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- Title: Spiritual Science and the Art of Healing: Lecture I
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- heal by means of a real and artistic conception of an art that
- Title: Art of Healing: Lecture I
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- learns to heal by means of a real and artistic conception of an
- Title: Human Values in Education: Lecture II
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- outstanding literary and artistic ability, for he was able to
- Title: Human Values in Education: Lecture III
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- inartistic. What sort of dolls are these? They are the sort
- remarkable how children in a perfectly natural, artistic way
- realm of the artistic by letting him practise modelling in his
- artistic way, not intellectually. After a few such lessons the
- This would have had no sense for a Greek artist. He had of
- feel the urge to express it artistically. Such an experience
- have, as a second attribute the aesthetic, artistic stage. Now
- Title: Human Values in Education: Lecture IV
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- early to what is artistic, for our entire teaching must be
- permeated with artistic feeling — so must we also
- liveliness and sense of movement. Artistic teaching therefore
- artistic approach which is all-important, and out of what is
- artistic the child must be led to a comprehension of the
- done artistically, if we approach the subject in a living way,
- is at one and the same time both work of art and artist. And
- artistic work, when we let him model in the free way I
- Title: Human Values in Education: Lecture VI
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- aesthetic impressions. A little artist is hidden somewhere
- teacher's guidance must however be understanding and artistic
- artists and others who at this particular epoch were concerned
- Title: Human Values in Education: Lecture VII
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- and artistic ideality, otherwise he is inwardly torn
- Title: Human Values in Education: Lecture VIII
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- further to an artistic understanding of form, and it can only
- Title: Human Values in Education: Lecture X
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- first attempts to heal out of an artistic perception gave her
- Title: Gospel of John (Basle): Lecture VI
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- unconscious perception of the creative artist. Wagner was not
- Title: Gospel of Mark: Lecture 1
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- this aspect of Christ, and, like the Gospel itself, it is an artistic
- have been an artist, a sculptor, or a craftsman. Napoleon
- Title: Gospel of Mark: Lecture 2
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- this aspect of Christ, and, like the Gospel itself, it is an artistic
- with a certain artistic spiritual feeling so that we
- gradually come to see the artistic sequence, how the threads
- composed in an external kind of way, but with deep artistry,
- hitherto with this dramatic, artistic penetration, the Bible
- nothing but an artistic progression. If we take it as a
- purely artistic composition, we may be moved by its
- simplicity and the artistic greatness of the Bible, quite
- shall we develop a feeling for the artistic element in it,
- betrayal. Again, if we look at the purely artistic aspect,
- Title: Gospel of Mark: Lecture 3
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- this aspect of Christ, and, like the Gospel itself, it is an artistic
- beneath the grandiose artistic and occult style many of the
- that the artistic and occult style does indeed conceal such
- Title: Gospel of Mark: Lecture 4
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- this aspect of Christ, and, like the Gospel itself, it is an artistic
- Title: Gospel of Mark: Lecture 5
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- this aspect of Christ, and, like the Gospel itself, it is an artistic
- Title: Gospel of Mark: Lecture 6
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- this aspect of Christ, and, like the Gospel itself, it is an artistic
- artistically and pictorially shown in a remarkable manner how
- Title: Gospel of Mark: Lecture 7
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- this aspect of Christ, and, like the Gospel itself, it is an artistic
- Title: Gospel of Mark: Lecture 8
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- this aspect of Christ, and, like the Gospel itself, it is an artistic
- Gospels are full of such artistic sequences. Indeed they are
- dramatic intensification and the artistic composition which
- possible to perceive the methodically artistic manner in
- Title: Gospel of Mark: Lecture 9
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- this aspect of Christ, and, like the Gospel itself, it is an artistic
- their profoundly artistic character, and the artistry of
- seen in the right light only when their artistic composition
- interweaving of artistic threads, which are also at the same
- artistic element, especially toward the end of the Gospel. It
- the artistic composition of the Gospel. We can discern
- something of this artistic composition if we enquire into the
- what a delicately artistic way this is indicated — that
- remarkable with what delicacy the artistic composition of the
- is concealed in the artistic composition especially of the
- consummate artistry if we can only understand how to feel the
- same youth. In the whole artistic composition of the Gospels
- to be artistically composed as it was.
- that we can best appreciate the artistic composition of the
- Gospel. In truly artistic fashion a passage is inserted in
- Title: Gospel of Mark: Lecture 10
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- this aspect of Christ, and, like the Gospel itself, it is an artistic
- its artistic composition and its deep content, will have the
- Title: Presence of the Dead: Lecture Three: Awakening Spiritual Thoughts
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- a situation. Here, on the physical plane, an artist can create in
- Title: Festivals: Christmas: Lecture VIII: The Birth of Christ Within Us
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- unless they are from the hand of a supreme artist, drag down the
- Title: Reincarnation and Immortality: Lecture III: The Supersensible Being of Man
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- years ago, and who had quite special artistic gifts which were
- taken through death and then gave help when certain artistic
- Title: Freedom/Immortality/Social: Lecture IV: The Science of the Supersensible and the Moral-Social Ideas
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- of a scientific consideration only which has something artistic
- which itself is artistic-creative. Not aestheticians, but
- Title: Lecture: The Birth of Christ in the Human Soul
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- artistic songs have done — but the folk songs less than
- the artistic — in the course of the materialistic
- Title: Lecture Series: What was the Purpose of the Goetheanum
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- proceeded as an inner artistic consequence, from the
- of his artistic conviction Goethe voiced this beautiful
- as sculptor or musician or painter. Goethe knew that artistic
- of the spirit, flows of itself into artistic creativeness. It
- comes into artistic activity, when one knows the human being in
- concepts must be allowed to pass over into artistic seeing, so
- know something it must be comprehended artistically. But people
- rather than artistic when something is to be understood —
- if nature works artistically, then man simply does not find out
- about it by logic. He must pass over to artistic seeing to
- The artistic form had to correspond with the kernel. The style
- been said or artistically presented in the Goetheanum, was
- What Anthroposophy wanted to offer artistically in the
- and mobile thoughts about the spiritual world come to artistic
- modern time; namely, a view, a knowledge, an artistic
- Title: Lecture: William Shakespeare
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- artistic development, which culminated in Shakespeare, was made
- Title: Lecture: The Migrations of the Races
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- physical plane. The Greeks are preeminently an artistic people. The
- themselves above all as men of wisdom, as artists. When they set about
- Title: Story/Green Serpent/Beautiful Lily: Lecture I
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- might have a direct artistic impression, but that one who could get
- Title: Spiritual Teachings of Soul/World: Course V: Lecture III: Is Theosophy Unscientific?
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- what we call artistic imagination today; it was that which contained truth in
- the artist, the priest appearing apart. What has happened according to the law
- Title: History of the Middle Ages: Lecture I: Celts, Teutons, and Slavs
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- work; even artistic work was considered unworthy of the free Greek
- Title: History of the Middle Ages: Lecture II: Persians, Franks, and Goths
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- found artistic elaboration in Greece: The story of Odysseus. Tacitus
- Title: Origin and Destination of Humanity: Lecture IV: Theosophy and Darwin
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- beaver, carries out. They are so artistic, of such a mathematical regularity
- activity what the animal accomplishes. We would also call the artistic
- Title: Greek/Germanic Mythology: Lecture IV - The Trojan War
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- expression for quite other things than the purely artistic. Here is
- Title: Lecture: Theosophy and Tolstoy
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- artist, the observer of the various types among the Russian people
- filling it with anxiety and terror? Even as an artist Tolstoy has
- of Ivan Ilyitsch you can see with what artistry materialism in its
- The problem of death is here solved by the artist in a wonderful way.
- external artistic presentation, the luxury-adjuncts of modern life.
- Title: Origin and Destination of Humanity: Lecture V: Theosophy and Tolstoy
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- of our artistic life; however, I want to illuminate it in its most radical
- contemporary Tolstoy carefully and impartially at first the artist from
- the artist the viewer of the different types of the Russian people,
- fear and fright? Also as an artist Tolstoy has already advanced beyond
- of Ivan Ilyich (1886) you can see how artistically the most material
- flows through the veins of the body. We see from this form of artistic
- death is thereby artistically solved in marvellous way. Death has become
- Leo Tolstoy as an artistic
- external science, of the outer artistic representation, the luxurious
- Title: Origin and Destination of Humanity: Lecture VI: The Soul-world
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- from the marvellous, artistically perfect literature of the East. We
- Title: Origin and Destination of Humanity: Lecture VII: The Spirit-land
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- life as artists, as great inventors or in some other way with brilliant
- Title: Origin and Destination of Humanity: Lecture VIII: Friedrich Nietzsche in the Light of Spiritual Science
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- who were scientists and artists, arranged the destiny of the human being
- of the origin of all artistic life and the language by which the old
- he said to himself: the artist cannot do the third step before the first.
