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• Title: Mission of Folk-Souls (1929): Lecture 3
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  • intellectual-soul or mind-soul. The artistic, the architectural
• Title: Paths to Knowledge of Higher Worlds
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  • expression in the world must have an artistic frame and call into
  • the artistic spheres of life.
  • of movement in which the single artists or the groups of artists do
• Title: Lecture: The World Development in the Light of Anthroposophy
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  • with a purely analytical artistic understanding, quite coldly and
  • this by entering into the artistic creative process of the
  • artistically in the spirit.
  • artistic comprehension, which in addition develops upon the
  • rise up to art, to an artistic comprehension of forms; but if the
  • through an artistic comprehension, it is necessary to advance to
  • such an artistic comprehension. This is how matters stand. That
  • they came to an artistic comprehension of the world. As soon as
  • we continue to observe with an artistic-intuitive eye the
  • embryology, because they do not rise to this artistic
  • artistic comprehension of the human form. It is not possible to
  • Observe with a certain morphological-artistic sense how the lower
  • artistic sense and understanding, we finally comprehend why the
  • artistic deepened contemplation of the forms in the world's
  • up to an artistic conception, we perceive the activity of the
• Title: Mission/Folk-Souls (1970): 3. The inner Life of the Folk Spirits. Formation of the Races.
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  • them in the intellectual or Mind-Soul. Artistic and architectural
• Title: Colour: Part Three: Colours as Revelations of the Psychic in the World
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  • Steiner's insights into the nature of color, painting and artistic
  • becomes a real, artistic experience of the astral element in the
  • And if one has this artistic experience, death, life, soul and spirit
  • Of course in treating of things artistic, I must refer not to the
  • abstract understanding, but to artistic feeling. What is artistic must
  • be understood artistically. Therefore I cannot here point out to you
  • With these we have not the desire, if we rely on our purely artistic
  • expressed artistically in colour, then the soul will withdraw itself
  • materials of a painter, for he works upon it. But an artist must
  • see with his artist's eye and hollow out. The wood-sculptor hollows
  • artistically for a time, as expressed in space-perspective, we can
  • talking about Art must be artistic sensibility. One cannot speak about
  • Mathematics or Mechanics or Physics from artistic sensibility, but
• Title: Foundations of Anthroposophy: Lecture II: Man in the Light of Anthroposophy
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  • can really say that the artistic thoughts which transcend
  • — in superhuman artistic creations and experiences. These
• Title: Foundations of Anthroposophy: Lecture III: World Development in the Light of Anthroposophy
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  • paintings with a purely analytical artistic understanding,
  • recognise this by entering into the artistic creative process
  • themselves artistically in the spirit.
  • be grasped through a kind of artistic comprehension, which in
  • it to be, one could refuse to ascend to art, to an artistic
  • way that it can only be comprehended through an artistic
  • artistic comprehension. This is how matters stand. That is why
  • they came to an artistic comprehension of the world. And as
  • soon as we observe with an artistic-intuitive eye the
  • artistic comprehension of the world's development. If we
  • what is revealed by the artistic comprehension of the human
  • carefully. Observe with a certain morphological-artistic sense
  • form with an artistic sense and understanding, we finally
  • Through an artistic contemplation of the forms in the world's
  • when we rise up to an artistic conception, we also perceive the
• Title: Lecture VI: Man in the Light of Occultism
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  • culture! What does an artist not do with his hand? All art would be
• Title: Man's Being: Lecture VI: Man's Being, His Destiny and World Evolution - 3
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  • purposes. Here the artistic element enters into the child's
• Title: Esoteric Lessons Part III: Oslo, 10-6-'13
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  • opinion of themselves. Here's an example, imagine an artist making a
• Title: Arts and Their Mission: Lecture VII
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  • stimulation from the spiritual world. We must become artists, not by
  • artistic, had its place within the Mysteries; ritual and image, acting
  • artistic. Thus consciousness of the brotherly unity of religion, science
  • preoccupied with cognition that they gradually lost artistic sensibility.
  • world artistically. For if one lives in abstract dead thoughts, art is
  • artistic feeling and creating.
  • thoughts deaden artistic phantasy. Becoming more and more logical, one
  • are coffins in which genuine artistic feeling, living
  • lead me into the living. During an inartistic age there appear many
  • counter-art. Savants may reply: To take hold of the world artistically
  • reality, if nature herself were an artist, then it would be of no avail
  • artist; a truth discovered by anthroposophical cognition at a certain
  • given wings by artistic feeling.
  • artistic creation. Anthroposophical ideas flowered into artistic forms.
  • art always develops in the world. Goethe who was able to feel artistically
  • artistically in sculpture, painting, music, poetry.
  • the artistic spring in the human soul to gush forth.
  • all ideas flow to a certain point and to follow the purely artistic
  • artistic. For here in our sense world art is always an influx of the
  • form itself artistically. This is necessarily accompanied by a feeling
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• Title: Arts and Their Mission: Lecture VIII
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  • stimulation from the spiritual world. We must become artists, not by
  • one from artistic awareness and creation. On the contrary, whoever takes
  • we contemplate white in an artistic way, we have the soul image of the
  • spirit. (The spirit as such conceals itself.) And if, as artists, we
  • within the world of color. If, artistically, we focus attention upon
  • but aesthetic feeling. The arts must be recognized artistically. For
  • with unbiased artistic feeling, we feel no urge to see them with well-defined
  • phenomena and resting within itself, this may be expressed artistically
  • Above everything else, an artist, any artist, must develop a feeling
  • the nineteenth century notwithstanding. Once a Munich artist told me
  • lecture course my own cold forces me to a rather inartistic croaking,
  • a musical artist, for he tunes his nerve strands in a distinctly musical
  • soul transformation, as poetic, artistic phantasy. This fact cannot
  • artistic rites rather than the abstractions of laboratory and clinic;
  • had real artistic feeling, wrote his
  • human element. Quite a different urge and artistic feeling held sway
  • of nature. Those who deride materialism are bad artists, bad scientists.
  • Symbolism and allegory are inartistic. The starting point for a new
  • spring all anthroposophical ideas. We must become artists, not symbolists
  • artists like Schiller and Goethe formed their poems. In Schiller's soul
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• Title: Lecture: Reading the Pictures of the Apocalypse: Part 2: Lecture Eleven
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  • similar to how we create and form artistically today. What the spirits