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• Title: Mission of Folk-Souls (1929): Lecture 2
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  • That which confronts the physical eyes in the green
• Title: Mission of Folk-Souls (1929): Lecture 10
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  • the north of Greenland, encircling it and then, flowing over to the
• Title: Mission/Folk-Souls (1970): 2. Normal and abnormal Archangels and Time Spirits.
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  • materialistic outlook. The green vegetation, the peculiar
• Title: Mission/Folk-Souls (1970): 10. The Mission of Individual Peoples and Cultures in the Past, Present and Future.
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  • through Baffin Bay towards the North of Greenland, encircling it.
• Title: Colour: Part Three: Colours as Revelations of the Psychic in the World
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  • Let us look at the green of the plant. When a plant puts on its green
  • we cannot regard the green colour as something subjective and see
  • reality we cannot imagine the plant without its green, if we use our
  • living imagination. The plant creates its green out of itself. But
  • lifeless, i.e. the image of the plant, we get the feeling of green as
  • Everywhere we look out upon our green surroundings. We know that the
  • substances. And because of this they are green. The green is the
  • Now let us look at the green, since in a way we have in it a kind of
  • when the colour of the skin becomes green, the man is ill and soul
  • Between paleness and greenness lies the healthy human colour with the
  • suggestion of peach. And as we feel in the plant's green the lifeless
  • forms itself through the lifeless into the image of green. The psychic
  • colour and light, when we experience green as the lifeless image of
  • to describe green as the lifeless image of life; I stopped at life.
  • again, since the green was the lifeless image of life. I have
  • by means of some concept-illustration, how green, peach-colour, white
  • shadow, for it is shadowed light. Black is the darkest. Green and
  • And so one can call the four colours, flesh-colour, and green, black and
• Title: Arts and Their Mission: Lecture VII
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  • Fairy Tale of the Green Snake and the Beautiful Lily.
  • look at the greenness of plants. We cannot consider this color a subjective
  • In truth we cannot imagine the plants in a living way without the green.
  • The plant produces the green out of itself. But how? Embedded in it
  • thereby the plant image, we recognize green as the dead image of life.
  • Everywhere that we look into green surroundings we perceive, not life
  • fact that they contain dead substances; this is why they are green.
  • That color is the dead image of life ruling on earth. Green is thus
  • If the flesh color tends toward green, he is sickly; his soul cannot
  • also if the soul experiences fear. Between whitish and greenish tones
  • in green the dead image of life, so we can feel in the peach-blossom
  • the picture green. The soul forms its own image on the human skin in
  • experience green as the dead image of life; peach-blossom color, human
  • a circle. For just note what I said: Green, dead image of the living
  • and rise to death; but have at the same time returned, since green was
  • too deeply into the physical body, and his greenish shade when, because
• Title: Arts and Their Mission: Lecture VIII
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  • instance, I pointed out that green is the image of life, revealing
  • rigid forms. In green we have a similar case in that it appears
  • cosmic in the world of color. As I told you before, green appears as
  • the dead image of life; in green life lies, as it were, concealed.
  • apprehended green, flesh color, white and black in their aesthetic
  • that reason I cannot furnish conceptual proof that green, peach-blossom,
  • gentlest shadow; black the heaviest. Green and peach-blossom are images
  • sparkles outward. Thus we may call flesh color, green, black and white
  • gleam of revelation upon the image colors, peach-blossom, green, black