- Title: Temple Legend: Lecture 7: The Essence and Task of Freemasonry from the Point of View of Spiritual Science - 1
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- preserved alive artistically in a rigid form. That is the point. The
- Title: Temple Legend: Lecture 8: The Essence and Task of Freemasonry from the Point of View of Spiritual Science - 2
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- Title: Schiller and Our Times: Lecture I: Schiller's Life and Characteristic Quality
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- that intimate artistic attitude.
- the aesthetic conscience. Beauty, taste and artistic
- in science as in artistic effort, there is nowadays great
- the problem of freedom in an artistic way; and that resulted in
- he was sure that the artist could give man of the highest. He
- the aesthetic. Anyone who has artistic sensibility, appreciates
- Title: Schiller and Our Times: Lecture III: Schiller and Goethe
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- Egmont, that fruit of a mature artistic thought. He
- came to a realisation of the various forms of artistic
- sentimental art.” An artist who still stands in relation
- naively. That is how the Greeks created. An artist who longs
- of the world had still to be expressed in the form of artistic
- Title: Schiller and Our Times: Lecture IV: Schiller's Weltanschauung and his Wallenstein
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- calls on artists to take their place in the world-scheme and to
- Title: Schiller and Our Times: Lecture V: Schiller, the Greek Drama and Nietzsche
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- grasp of what he called the purely artistic. We have seen how
- Schiller found in the beautiful and artistic something which
- — so that it is artistic creation which gives man
- his Wilhelm Meister, the artist was the only true man
- art. Hence comes a new form of participation of the artist in
- he was simply to be an artist.
- artists whose judgments were similar: e.g., Wilhelm v.
- way Schiller was led into opposition to his earlier artistic
- supersensible where the moral is concerned. No artist could see
- like that; and in his return to the artistic Schiller found
- the artistic Schiller reached this conception of the tragic. If
- artistic solution of the world-riddle. The world-embracing
- Title: Schiller and Our Times: Lecture VI: Schiller's Later Plays
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- artistic form; it was meant to elevate man and fortify him
- deepening the human spirit in an artistic and moral direction.
- Title: Schiller and Our Times: Lecture VII: Schiller's Influence during the Nineteenth Century
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- the matter in itself that it should have artistic effect. This
- enthused by Winckelmann and formed his artistic ideas out of
- Title: Schiller and Our Times: Lecture VIII: What can the present learn from Schiller
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- artistic can be separated from a world conception
- Goethe as the artist. True, if we are dealing exactly with
- with what Schiller stands for. As I said, the artists of an
- death. An artist, for instance, like Peter Cornelius, creates
- believed that he saw the basis for his artistic ideal, he stood
- “artistic” nowadays can never be called so in the
- aesthetic creed is also his religious and that his artistic
- Artists are not to provide us with photographs of the external
- Then artists will once more create, as they did formerly, from,
- Title: Origin and Destination of Humanity: Lecture XVII: Ibsen's Attitude
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- the artist himself. He was a hermit in the human life, a hermit in his
- and look from the artistic point of view at Shakespeare. What finds
- Title: Schiller and Our Times: Lecture IX: Schiller and Idealism
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- we have not yet got the true artistic view; there is still a
- by the help of Kantianism and the artistic, to higher views,
- is the true secret of the spiritual; that is why the artist
- Title: Richard Wagner: Lecture I
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- the house was the expression of an artistic idea; the whole
- Title: Origin and Destination of Humanity: Lecture XIX: Schiller and the Present
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- of his work, even through his whole work, which is the artistic and
- remained to you to become either a northern artist, or to give your
- in connection with the divine in Wallenstein. It would be inartistic
- basically nothing else than what wants to penetrate artistically into
- Title: Richard Wagner: Lecture III
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- necessary for an artist to have these thoughts in an abstract form. Just
- Title: Richard Wagner: Lecture IV
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- an “artistic” one for the senses, and a
- Title: Temple Legend: Lecture 13: Concerning the Lost Temple and How It Is To Be Restored - 3
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- just as the artist fashions outer forms or expresses a certain idea
- Title: Origin and Destination of Humanity: Lecture XXIII: The Arts Faculty and Theosophy
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- was called arts faculty in the Middle Ages. It was an artistic mastery
- can solve them who is an artist of psychology and can undertake the
- arise from them, a human being who has become an artist.
- exams. As well as anyone does not own the quality of an artist who has
- only scholarship, also anyone does also never become an artist who has
- He was an artist and mathematician at the same time. The physical education
- philosophical science we would come to the artistic view. Only that
- Title: Foundations of Esotericism: Lecture XVI
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- yield something new. One sees this best in art. What the artist
- contradict natural laws. The artist builds something new out of
- Title: Foundations of Esotericism: Lecture XVII
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- fantasy, in the case of poet and artist, we find only a weak
- Title: Foundations of Esotericism: Lecture XXI
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- artistic activity in theosophical life. The passage through the Astral
- artist has within himself at any rate the beginning of what is an
- organising force; in any case an artist of distinction as, for
- instance, the creator of the Zeus head. It is artistic creation in
- that is truly artistic, where this is conceived in its world-cultural
- artistically either in a visual or plastic way, this has an effect on
- the etheric body. An artistically formed piece of sculpture or a
- These things lay upon us the duty of re-introducing artistic activity
- kinds of artistic creation also rise up to the Devachanic plane. When
- Goethe attains to the highest heights as an artist he is only
- Title: Temple Legend: Lecture 16: The Relationship of Occultism to the Theosophical Movement
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- picture as artistically full of life, as divine universal thinking,
- lived in the soul of the artist as something spiritual. The spiritual
- produce artists in all spheres of life. Only let theosophy live in
- Title: Lecture: Brotherhood and the Fight for Survival
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- scientific and artistic deepening, would not have been possible
- Title: Riddles of the World: Lecture VIII: Fraternity and the Struggle for Existence
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- artistic achievements of the 12th and 13th centuries. They
- artistic deepening would not have been possible without
- Title: Signs/Symbols: The Christmas Festival as a Symbol of the Sun Victory
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- the only artist: from the simplest substance to the greatest
- Title: Riddles of the World: Lecture X: Christmas as Symbol of the Sun's Victory
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- only artist: from the simplest material to the biggest
- Title: Temple Legend: Lecture 20: The Royal Art in a New Form
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- simultaneously. The artist's eye looked at what was enacted [in the
- transform the planet artistically. You find this expressed in the
- human heart. For it is manifested through the artist, becoming a work
- artist can certainly create a strangely beautiful Zeus, but he cannot
- world-embracing ideas. The great artists did not invent their topics,
- the architect nor the artist nor the statesman have anything to do —
- Title: Riddles of the World: Lecture XIV: The Children of Lucifer
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- of Lucifer shows us that the living creating of the artist
- inspire his mind to express artistically what we have in The
- existence. It is a book in which one recognises the artist. In
- original artists. Any later art appeared to Nietzsche only as a
- well as in the Dionysus drama the Greek artist was able to do
- machine, you see also the artist, the mechanic through their
- thoughts of the mechanic, of the artist are crystallised as it
- look from the piece of art and from the machine at the artist
- and at the mechanic, the Greek artist looked from the earth at
- an external artist, but also that he can have a deep look into
- artist and shows more than all theosophical dogmatics what a
- been expressed clearly, as it lives artistically in the drama
- satisfies the artist completely, something of that impetus
- Title: Riddles of the World: Lecture XVII: Siegfried and the Twilight of the Gods
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- need to be the case with the artist. One speaks so easily of
- the “unaware” creating of the artist. This is no
- shadowy images, the artist works in the creating. It is more a
- Title: Riddles of the World: Lecture XVIII: Parzival and Lohengrin
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- studies, not academically, but fulfilled with artistic and
- artists religious leaders. Wagner needed topics that led beyond
- Christianity, the spirit of love for humanity artistically. He
- Title: Riddles of the World: Lecture XXII: Jacob Boehme
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- artist who organised the world sensuous-physically. He calls
- social and artistic structure also to the constellations of the
- Title: Esoteric Development: Lecture IX: Imaginative Knowledge and Artistic Imagination
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- Artistic Imagination
- immersed himself artistically in the secrets of nature, particularly
- hold in a remarkable way of artistic imagination.
- Title: The Origin of Suffering
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- mere picture when we say that the soul of the tragic poet and artist
- Title: Supersensible Knowledge: Lecture III: The Origin of Suffering
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- simile when we say that the artist as tragic poet goes out of
- Title: Inner Nature of Music: Lecture II
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- that within us, through a uniting of both. When an artist, a
- with the details. The creative artist tries to recognize these
- artist reveals the continuation of nature. The artist takes nature
- Goethe sees nature as the great, creative artist that cannot
- riddle. The artist, however, solves these riddles; he thinks the
- all other artists; in him lives the faculty of representing the world
- The artistic mysteries of light contained in the paintings are based
- however, that an artist is always intellectually aware of what is
- Title: Supersensible Knowledge: Lecture VIII: Insanity in the Light of Spiritual Science
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- artistic nature. Under this influence the astral body divides
- Title: Supersensible Knowledge: Lecture X: Stages in Man's Development in the Light of Spiritual Science
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- pleasure in what is beautiful, artistic and spiritual, will
- convictions. Artistic accomplishment, religious and moral
- Title: Supersensible Knowledge: Lecture XII: Richard Wagner and Mysticism
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- that to speak about an artist from a particular
- Similarly, an artist need not be aware of the laws inherent
- able to speak. The artist lives and creates according to
- artists who attempt to create out of fantasy that lacks
- substance, Wagner saw from the start an artistic calling as a
- of artistic creativity in religious feelings and perceptions.
