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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: Mission of Folk-Souls (1929): Lecture 9
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  • was painted for man by the Initiates in the picture of the ‘Twilight
• Title: Lecture: The World Development in the Light of Anthroposophy
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  • objective. When I look upon a wonderfully painted picture, it
  • face one of Raphael's Madonnas or one of Leonardo's paintings
• Title: Fifth Gospel (1950): Lecture IV
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  • through any gateway that was either painted or had images in
  • certain extent recognised by the outside world, unpainted gates
  • enter the city. If an Essene came to a painted gate he must
• Title: Eternal Soul of Man in the Light of Anthroposophy
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  • You have to be a painter to paint a
  • beautiful picture, but you do not have to be a painter to judge
  • little as one needs to be a painter in order to judge the
• 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
  • presses on one as light and colour; one becomes a painter. The source
  • of painting is opened of its own accord by means of such a view. And
  • of colour, one becomes a painter, who paints with his inner soul, for
  • the luster of the psychic. When we paint a surface blue, we are
  • satisfied only if we paint it strong at the edged and weaker in the
  • produce the form out of the colour, that is, to paint out of the world
  • occur to use to paint the soul element in a picture otherwise than by
  • If you appreciate from this standpoint the painters of the
  • And, above all, there was present something else. In the painting
  • echoed in the Renaissance painting, there was that inner perspective
  • takes the object it represents into the distance. We paint
  • in the material element in space, wanted to paint in it also.
  • the natural element in painting. For the surface belongs also to the
  • materials of a painter, for he works upon it. But an artist must
  • fact that the painter's material is the surface. And the surface can
  • and indeed added something powerful to the old aesthetics of painting.
  • return to a more spiritual interpretation of painting also, so that we
• Title: Foundations of Anthroposophy: Lecture III: World Development in the Light of Anthroposophy
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  • are objective. When I look upon a wonderfully painted picture,
  • paintings with a purely analytical artistic understanding,
• Title: Lecture II: Man in the Light of Occultism
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  • of consciousness even the memories and the symbolic paintings of the
• Title: Esoteric Lessons Part III: Christiania, 10-5-'13
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  • they were too weak. But a modern exoteric is strong. He paints a
• Title: Arts and Their Mission: Lecture VII
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
  • artistically in sculpture, painting, music, poetry.
  • painters gave Mary Magdalene a color of gown different from that of
  • perceived by a painter living wholly in his medium.
  • painters. The very source of painting opens up. With great inner joy
  • we meet architecture, sculpture, the art of costuming and painting when
  • architecture, sculpture and painting, we now penetrate into his
  • to fashion it artistically by means of architecture, sculpture, painting,
• Title: Arts and Their Mission: Lecture VIII
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
  • I went on to explain the experience of color in painting, and took pains
  • and white. Indeed, we become painters through a soul experience of the
  • each individual color tries to convey. When we paint with blue we feel
  • satisfied only if we paint it darker at the edge and lighter toward
  • we learn to paint sensitively.
  • than paint it a yellow which decreases in strength toward its edge.
  • its center. From this point of view one can appreciate the painters
  • paintings of earlier periods one finds the inner or color-perspective
  • blue retreats into the distance. When we employ red and blue we paint
  • into account sizes in space. Now distant things were painted not blue
  • to paint in those elements.
  • of painting. The plane surface is a vital part of the painter's media.
  • is true of color. The painter feels the plane surface only if the third
  • an important element to the ancient art of painting. But today it is
  • time for painting to return to a more spiritual conception, to return
  • the sculptor in three-dimensional space and the painter on a
  • a parallel transition: on the one hand, in painting the spatial perspective
  • art of costuming, sculpture and painting, to those of the inner world,
• Title: The Fifth Gospel: Lecture IV
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  • which had been painted or were even close to graven images.
  • of recognition, unpainted gates were made in Jerusalem so
  • they could enter the city. If an Essene came to a painted
• Title: The Fifth Gospel: Lecture V
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  • accepted. We must paint this picture in our minds if we
• Title: Lecture: Reading the Pictures of the Apocalypse: Part 2: Lecture Eleven
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  • paintings of the Madonna are falling to dust, even though the external