A virtue, on the other
- in buildings, paintings and sculpture. If we were to have a world
- Title: The Mission of Savonarola
Matching lines:
- Title: Lecture: The Origin of Evil
Matching lines:
- figures of light are shown in a painting together with evil devils,
- Title: Temple Legend: Lecture 8: The Essence and Task of Freemasonry from the Point of View of Spiritual Science - 2
Matching lines:
- painting is being taught will not take the paintbrush into his own
- Title: Where/How/Spirit: Lecture II: Goethe's Secret Revelation - Exoteric
Matching lines:
- paintings of the same mountain painted by painters from
- Title: Where/How/Spirit: Lecture X: The Practical Development of Thinking
Matching lines:
- Take a painting, for example, the Sistine Madonna by Raphael,
- and put a human being and a dog before it. The painting makes a
- Title: Spiritual Science/Treasure for Life: Lecture XI: Spiritual Science as a Treasure for Life
Matching lines:
- in the fields of architecture, sculpture, and painting. With
- Title: Human History: Lecture I: The Relation of the Human Being to the Supersensible Worlds
Matching lines:
- painting nothing but a picture with such thoughts even if they
- Title: Spirit and Matter: Lecture IV: Human Soul and Human Body Considered Scientifically and Spiritual-Scientifically
Matching lines:
- comparatively, the nervous life is really a painting of the
- make the brain a painting of the soul life.
- painting; the respiratory system only picture writing. The
- left to itself to find out of the painting that it wants to
- Title: Riddles of the World: Lecture I: Haeckel, the Riddles of the World and Theosophy
Matching lines:
- painting from Leonardo da Vinci up to now in a nice
- Title: Riddles of the World: Lecture XVI: German Theosophists at the Beginning of the Nineteenth Century
Matching lines:
- Thus, you see a painting of the first time of the 19th century,
- Title: Riddles of the World: Lecture XXII: Jacob Boehme
Matching lines:
- Jacob Boehme's soul painting is a reproduction of nature. He
- Title: Knowledge of Soul and Spirit: Lecture XIV: The Hell
Matching lines:
- importance. At the moment of death, a comprising painting of
- to drowning his whole life faced him like a big painting. What
- After this life painting was there for a quite short interval,
- Title: Karma of Materialism: Lecture 3
Matching lines:
- here in Berlin of paintings of Christ, a whole series of ahrimanic paintings
- Title: Toward Imagination: Lecture 1: The Immortality of the I
Matching lines:
- do without thinking. He shows this by painting a strange picture of
- been an impressionist in all he did. When he discussed paintings —
- and many of his essays are about painting — he did so from the
- standpoint of impressionism. When he wrote about painting, he wanted
- However, in painting and in poetry pure impressionism is quite possible.
- anything against an impressionist painting was of course a narrow-minded,
- expressionist, cubist, or futurist paintings. Most people when they
- Title: Toward Imagination: Lecture 2: Blood and Nerves
Matching lines:
- the subject of the painting can then walk around. In my book I have
- Title: Toward Imagination: Lecture 4: The Human Organism Through the Incarnations
Matching lines:
- this painting. Some of them admire the figure of this Venus precisely
- this reproduction of the painting although it is not good, but I don't
- a painting or a sculpture.
- from a painting. Now the strange thing is, when you look at a Japanese
- European painting and sculpture, you will find the difference between
- to this sense for reality. When I look at a painting of a figure taken
- to see the whole picture. If someone now objected that this painting
- is the result of earlier paintings by the same and other painters, and
- Title: Toward Imagination: Lecture 5: Balance in Life
Matching lines:
- painting in the Sistine Chapel. The author of the words I have just
- Title: Toward Imagination: Lecture 6: The Feeling For Truth
Matching lines:
- Lehmann was a good painter, and so his paintings were bought as genuine
- to do so well that his paintings were indistinguishable from those painted
- paintings by Wiertz are exhibited.
- by Wiertz. They are indeed different from any other paintings; they are
- in any case some of the paintings are very deeply moving.
- and could go to Rome and study Italian painting. And then he painted
- of the Louvre in Paris. The committee accepted it, but hung the painting
- then even though the painting is on exhibit, it's as good as not really
- significant Rubens painting. Wiertz at once scratched out the name Rubens
- two paintings by Wiertz and said, nothing doing; both are not suited
- good painting — it goes without saying people would buy Leonardo's
- but not the other person's painting.
- Title: Toward Imagination: Lecture 7: Toward Imagination
Matching lines:
- up paper, we wouldn't see the paintings on the inside of the rolls.
- And yet, the paintings are there! And they must have been painted before
- We can compare the paintings on the rolls with all that happened during
- about the paintings inside the rolls. If the structure is rather artful
- however, it will not contain a word about the paintings inside the rolls.
- the paintings on the inside of each roll. Now, you may wonder if a description
- of the rolls, not what lives as paintings on the inside of each roll.