- The artist, he felt, has a kind of priestly calling, and that
- and had selflessly created combined artistic works. Wagner
- temples, which were places of learning and also of artistic
- united partnership. Because he saw a commune of artists as a
- artistic impulse developed according to spiritual laws, as a
- the artistic works of antiquity. He acquired a unique sense
- within the artistic one-sidedness he faced. This is the
- represented artists who one-sidedly cultivated the two arts
- as an artist. In so doing we soon discover his strong
- artistic creation. He shows that through the
- through Wagner's artistry, we must bring to it an open mind
- in Wagner, enabling him to give it artistic
- wonderful artistic interpretation of the Good Friday
- In his artistic
- Title: Knowledge of Soul and Spirit: Lecture I: The Mission of Occult Science in Our Time
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- was a great researcher and a great painter and artist and knew
- Title: The Influence of Spiritual Beings Upon Man: Lecture I
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- work in an artistic way. Our time is one which will reascend from a
- Title: Knowledge of Soul and Spirit: Lecture XI: Occupation and Earnings
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- human bliss shall prosper. Would the artist if he pronounced
- working miner with an artist who creates his works to the
- Title: Knowledge of Soul and Spirit: Lecture XII: Sun, Moon and Stars
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- spiritual only with artistic imagination, can experience it in
- Title: Festivals/Easter VI: Easter: The Mystery of the Future
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- of artistic creation. Richard Wagner's Parsifal is the
- Title: Knowledge of Soul and Spirit: Lecture XV: The Heaven
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- preliminary stage of it is that which the artist feels in his
- Title: The Influence of Spiritual Beings Upon Man: Lecture X
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- of the artistic, the beautiful, the religious — and everything
- Title: The Influence of Spiritual Beings Upon Man: Lecture XI
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- deepened towards human artistic creation and acquire an appreciation
- artistic creation and artistic appreciation. To come to this realization
- The true artist feels space thus and molds it architecturally.
- by the Greek artist, in his Zeus, for example, has been brought with
- The true artist talks differently. He perhaps will say: When the tones
- him — Shakespeare and Beethoven. In his artistically brilliant
- time this inner nature had, as it were, broken asunder in artistic creation
- From these two artist-visions
- into one great stream, we see this feeling live in the artist who sought
- the streaming together of the individual modes of artistic expression.
- can flash up, artistically conceived. Today we have not got it. But
- Title: Goethe's Secret Revelation: Lecture I
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- preference for the old art, with its old, sound, artistic
- spiritual which the artist has put into his work. Spirit and
- Title: Where/How/Spirit: Lecture II: Goethe's Secret Revelation - Exoteric
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- which wanted to stick to the old, good, artistic traditions,
- expressed which the artist has put as something spiritual into
- Title: Where/How/Spirit: Lecture VIII: Issues of Health in the Light of Spiritual Science
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- has artistic taste. I consider the owner of the nice house as a
- Title: Goethe's Secret Revelation: Lecture III
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- pain, ‘However artistically these characters are drawn,
- ‘So much is certain, the old artists had quite as great a
- artist acted ‘according to the laws which are followed by
- nature.’ The creations of the artists are works of nature on
- Title: Where/How/Spirit: Lecture XIII: The Riddles in Goethe's Faust - Exoteric
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- artists have as big a knowledge of nature and such a concept of
- and said to himself, if the artist proceeds in the sense of the
- physical laws.” What the artist creates is physical work
- Title: Where/How/Spirit: Lecture XV: Nietzsche in the Light of Spiritual Science
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- like that of an artist and a thinker, and, nevertheless, it was
- Title: Lecture: Isis and Madonna
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- clothed in abstract formula but seek artistic expression.
- these supreme artists proceeded from no very full knowledge but a
- Here we have what is not an artistic expression, nevertheless a
- streaming forth from hoary antiquity, artistically transfigured and
- definitely artistic exponents of the very deepest secrets of Nature
- Title: Where/How/Spirit: Lecture XVI: Isis and Madonna
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- for their expression in the artistic representation.
- simple figure that is less artistic it is a long way to the
- the Madonna have become more and more artistic, more painterly
- it is in such a way, as if these marvellous artists —
- us in the Madonnas as something unaware-artistic. We could go
- artistic, expression of a deep universal truth.
- humanity, ascending from grey antiquity, artistically
- Madonna and representations of the Isis are artistic
- artistically stiff and lifeless if it can no longer adhere to
- Title: Lecture Series: Two Pictures by Raphael
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- great artistic development, to give utterance to the
- well as the artistic impression they make upon us?
- to do with the artistic value of the pictures! I should like to
- such pictures in an artistic way. In this case the artistic and
- now. The artistic impression produced upon one by these
- Aristotle or Mr. Plato or Mr. Socrates; for the artistic
- be the best observer from a purely artistic point of view.
- wonderful artistic powers. All that is living in the souls of
- artistic form. Just imagine how great and mighty must have been
- Title: Metaporphoses/Soul One: Lecture 3: The Mission of Truth
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- productive power. Now an artist comes along. His soul receives the picture
- Title: Wisdom of Man: III. Higher Senses, Inner Force Currents and Creative Laws in the Human Organism.
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- plastically, as the artist chisels a figure out of stone. The
- Title: Lecture: The Nature and Origin of the Arts
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- beings who are active through an artist's true creativity.
- Title: Metaporphoses/Soul One: Lecture 7: Human Egoism
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- mood shows that he is referring here to the artist only as a specialised
- that the artist, standing alone with his art, is in danger of losing the firm
- been moved to protest at the lack of composition and the inartistic character
- in this way from an artistic standpoint. But, after all, not a line of it was
- Title: Metaporphoses/Soul One: Lecture 9: Something about the Moon in the Light of Spiritual Science
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- to working over what he has done. If artists and authors would take note of
- Title: Lecture: Spiritual Science and Speech
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- man is to-day able to mould his external being artistically from out
- the other instruments of speech has been elaborated artistically out
- certain epoch was able to mould in man the highly artistic organ of
- of the air. Their plastic, artistic impression has been worked into
- artistic activity. We cannot demand that speech shall be an exact
- the artist's imitation shall correspond to reality. Speech only
- reproduces the external, in the sense in which the artist's picture
- sense, an artist, working as the spirit of speech, was active. This
- underlying this activity of man, must be conceived in an artistic
- bare outline. But when we know that an Artist, who moulds speech, is
- single languages may be, artistic power has been at work in them all.
- be understood with the artistic sense which must first have been
- recreate what the ‘artist of speech’ has moulded in man
- before the Ego was able to work within him. Only the artistic sense
- can understand the mysteries of speech; the artistic sense alone can
- what the artist has expressed with other media, — colour, tone,
- and so on, — can shed light on a work of art. Artistic feeling
- alone can understand the artist; artists of speech alone can
- prehuman artist, we shall also realise that when we want to speak or
- this artistic sense must be allowed to come into play. There is not
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- Title: Metamorphoses/Soul Two: Lecture 1: Spiritual Science and Language
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- we consider the amount which the human being can transform, artistically
- The larynx, sculpted from outside into us as this wonderful artistic
- artistic impression
- artistic
- creation. Just as we cannot demand that the imitation of the artist
- way similar to the picture, to the way that the artist as such imitates
- artist
- previously an artist was at work. This in itself is put rather in the form of
- grasped with artistic feeling.
- of these things has been given. But if one knows that an artist who formed
- languages the artistic element was at work in all sorts of differing ways.
- cannot be understood in any other way than in an artistic sense, which must
- artist expresses by other means paint, sound, etc. Creative feeling alone can
- comprehend the artist, and a creative feeling for language alone can
- language originated from an inner pre-human artist, then we can also elevate
- we want to express it. We have to re-awaken the linguistic artist in us in all
- artistic feeling for language is necessary to express anything? If true
- I am dealing with artistically formed reflected images; and then I
- round the topic as it were, we are presenting an artistic image of the
- Title: Metamorphoses/Soul Two: Lecture 2: Laughing and Weeping
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- artistic creations they come before our souls.
- experiences can lead to an understanding of the greatest facts. Artistic
- Title: Metamorphoses/Soul Two: Lecture 5: Sickness and Healing
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- the seer is also artist. Today there is little feeling left for these things
- Title: Christ Impulse: Lecture 5: Correspondences Between the Microcosm and the Macrocosm
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- delicate artistic sense tells us that the female form, with the
- artistically represented the defects must be corrected. In better and
- more artistic times this was actually done, for no one who really has
- Title: Metamorphoses/Soul Two: Lecture 8: Human Conscience
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- “Artistic consciousness acquired an aesthetic conscience.” His
- All the artistic
- an aesthetic conscience had found its way into the artistic and literary life
- nature and significance of artistic work were intended to be placed beyond
- Title: Metamorphoses/Soul Two: Lecture 9: The Mission of Art
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- far apart from the aims of artistic work. A widely prevalent belief today is
- experiment, whereas artistic work follows the spontaneous promptings of the
- the realm of artistic creation have always felt that true art should flow
- thing is certain: the ancient artists had as much knowledge of Nature, and as
- could discern that the great artists who had created works of art of this
- of artistic creation, many similar indications of the inner relationships
- that truly artistic personalities attribute to art a mission of this kind,
- we see how progress in artistic creation does indeed occur among men.
- line with the continued advance in artistic creation that Goethe should have
- artistic consciousness advance with great strides through the world and in
- great artists can be justified in feeling that reflections of the spiritual
- the old artists: “There is necessity, there is God!” They bring
- consciousness can never reach. The great artists have felt that they are
- can agree with words spoken by a poet who felt himself to be an artist:
- poets and other artists we find agreement with the thought that the spiritual
- foundations of human existence find utterance in art: or there are artists
- world. And so, even when artists are most personal in expression, they feel
- Title: Excursus Mark: Part I: A Retrospect
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- more artistic, more individual form, what had otherwise been said in
- Mystery not as a hook of instruction, but as an artistic presentation
- Title: Background/Mark: Lecture One: On the Investigation and Communication of Spiritual Truths
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- possible to give a more artistic and individual form to what
- instruction but as an artistic representation of the
- Title: On the Mystery Plays: Lecture II: On the Rosicrucian Mystery, The Portal of Initiation
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- mere theory and particularly if it was to enter the artistic
- natural laws, so there are also artistic laws, and these cannot
- Artistic laws must be handled just as Mother Nature handles her
- considered artistic. The poorest method of looking at a piece
- How shocking it was to the dramatist, who is an artist in
- in a truly creative, artistic process, and it is just as
- From an artistic point of view, it is justifiable that the
- Title: Wisdom of the Soul: III. At the Portals of the Senses.
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- artistic considerations can it happen that desire flows to the
- Title: Lecture: The Human Spirit and the Animal Spirit
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- less of a gifted artist when confronting his fellows. For if we would
- consider according to universal rules what in an artistic sense lies
- every man, artist or not, is able to cherish, which works into this
- what is presented in St. Peter's as the artistic creation of
- of the artist; and that a self-conscious being lives in him which can
- Title: Answers to Big Questions: Lecture VII: How Does One Attain Knowledge of the Spiritual World?
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- artist — gets down spiritual realities from the spiritual
- Title: The Christmas Festival In The Changing Course Of Time
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- nature of the artistic element in these plays can only be reached by
- given birth to the simple artistry of such Christmas plays out of a
- attempt to deepen artistically what we can gain from Spiritual
- Title: Answers to Big Questions: Lecture VIII: Predisposition, Talent and Education of the Human Being
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- his surroundings and works like an artist on the malleable mass
- the artistic in the educator to observe what comes out there of
- Title: Background/Mark: Lecture Six: The Son of God and the Son of Man. The Sacrifice of Orpheus
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- shall ask: Who is the greater artist: Raphael, Leonardo da
- Title: Lecture: Galileo, Giordano Bruno, and Goethe
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- Added to the great achievements of Goethe as artist were his
- Title: Turning Points: Lecture 2: Hermes
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- artist. As the investigations proceeded it became abundantly
- Title: Excursus Mark: Part III: Excursus: Lecture V
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- expressed merely in an artistic sense, the man of sound thought will
- through such artistic presentations, though it is inhuman to laugh at
- Title: Background/Mark: Lecture Seven: The Higher Members of Man's Constitution
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- situation, it is strengthened by the spectacle of an artistic
- Title: Turning Points: Lecture 3: Buddha
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- of the great artists. In these masterpieces we oft-times find
- Title: Excursus Mark: Part III: Excursus: Lecture VI
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- artistic fact. Will an occultist who knows the laws put such an
- artistic natures reveal certain periods in their creative activities,
- This is easily seen in artists of the first rank, in Goethe, for
- Title: Background/Mark: Lecture Eight: Laws of Rhythm in the Domain of Soul-and-Spirit.
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- merely a matter of information about scientific or artistic
- in the creative work of artists there is evidence of a
- lives of artists of the first rank — in the life of Goethe,
- Title: Excursus Mark: Part IV: The Path of Theosophy from Former Ages until Now.
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- artist or in some practical walk of life he finds little of what he
- and are aided by artists like Julius Mosen. They sprang in his case
- Title: Background/Mark: Lecture Ten: Rosicrucian Wisdom in Folk-Mythology
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- reveal. No matter whether you are an artist or are engaged in
- of years’ life that ideas stream into artists of the
- Title: Introductory Lecture. Winter Session
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- those of external life, can be presented in artistic form. If it were
- Title: Evolution/Aspect: Lecture 1: Introductory Lecture
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- part in this artistic endeavour, we have been able to make a
- account in artistic representation in the same way as the external
- artistic undertakings as well as for the theosophical lectures. In
- know how little artistic our age is, though we must be astounded that
- Title: Human History: Lecture II: Death and Immortality
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- fools, musicians or other artists, so that one can find all
- of a thinker, poet or artist; then only we
- Title: Inner Realities: Lecture 2: The Inner Aspect of the Sun-embodiment of the Earth
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- creative idea in the mind of the artist, and how it imprints itself
- true artistic way; then something of the actual driving-force of such
- Title: Evolution/Aspect: Lecture 3: The Inner Aspect of the Sun-embodiment of the Earth
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- cloud.’ And if he were an artist he would paint the impression;
- which the best is the artistic longing to master colour or form in
- think of this creative idea in the mind of the artist, and how it
- intellectual manner, but in true artistic way; then something of the
- Title: Inner Realities: Lecture 3: The Inner Aspect of the Moon-embodiment of the Earth - 1
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- image of the cosmic purpose. The artist did not require to be an
- In earlier ages artists in dim consciousness were in touch with this
- Just as the artist of old had no need to know what lay behind his
- works of art, so the artist of the future must know this — but
- of mankind will certainly find the possibility, the artistic ways and
- Title: Evolution/Aspect: Lecture 4: The Inner Aspect of the Moon-embodiment of the Earth (Part 1)
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- represents in painting an image of the cosmic purpose. The artist [is
- the cosmic order. In earlier ages artists in dim consciousness were
- artist of old had no need to know what lay behind his works of art,
- so the artist of the future must know this — but knowledge with
- the artistic ways and means to convey to the consciousness and
- Title: Inner Realities: Lecture 4: The Inner Aspect of the Moon-embodiment of the Earth - 2
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- consciousness. Hence a situation must arise which artistically
- Title: Evolution/Aspect: Lecture 5: The Inner Aspect of the Moon-embodiment of the Earth (Part 2)
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- consciousness. Hence a situation must arise which artistically
- Title: Lecture: The Hidden Depths of Soul Life
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- man's participation, intelligence produces many things artistic and
- Title: Lecture: And The Temple Becomes Man
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- soul. The human body is then revealed to us as a work of artistic
- our work, I have come across artists in many different domains who
- very understandable that an artist recoils from such
- repulsion that an artist must feel when he finds one of his own works
- dreadful thought for the artist who is present, somewhere, in all of
- all over Europe. It is a remarkable story, beautiful and artistically
- our contemporaries. But what of our artistic sense? I do not know
- Title: Wisdom of the Spirit: II. Truth and Error in the Light of the Spiritual World.
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- inexhaustible subject of artistic and particularly poetic creation!
- Title: Lecture Series: An Impulse for the Future
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- which, if possible, should enter the world; it refers to the artistic
- circumstances. Due to the recall to the fronts of so many artists and
- many excellent artistic works.
- And all these, artistically created from the most varied elements,
- Title: Wisdom of the Spirit: III. Imagination--Imagination; Inspiration--Self-fulfillment; Intuition--Conscience.
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- all artistic creation, in fact, of all productive work of man.