- Title: Richard Wagner: Lecture IV
Matching lines:
- reunited with art and science. Art — poetry, painting, sculpture
- Title: Inner Realities: Lecture 3: The Inner Aspect of the Moon-embodiment of the Earth - 1
Matching lines:
- when one stands before this picture, which represents in painting an
- Title: Destinies of Individuals and Nations: Lecture 12: The Group Sculptured for the Building in Dornach
Matching lines:
- painting so that the two may be seen in juxtaposition to
- demonstrate how the arts differ. Painting cannot convey
- Title: Destinies of Individuals and Nations: Lecture 14: The Cosmic Significance of Our Sensory Perceptions - Our Thinking, Feeling and Will Activity
Matching lines:
- responds to the painting emotionally this is an entirely
- Title: Sound Outlook: Lecture II: The Building at Dornach
Matching lines:
- consists of the paintings in the domes. The subjects of these
- too, are taken from our Spiritual Science. The paintings
- thing, because in painting, for certain inner reasons, (to go
- produce the light-force necessary for the painting, of these
- style of painting had to conform to our conception. To paint
- different approach to painting is necessary. For instance,
- painting must therefore be quite different.
- to continue in painting; the theme of the croup. The Christ,
- Title: Sound Outlook: Lecture IV: History and Repeated Earth-Lives
Matching lines:
- are symbolised. Primitive paintings adorn the well of the
- Title: Isis and Madonna
Matching lines:
- art — in accordance with the art of painting. It is, however, as if
- Title: The Nature and Origin of the Arts
Matching lines:
- Title: Lecture: Prayer
Matching lines:
- prayer. In painting we have what might be called a
- Title: Lecture: Leonardo da Vinci
Matching lines:
- barbarisms, the painting-over, and the soaking could not
- partly in the painting; rather, it is the conception that works on
- useful. Here Leonardo was employed to assist in painting the Master's
- something else besides. If we follow up his talent for painting we
- painting the Christ Figure, his hand trembled. Indeed, if we put
- that neither outwardly nor inwardly was Leonardo happy when painting
- there is a wonderful treatise on painting. In it painting in its
- Oh! This work of Leonardo's on painting, although we have only
- painting are here represented as only the greatest genius could
- shows that in painting a battle, the horses had to be represented
- coloring are to be turned to account in painting, all this is to be
- principles of painting. One is the figure of Judas. From the
- reproductions and also to a certain extent from the shadowy painting
- before us to speak in detail of his paintings. If we absorb ourselves
- Title: Lecture: Inner Nature of Music: Lecture II
Matching lines:
- sculpture and painting, the mental images must be combined before the
- 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
- something that this world cannot provide. Painting speaks to the
- Title: Metamorphoses/Soul One: Lecture 8: Buddha and Christ
Matching lines:
- created by Raphael and Correggio in their paintings. Goethe wished to set
- Title: Background/Mark: Lecture Two: Higher Knowledge and Man's Life of Soul
Matching lines:
- painting or photographing it from one side, it must never be
- Title: Esoteric Lessons Part III: Berlin, 4-11-'13
Matching lines:
- doppelganger, while another enters a room as a painting falls from
- Title: Eternal Human Soul: Lecture III: Goethe as Father of Spiritual Research
Matching lines:
- wanted to paint the painting. One could imagine that anybody
- wants to paint the painting even that he does it. However, then
- he exceeds the real painting.
- Title: Influence of Spiritual Beings Upon Man: Lecture XI
Matching lines:
- the etheric body, painting for the sentient soul. The harmonies
- the first elements of painting, as the feeling for the guidance of the
- so — in the five arts of architecture, sculpture, painting, music,
- Title: Earthly/Cosmic Man: Lecture 5: The Idea of Reincarnation and Its Introduction Into Western Culture
Matching lines:
- Christendom. And now we turn to Raphael's paintings. It is a strange
- its mightiest power in the paintings of Raphael and that they portray
- paintings. When we look at them even more closely, still another
- influence of these paintings live on?
- Disputa and other paintings of Raphael. Without being
- I said that the paintings of Raphael are like chants of jubilation at
- with a unique power. As our eyes wander over his paintings we realise
- few more hundred years, what will have become of all the paintings
- work will not perish when his paintings are no longer to be seen on
- Title: Earthly/Cosmic Man: Lecture 6: The Mission of the Earth
Matching lines:
- as, for example, in the paintings of Raphael, this conviction will
- Title: Building Stones: Lecture Ten
Matching lines:
- genre painting with careful observation of detail. He coined
- Title: Origin and Destination of Humanity: Lecture XIX: Schiller and the Present
Matching lines:
- brought forward to the Greeks in great dramatic paintings that was at
- Title: Origin and Destination of Humanity: Lecture XXIII: The Arts Faculty and Theosophy
Matching lines:
- if one looks at it as a pedagogue. If anyone studies painting or music,
- of his time also speak to us from his paintings. He called the external
- Title: Aspects/Evolution: Lecture IV
Matching lines:
- painting depicted reality and confused the one with the
- Title: Aspects/Evolution: Lecture V
Matching lines:
- painting, a sculpture or anything else is observed. What
- Title: Two Pictures by Raphael
Matching lines:
- consideration of these pictures. The two paintings have
- Title: Raphael's Mission in the Light of the Science of the Spirit
Matching lines:
- 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
Matching lines:
- 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
Matching lines:
- “'Marriage of Mary and Joseph,” a painting, of the
- “painting” in which the characters are featured,
- Title: Impulse of Renewal: Lecture VII: Anthroposophy and the Science of Speech
Matching lines:
- painting as in today's sense, but in such a way as to
- Title: Problems of Our Time: Lecture III
Matching lines:
- perspective in an Eastern drawing or painting differs from a
The
Rudolf Steiner e.Lib is maintained by:
The e.Librarian:
elibrarian@elib.com
|