- Title: On the Mystery Plays: Lecture III: Symbolism and Phantasy in Relation to the Mystery Drama, The Soul's Probation
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- artist, Wilhelm Jordan, wished to bring about the renewal of
- Title: Reincarnation and Karma: Lecture I
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- know what intellectual or artistic faculties, say, we possessed in a
- Title: Human History: Lecture XII: Copernicus and His Time in the Light of Spiritual Science
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- depths of his soul as an artist; he was not only a painter and
- Title: The Idea of Reincarnation and Its Introduction Into Western Culture
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- reproduction can convey the essence of the artistic power in a
- Title: Between Death and Rebirth: Lecture One
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- the physical plane it is really only in the domain of artistic
- good. An artist will assuredly not create the best work of which his
- directly and realistically from life. The artist has succeeded in
- accept it. What I have wanted to indicate here is how the artist is
- Title: Lecture: Birth of the Light/Thoughts on Christmas Eve
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- from all the artistic value given to this figure by the power
- again, gave us scenes, in pictures and in other artistic works
- Gospel. If we compare the various artistic productions, do we
- Title: The Worldview of Herman Grimm in Relation to Spiritual Science
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- transformed it artistically, who have utilized it for cultural
- “Künstler und Kunstwerke” [Artists and Works
- artists like Michelangelo, Leonardo da Vinci,
- his literary and artistic abilities.
- research, which Herman Grimm so often touches upon in artistic
- artistic soul of Herman Grimm touches upon these facts of the
- pure artist-soul. That was a spirit, that was a soul that lived
- humanity. After all, as an artist, he touched so intimately on
- Title: Lecture Series: The Mission of Raphael in the Light of Spiritual Science
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- few, — and they were artists, — do the words of Savonarela
- visualizing him in the company of artists and painters working at his
- of the artist Raphael, the fire that pours forth from Savonarola. When
- into which the artist poured his soul. Thus the mission of Raphael only
- outward manifestation in a world of artistic forms permeated with the
- artistic forms their ideas of the gods united with the formless element
- spoken to humanity itself in his artistic creations.
- Title: Raphael's Mission in the Light of the Science of the Spirit
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- them, including artists, the words of Savonarola still echoed
- its isolation (joining other artists and painters working in
- realms of the spiritual, but assumes artistic form — much as
- spirit, with the Greek artistic mood and sense for beauty,
- we can then say: Through what he created artistically, Raphael
- Title: Poetry/Fairy Tales: The Poetry of Fairy Tales
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- spoil the immediate, lively, artistic impression that a poem
- for one, moving beyond his work as an artist in order to plunge fully
- tragedy concerns itself — as do other artistic creations —
- and picturesque. The artistic enjoyment of a fairy tale, in its
- not only artists but quite primitive people frequently had a
- or a legend that one knows, or else, perhaps, if one has an artistic
- detail the picture-images created with such artistry, and this is not
- Title: Fairy Tales in the light of Spiritual Investigation
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- Goethe who attempted, alongside his artistic
- than do the sources of creativity and artistic appreciation
- tragic, as well as other forms of artistic expression, results
- aesthetic, artistic enjoyment of the fairy tale may
- frequently — not only in artistic, but also in
- a saga, or if one is of an artistic disposition,
- has been presented artistically in pictures is interpreted
- hand, nothing of the artistic form of the fairy tale is
- gradually comes to feel that in all conscious artistic
- Title: Esoteric Lessons Part III: Berlin, 2-8-'13
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- artist's soul as he worked, from which the work of art was created.
- Title: Lecture: Leonardo da Vinci
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- were “artistic charlatans” — as we must call them —
- Florence, his artistic talent always increasing: but we find
- making the greatest artistic plans, constantly making new ones. He
- occasion — arranging this or that artistic or theatrical event,
- instance a Prior of the monastery, who could not see why an artist
- as ARTIST. Art had become very different in Leonardo's time
- realize the creation of a plastic statue by a Greek artist. What kind
- We feel in these that the artist imitated nature because he was
- also in his artistic creations. Thus we find in him that
- an all-embracing artist, musician, philosopher, and mechanician. He
- in them we can see how Leonardo as artist always touched limits
- perfection were possessed by this artist in the highest degree”.
- the great artist who transcends all human means and yet can, after
- Title: Leonardo's Spiritual Stature: Lecture
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- this wall as something of an artistic miracle, not only in
- year he went about with the greatest artistic intentions, with
- and he took the artist to task. Leonardo replied that Christ
- us now look at him as an artist in the first place. Art had
- transpose ourselves, for example, into how a Greek artist
- we sense that the artist created as Nature does, in standing
- ideas both in his written works and in his artistic
- Immersing oneself in them, it becomes evident that as an artist
- artist.” In making use of these words with reference to
- artist who could ultimately only work with the means available.
- Title: Spiritual Science/Treasure for Life: Lecture I: The Spiritual World and Spiritual Science
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- spiritual, the moral, and the artistic life in this course of
- Title: Spiritual Science/Treasure for Life: Lecture III: Spiritual Science and Denomination
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- it appears in the artistic creating or in the artistic feeling
- everybody who has reflected about the artistic creating or
- picture that has artistic contents seizes me completely. Joy,
- sense-perception; hence, one forbids as it were such artistic
- He says elsewhere that the artist does not
- at the outer bodily into the artistic field. Hence, Goethe and
- artist with the experience of the recognising human being. They
- feel that the artist separates himself from the outer nature
- founded in the human nature to speak about artistic truth in
- the artistic view is the life in the etheric body, and as the
- scientifically or artistically brings religious mood with him
- Title: Lecture: Newborn Might and Strength Everlasting
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- angels have been depicted by the artist as children. Here we find a
- human soul, entered his soul through the Child. In the painting the artist
- Title: Lecture: Michelangelo
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- study the great epochs of art and the great artists. We shall never
- artist like Michelangelo in the Sixteenth Century and study him in
- relation to artists of earlier ages who worked within the same field.
- so that the artist did not need to look at outer nature or external
- rest are gods: that makes artistic study a matter of storytelling.
- artist than Michelangelo were to do a sculpture of Moses and give it
- his deed. Earlier artists like
- artist had firmly seized hold of some special inner condition of soul.
- Michelangelo is the most significant artist. While the Greeks had
- artist who takes his figures away from the realm of the soul and sets
- study with Ghirlandaio, but great artist as the latter was the boy
- artist who poured his soul forth into the outer world that he might
- type has its own secrets which the artist must extract from it.
- really belong to it. An artist of the quality of Michelangelo would
- comprehended artistically what came to him from an earlier period, he
- other artists. What he brought through his own soul into his times I
- is said to have goaded him on because he feared the artistic
- but the purely artistic way in which Michelangelo has shaped these
- represented thus with artistic necessity that could use external
- overpainted and spoiled by inferior artists who used the most
- Maximum number of matches per file exceeded.
- Title: Spiritual Science/Treasure for Life: Lecture X: Homunculus
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- Title: Spiritual Science/Treasure for Life: Lecture XI: Spiritual Science as a Treasure for Life
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- would not like to say anything against the artistic Munich.
- artistic landmark can show the significance of spiritual
- Title: Presence of the Dead: Lecture Two: Understanding the Spiritual World (Part Two)
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- work, but was also imbued with a wonderful artistic spirit, which was
- spiritual science with her artistic sensibility. A spirit body was
- artistic spirit. Many years passed, and then recently, when we were
- painting by Raphael, Leonardo da Vinci, or another artist, presents
- the content of the artist's soul as well as nature's beauty.
- artistic work. The other idea demonstrates the inner wisdom of the
- turn enrich our perception of the spiritual world, just as artistic
- connection with our artistic work, or by mentioning a soul whose form
- Title: Destinies of Individuals and Nations: Lecture 5: The Nature of the Christ Impulse and the Michaelic Sprit Serving It - 2
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- artists and philosophers, is intimately bound up with the
- Title: Destinies of Individuals and Nations: Lecture 12: The Group Sculptured for the Building in Dornach
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- to bring to artistic expression, artistic in terms of
- scientific whole but also of artistic forms and indeed
- artistic installations and furnishings.
- interpret it even among us, but in a genuinely artistic
- at the idea out of their own feelings and out of artistic
- Title: Forming of Destiny: Lecture 2: On the forming of Destiny
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- influential. She forsook the artistic calling which was previously so
- Title: Forming of Destiny: Lecture 3: The Subconscious Strata of the Soul-Life and the Life of the Spirit After Premature Death
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- which ought to exist, the ethical, religious, artistic, and
- Title: Forming of Destiny: Lecture 4: The Connection Between the Spiritual and the Physical Worlds, and How They Are Experienced After Death
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- finally arises all that pertains to the realm of art, to the artistic
- artistic representation, life would still pursue its course, from the
- analogous to artistic creation here. And whereas here in the physical
- world a man must bring forth artistic creation out of his own soul,
- could never see unless something had been created out of the artist's
- Title: Forming of Destiny: Lecture 5: Concerning the Subconscious Soul Impulses
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- purely from an artistic standpoint. It is really so written that the
- Title: Necessity and Freedom: Lecture II: The Legend of the Prague Clock
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- besides all that I have already told you of its artistic
- to the artist who made the old Prague town hall clock. He put
- this imagination. One might begin to think of the artist's
- that the artist was a simple man inspired by a gift of grace
- It is an artistic creation,
- Title: Necessity and Freedom: Lecture IV: The Roman World and the Teutonic Tribes
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- artistic sphere only, and then only from the human point of
- artist can take things in a human way — he may not always
- Title: Necessity and Freedom: Lecture V: The "I" is Found on the Physical Plane in Acts of Will
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- they were not painted as they now are, where the artist merely
- Title: Toward Imagination: Lecture 1: The Immortality of the I
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- poets, artists groom horses, professors tend sheep. Theater managers
- the work of artists such as Goethe, Schiller, Shakespeare, Corneille,
- He means by impressionism that the artist is utterly afraid to add anything
- Very well, as far as possible everything coming out of the artist's
- nature is not needed because the artist captures on canvas what he or
- to mature, we will probably do these artists more justice than they
- considers them artists of genius and indeed was led to admit with tremendous
- way our writers, artists, and critics grow up and develop.
- Title: Toward Imagination: Lecture 3: The Twelve Human Senses
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- artistic sense; in short, a robust, cheerful, sensuous person. He
- just for artistic effect. [You see, the canon in him cannot be denied,
- Title: Toward Imagination: Lecture 4: The Human Organism Through the Incarnations
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- Let us assume an artist with a true feeling
- passion of love. Clearly, this artist could not be a naturalist, for
- matter, so-called actuality. Every time artists had the task to create
- of the astral body. The artist does not have to know anything about
- of art. How will the artist who really feels this, who really has a
- Suppose an artist had created a Venus. As
- nature. If the artist gives the matter physical expression, perhaps
- age. When an artist achieves such a creation, spiritual scientists will
- we will say that artists, while they are creating, often feel a true
- by an artist? He will say, “This is a representation of a person
- of our epoch look at the art of Greek antiquity and admire the artists'
- the artists in ancient Greece did not work with their models as modern
- artists do. Instead, when the artist wanted to represent an arm, he
- artist sculpted a person in movement, he knew out of inner knowledge,
- drawings of people, because Japanese artists, more so than others, paint
- Title: Toward Imagination: Lecture 6: The Feeling For Truth
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- by these famous artists. For this fraud he was sentenced to four years
- of sentence structure, a piece of trashy literature, really artistically
- abominable literature. It is the artistic side I want to look at here,
- Title: Toward Imagination: Lecture 7: Toward Imagination
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- the artistic structure of a house.
- Suppose we had some kind of structure artistically built up out of layers
- all of these arranged artistically into some kind of a structure. Now
- the paper rolls were arranged in the artistic structure.
- sciences. They describe this artistic structure, while ignoring completely
- Title: Cosmic/Human Metamorphosis: Lecture 4. Morality, As A Germinating Force
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- an artist, an immobile picture, or the dreadful sparkling pictures of
- honourably, you will admit that what the artist reproduces in a state
- Title: Spirit and Matter: Lecture V: The Riddles of Soul and World in the German Cultural Life
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- study what an artistic dance should be. The artistic dance
- Title: Lecture: Riddles of the Soul and Riddles of the Universe
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- the whirling dervish one can study what a truly artistic dance
- Artistic dance is only achieved when it is spiritually
- Title: Building Stones: Lecture Five
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- field of art, if the artist were to accept an analagous
- Title: Building Stones: Lecture Eight
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- the great artists of antiquity, who, to a certain extent,
- find there was a time when the artist never dreamt of working
- artist portrayed his visual imaginations in concrete form.
- Title: Aspects/Evolution: Lecture V
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- over the beautiful and the ugly, over what is artistically
- artistic or not, rests on man's individual nature. No general
- entering into what the artist had in mind and thus coming to
- Title: Aspects/Evolution: Lecture VIII
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- efficient in extinguishing the sense for the artistic. The
- Title: Karma of Materialism: Lecture 4
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- in his human relationships with others a cultural artistic quality of
- the one hand this artistic influence came to expression in everything
- proud communities of scientists and artists. Furthermore we had people's
- Title: Karma of Materialism: Lecture 8
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- vigour, and whose goal he depicted with dramatic artistry in the last
- Title: Earthly Death/Cosmic Life: Lecture 2: A Contribution to our Knowledge of the Human Being
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- outer form. At the present time an artistic study really gives far
- in an artistic consideration of the universe, he may find more truth
- scientific and an artistic perception of the world into a higher
- Title: Eternal Human Soul: Lecture III: Goethe as Father of Spiritual Research
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- solve the problem of the artistic. He wanted to answer the
- if the human being creates or feels artistically if he puts
- then he is in beauty, then he is in the artistic. The necessity
- artistic. In the nineties, from the deeper acquaintance of
- minded by his whole nature to be also as an artist in such a
- artistically only combining can work on. Someone who lets the
- Title: Eternal Human Soul: Lecture IV: Mind, Soul and Body of the Human Being
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- acquainted with the pieces of art, with the artists, even with
- Title: Earthly Death/Cosmic Life: Lecture 5: Man's Connection with the Spiritual World
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- can bring to expression through artistic activity, is very faint,
- Title: Lecture: Manifestations of the Unconscious: Dreams, Hallucinations, Visions, Somnambulism, Mediumship
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- take shape. The experiences which arise in a true artist and
- artist and of the one who finds delight in a work of art, is
- Title: Earthly Death/Cosmic Life: Lecture 7: Confidence in Life and Rejuvenation of the Soul: A Bridge to the Dead
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- be permeated by a certain artistic element. To-day, when people avoid
- the artistic element, thinking that to foster the life of fancy
- Title: Life Gifts: Lecture III: Thoughts about the Life Between Death and Rebirth
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- of an ethical, artistic, and even philosophical or scientific
- Title: Eternal Human Soul: Lecture X: The Questions of Free Will and Immortality
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- artists, it enters in him by the moral imagination as I have
- Title: Sound Outlook: Lecture I: States of Consciousness
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- fine, artistic caricature of the truth. His life is certainly
- Title: Sound Outlook: Lecture II: The Building at Dornach
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- that before this can happen, stronger artistic forces than
- were grouped about these artistic presentations in Munich,
- frame, for what goes on inside. But it was to be artistic,
- genuinely so — not a copying, but an artistic
- considered, from an artistic point of view, as a
- physically, of course, but artistically. The conception of
- themselves, they are annulled through their artistic
- in its worst sense) anything unconnected with the artistic
- capitols and architraves has been the outcome of artistic
- material, to express artistic form; but within the concrete
- claim to be artistic; it is not a work of art. As regards
- artistically intended, but complete only with the sunlight.
- intention is to present in ,artistic form something — I
- symbolically, but artistically. A group carved in wood! The
- inartistic to take as the underlying impulse: “I will
- artistic idea was not to produce a representation of Him. The
- idea rests purely in the artistic form, in its manner of
- programmatic idea. The artistic thought must rest in the
- Lucifer-figure. A sort of artistic connection exists between
- artistically conceived form), in gesture and in mien. Human
- Maximum number of matches per file exceeded.
- Title: Sound Outlook: Lecture V: The Being and Evolution of Man
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- these were expressed artistically.
- artistic output is closely related to Catholic ritual, which
- Title: Knowledge of Healing: Lecture II
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- artists could perceive how the spiritual revealed itself, and they
- the old imagination, was inherent in the artist. The phantasy which
- Title: for Renewal: Lecture IV: Anthroposophy and Pedagogy
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- as an artistic soul principle, something more pure and splendid
- through which the child in an artistic way can be active in his
- total being in the artistic form of writing which can evolve
- artistic way. Out of pedagogic-artistic principles it commences
- Working from an artistic basis results in the child handling
- Title: VII: THE CREATION OF A MICHAEL FESTIVAL OUT OF THE SPIRIT (Extract)
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- religious and artistic experiences which could arise, just as in the
- Title: Matthäus-Evangelium: Neunter Vortrag
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- «(Anmerkung.) Im Journal of the Royal Artistic Society,
- Title: Gospel/Matthew (1965): Lecture 9
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- accounts are given artistic form.
- Title: Gospel/Matthew (1965): Lecture 10
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- the artist's lack of skill. The reason is that
- healings were miracles but that the aim of the artist was
- Title: On the Mystery Plays: Lecture I: Self-Knowledge Portrayed in the Rosicrucian Mystery, The Portal of Initiation
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- and its impulses can flow into art, into artistic form.
- the Mystery Drama: a certain artistic element has been
- thinks realistically — a genuine, artistic,
- occasion for artistic pleasure. But a certain moment of
- by a materialistic person. In regard to artistic principles,
- can show in an artistic form the relationship of the three
- Title: Universal Human: Lecture Four: The Universal Human: The Unification of Humanity through the Christ Impulse
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- “not of this earth” — poets, artists, and the
- human evolution that appear there in artistic forms, striving to
- Title: Freedom/Immortality/Social: Lecture VI: Spiritual-Scientific Results about the Ideas of Immortality and the Social Life
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- — I asks this expressly to note — as artistic
- Title: Karmic Relationships, VI: Lecture I
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- wisdom of mankind. It was expressed in a much more poetic, artistic
- primordial wisdom to mankind in an essentially poetic, artistic form.
- Title: Karmic Relationships, VI: Lecture II
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- artistic achievements. The truth of such things will quite certainly
- Title: Gospel of Matthew: Lecture IX
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- an artist or a writer had learnt that this or that procedure
- initiation, which are in this way given artistic form in
- Title: Gospel of Matthew: Lecture X
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- artist's lack of skill. People who criticize such
- that spiritual healings were miracles, but that the artist
- Title: Karmic Relationships, VII: Lecture Four
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- early dramas, with their possibly faulty artistic construction,
- Title: Karmic Relationships, VII: Lecture Six
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- into the whole of the rest of the body. This inner artist we
- Title: Rosicrucian Esotericism: Lecture IV: Man Between Death and Rebirth
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- Think of an artist, or an inventor. This growing and becoming give
- Title: Rosicrucian Esotericism: Lecture VIII: Stages in the Evolution of our Earth. Lemurian, Atlantean, Post-Atlantean Epochs.
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- from the architectonic, artistic standpoint, that nothing can equal
- Title: From Jesus to Christ: Lecture V: Redemption of the Physical Body
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- As artist, the Greek gave his human form to his gods. He thought of
- Title: From Jesus to Christ: Lecture VI: St. John and St. Paul, First Adam and Second Adam
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- the human body: not in the same way as the thought of the artist, for
- of the plastic artist is stamped upon his material, so the Phantom of
- Title: From Jesus to Christ: Lecture IX: The Exoteric Path to Christ
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- much enlarged, it seems as though one of the most important artistic
- Title: Theosophy and Rosicrucianism: Lecture VI: Man's Descent into an Earthly Incarnation
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- developed ear, he would be just as helpless as a great artist
- Title: Theosophy and Rosicrucianism: Lecture X: Further Stages of the Development of Our Earth
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- what he writes. We must think of the creative artist as one
- case, a conspicuous artist has felt something which must
- Title: Theosophy and Rosicrucianism: Lecture XIV: Further Stages of Rosicrucian Training
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- “Imaginative Knowledge and Artistic Imagination”
- Title: Gospel of St. John: Lecture IX
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- Considered alone from the standpoint of its artistic composition, the
- an artistic point of view, as regards its composition, and we see that
- Title: Gospel of John: Lecture IX: The Artistic Composition of the Gospel of St. John.
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- The Artistic Composition of the Gospel of St. John.
- an artistic composition we cannot but feel deep reverence. It all grows
- its artistic composition and found it unthinkable that a work of art
- Title: Esoteric Lessons Part II: Kassel, 12-11-10
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- it's no true art. When artists will know art's mission,
- Title: Spiritual/Physical: Lecture I:
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- people-but we do not on that account lose anything when a clever artist
- in the picture created by the artist something which he has placed
- Title: Spiritual/Physical: Lecture II:
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- into its whole management a wonderfully beautiful and artistic
- Title: Reading Pictures of the Apocalypse: Part 2: Lecture Eleven
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- similar to how we create and form artistically today. What the spirits
- Title: Mission/Folk-Souls (1929): Lecture 3
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- intellectual-soul or mind-soul. The artistic, the architectural
- 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: Man/Light of Occultism: Lecture VI.
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- culture! What does an artist not do with his hand? All art would be
- 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: Lecture: 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: 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: 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: 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: 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: 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
- Maximum number of matches per file exceeded.
- 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
- Maximum number of matches per file exceeded.
- Title: Man's Being: Lecture VI
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- purposes. Here the artistic element enters into the child's
- Title: Supersensible Knowledge: Lecture V: Education in the Light of Spiritual Science
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- artistic has a strong influence on the ether, as well as the
- ether body. And there should be many objects of true artistic
- can be traced back to the nursery. Inartistic lifeless toys
- Title: Lecture: The Occult Basis of Music.
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- So the artist surpasses nature. He extracts her archetypal essence,
- and this is what the true artist renders. By penetrating into the
- Title: Inner Nature of Music: Lecture I
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- what the origin is of the artistically formed tones and what they are
- not created by copying an actual man. Here, the artist combined many
- many individuals. Schopenhauer says that the true artist reproduces
- without interpolation of the mental image. When man is artistically
- Title: Principle/Economy: Lecture VIII: The Event of Golgotha. The Brotherhood of the Holy Grail. The Spiritualized Fire.
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- later be put into artistic form by renowned painters and
- Title: Bhagavad Gita/Paul: Lecture I: The uniform plan of World History. The Confluence of three spiritual streams in the Bhagavad Gita.
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- philosophers and artists in every domain. For if we wish rightly to
- see it when we consider such artists as Raphael, Michael Angelo and
- Title: Bhagavad Gita/Paul: Lecture II: The basis of knowledge of the Gita, the Veda, Sankhya, Yoga.
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- opportunity given by these lectures to point out the high artistic
- Title: Bhagavad Gita/Paul: Lecture III: The union of the three streams in the Christ Impulse, the Teaching of Krishna.
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- thus. For one of the greatest artistic and philosophical presentations
- Title: Bhagavad Gita/Paul: Lecture IV: The nature of the Bhagavad Gita and the significance of the Epistles of St. Paul. How the Christ Impulse surpasses the Krishna Impulse.
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- artistically rounded way, that one could not well imagine a greater
- Something can only attain artistic perfection when it has acquired the
- Title: Bhagavad Gita/Paul: Lecture V: The spiritual nature of Maya. Krishna -- the Light-Halo of Christ. The Risen One.
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- passage which may certainly be compared in greatness, even in artistic
- Title: Poetry/Speech: Lecture VI: Speech-Formation and Poetic Form
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- artistic circles, especially among poets, reciters and so on, that
- artistic will not then appear in the so-much-dreaded gloom of
- true poet as an artist. The point must be emphasized: Schiller,
- an artist, the essential thing – the musical element of his
- unartistic times when in neither painting nor sculpture,
- recitative-declamatory rendering, is true artistry to be
- and less poetic and artistic. The poet will therefore first have to
- struggle with the language to give it an artistic form, to make it
- extent to which it has developed into a more or less artistic
- development, have gradually acquired an inartistic
- bringing out of what lies within the artistic handling of speech,
- something inartistic, for the aesthetic quality lies in immediacy.
- We can observe this in a truly artistic poet
- really lives in aesthetic form and has to recreate his artistic
- Goethe experienced in artistic speech, therefore, it becomes
- It may be that in the case of an artist like Goethe, we
- Greeks. We have to look at Goethe’s instinctive artistic
- Title: Oswald Spengler: Article IV: Spengler's Spirit-Deserted History
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- economic, artistic, or scientific expression of what the
- Title: Lecture: How Can We Gain Knowledge of the Supersensible Worlds?
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- people do), are in the same position of an artist who only sees
- Title: Ways/Architecture: Lecture I: The Acanthus Leaf
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- which a spiritual transformation of artistic style must come
- may be levelled at our idea of artistic creation, if we
- much closer to primordial forces of artistic endeavour which
- “true artistic conception.” It need not therefore
- which our aims are in harmony with the artistic endeavours of
- an artist who in the seventies and eighties of the last
- century was the leading influence in artistic appreciation
- the one side, and of the way to artistic creation on the
- artistic back to external technique. The standpoint had
- really become one of ultilitarianism and the artistic element
- common acanthus plant? Now anyone with true artistic feelings
- learned compiler of the artistic traditions of antiquity,
- artistic creation has gradually been lost. And if this inner
- all artistic creation is a consciousness that comes to a
- was a true conception of artistic aim, the mere sight of a
- lines and forms which passed over into artistic creation. It
- that gave birth to artistic form. Such lines are nowhere to
- of having to invent some other device. Artistic creation was
- of nature. The artistic representation of the elements of
- the sun forces. Thus has all true artistic creation arisen,
- Maximum number of matches per file exceeded.
- Title: Ways/Architecture: Lecture II: The House of Speech
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- create the first beginnings of an artistic vesture for
- this with artistic feeling we realise that here is something
- certain eminent artist of modern times has spoken a great
- meanings to myths and artistic forms. ‘Here you sit and
- Title: Ways/Architecture: Lecture III: The New Conception of Architecture
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- Title: Ways/Architecture: Lecture IV: True Aesthetic Laws of Form
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- delight in forms that are truly artistic? We are passing out
- who is an exceedingly good artist and who has written an
- ingenious book on the subject of artistic forms. We read
- Every artistic impulse lived originally in the moving being
- imitative art to a new form of artistic creation, when there
- artistic feeling, artistic activity and experience of the
- Title: Colour: Part Three: The Creative World of Colour
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- Steiner's insights into the nature of color, painting and artistic
- pulling together of spiritual life will result in artistic form. We
- I want to draw your spiritual attention to an artist of the eighteenth
- look into his soul, and at an artistic longing there, we can in a way
- there streamed something towards the creations of these artists. When
- human soul. One might say these artists had some substance in their
- nineteenth century the time began when the artist had to look for the
- artist became a kind of cultural hermit who was really dependent only
- studied the special attitude of this or that artist to Nature or to
- one is solving artistic problems, one is solving really for the most
- part problems that are not artistic ones but psychological. The way in
- which this or that artist regards Nature today is an exercise in
- the contrary there enter these real artistic questions, for the
- the artist creative, whereas the substance is merely something that
- surrounds him, in which he is steeped. We may say that our artists are
- not artists at all any more, they are world observers from a
- artistic view of “How” has disappeared almost completely
- from our time. The heart is often lacking for such artistic
- pursuits of modern science and the artist's conception of the world is
- makes of the world is in itself inartistic, and makes an effort to be
- Maximum number of matches per file exceeded.
- Title: Ways/Architecture: Lecture V: The Creative World of Colour
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- your attention to Carstens, an artist who made his mark in
- Carstens we find a certain artistic longing, but we can also
- in response to the creations of this great artist. When Dante
- artists possessed in their own souls the substance of the
- the idea was a living thing within their souls. Thus artistic
- century’ it began to be necessary for artists to seek
- soon find that the artist becomes a kind of ‘cultural
- relationship of this or that artist to nature, or to other
- that artist look on nature — are problems of philosophy
- for the artist but for the contemplator of the works of art,
- are truly artistic, truly aesthetic ones. For it is the
- manner that really concerns the creative artists, while the
- it thus: our artists are no longer artists. They are
- by the artist is not only fraught with difficulty, but with
- regard to the universe are inartistic in their very nature
- Hildebrand, an excellent artist, who expressly states that a
- that this is not perceived, even by an artist like
- artistically of course, this form, which in itself is at
- artist of the Madonna. Only when we succeed in bringing into
- our forms in a purely artistic sense, without symbolism or
- Title: The Building at Dornach: Lecture I
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- configuration, artistic nature and spiritual essence of our
- Title: The Building at Dornach: Lecture II
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- ancient artistic script, if I may put it so. A force that
- Title: The Building at Dornach: Lecture III
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- of the matter is the artistic form in which things are
- Title: The Building at Dornach: Lecture IV
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- motifs of the capitals, artistic expression has been given to
- artistic content have arisen in such a way that one can
- thing is to have an artistic feeling for such a motif. If we
- This too had to be given artistic expression in the structure
- necessity. We must feel that a truly artistic creation
- Title: The Building at Dornach: Lecture V
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- artistic he will naturally have criticism to make. But
- anyone with artistic sensibility, looking at a painting in
- people he is painting, he is certainly a bad artist.
- artist either. One who paints a pale face — assuming,
- certainly not have produced anything really artistic, not to
- speak of how inartistic it would be to depict a wine-bibber
- is still not working with truly artistic impulses. But if one
- we are not working with the true artistic impulses. But if we
- of the artistic; and still more is this the case when we can
- He alone is a true artist who lives, as it were, with the
- Title: Lecture II: The Balance in the World and Man, Lucifer and Ahriman
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- cannot really be created by the artist at all, it is what is within.
- Title: Lecture: Technology and Art: Their Bearing on Modern Culture
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- artistic element. In this way we set over against certain Luciferic
- renewing a truly artistic conception of the world and its connection
- Title: Art/Mystery Wisdom: Lecture One
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- impulses of transformation in artistic evolution, the moral experience of
- pictorial nature. The life of the artistic impulses given us
- this — the metamorphosis of an old artistic principle
- renewal of an artistic conception of the world and the
- Title: Art/Mystery Wisdom: Lecture Two
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- impulses of transformation in artistic evolution, the moral experience of
- FOR MAN'S ARTISTIC EVOLUTION I
- artistic evolution of mankind. I would like to connect this
- artistic development.
- Title: Art/Mystery Wisdom: Lecture Three
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- impulses of transformation in artistic evolution, the moral experience of
- FOR MAN'S ARTISTIC EVOLUTION II
- can provide inspiration for artistic creativity and for many
- artistic appreciation. And we have now seen how, if we enter
- Title: Art/Mystery Wisdom: Lecture Four
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- impulses of transformation in artistic evolution, the moral experience of
- Title: Colour: Part Three: Artistic and Moral Experience
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- Artistic and Moral Experience
- Steiner's insights into the nature of color, painting and artistic
- Artistic and Moral Experience
- revolution in artistic creation and enjoyment. The forces which we
- artistic forms. We would see a time, before us, if we examine closely
- has been in the past, when the means of artistic creation will be
- the soul, and when in the creations of the artists we shall meet the
- In essentials the attitude of artistic creation and artistic
- appeal to something that affects the artist from outside. The need to
- artistically, how something appears before our soul when it attempts
- as artists will go, will mean a moral experience in colour of this
- kind; when the experience preparatory to artistic creation will be
- the souls of men and instigate them to artistic production. The
- Title: Art/Mystery Wisdom: Lecture Five
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- impulses of transformation in artistic evolution, the moral experience of
- change into both artistic creativity and artistic
- us an artistic conception of the world. And in our Goetheanum
- small part of what can take an artistic form, from out of
- conception, a time when the way to artistic creation will in
- more alive and the medium of artistic creation will be
- inwardly, in a kind of moral-spiritual way, and in artists'
- creations we shall meet, as it were, traces of the artists'
- essentials, the attitude of artistic creation and artistic
- observation, an appeal to something that affects the artist
- to show in artistic form what it is like for the soul, when
- can foresee a time when an artist's preparation will mean a
- preparatory to artistic creation will be much more inward and
- souls and enliven them with a tremendous sense for artistic
- are, that will stimulate their artistic creativity. You will
- Title: Art/Mystery Wisdom: Lecture Six
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- impulses of transformation in artistic evolution, the moral experience of
- cannot happen, then real artistic feeling will not be able to
- be warmed and fructified. For it is not only artistic and
- Title: Art/Mystery Wisdom: Lecture Seven
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- impulses of transformation in artistic evolution, the moral experience of
- Title: Art/Mystery Wisdom: Lecture Eight
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- impulses of transformation in artistic evolution, the moral experience of
- building has to come to expression in the artistic conception
- artistic form.
- have a look at the whole question of related artistic forms.
- artistic creative activity we find exemplified if we are able
- the building, the artistic stage, that expresses the image of
- your formative artistic thinking and contract and expand
- cite this to show you in what way real artistic creativity,
- Title: Lecture: Perception of the Nature of Thought
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- Title: Lecture: Brunetto Latini
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- Ways of Spiritual Cognition and the Rejuvenation of the Artistic
- Great epochs of Art, when artistic deeds raying far and wide
- artistic imagination. They are content to leave it at that.
- Needless to say, I shall not deny that artistic imagination
- how outer artistic creation is concerned with Initiation. We
- And among other things, all the artistic life must come near
- Title: Problem of Death: Lecture I
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- Rejuvenation of the Artistic Lifestyle, published in German as, Wege
- problems to more general questions of the artistic
- Title: Problem of Death: Lecture II
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- Rejuvenation of the Artistic Lifestyle, published in German as, Wege
- is very adaptable to artistic treatment; out of the maya of
- karma which has not been lived out. So an artist who is
- not a materialist. If he is an artist he will feel
- Title: Problem of Death: Lecture III
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- Rejuvenation of the Artistic Lifestyle, published in German as, Wege
- all human activity of an artistic nature there must lie as
- death. As regards artistic activity it is precisely the
- will-element which must be impregnated into the artist from
- of artistic labour, the opposite is taking place. In our
- in the artistic world, which makes the conceptual life more
- sophisticated. Therefore in our age, artists are becoming
- our age it will come about more and more that the artist
- departing from the real principle of artistic creation.
- Artistic creation begins when one creates an inwardly
- gives the similarity between artistic creation and the
- standing within the spiritual world, although the artist is
- artistic creation in every sphere will be called forth in
- the original artistic creative power in me’ —
- evolution where artistic faculties must ripen through the
- of nothingness, people vaunt themselves artists and
- are, in their own opinions, artists.
- to have the forces requisite for artistic creation —
- lead to artistic creation in the future be liberated from
- Many artists have a holy terror of this emergence of the
- Maximum number of matches per file exceeded.
- Title: Lecture Series: Meditation and Concentration
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- Ways of Spiritual Cognition and the Rejuvenation of the Artistic Lifestyle,
- of the Artistic Lifestyle,
- “The Problem of Death in Connection with the Artistic
- Title: Lecture Series: Whitsuntide in the Course of the Year
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- nature, we build up into our artistic creations. Strictly
- Title: Lecture Series: 'Heaven and Earth will pass away but my words will not pass away'
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- perception; each separate form must be artistically created — I
- the old mediums of artistic production.
- Title: Chance/Necessity/Providence: Lecture 7: The Physical Body Binds Us to the Physical World
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- body out of which those forces that provide artistic stimulus are derived.
- in them for the artistic impulses to be lived out here.
- Title: Community Life: Lecture 6: The Concept of Love as it Relates to Mysticism
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- experienced and described only by artists (approximately since the
- as a great artistic creation or the kind of religious union with God
- as an attribute of love, and she forges a link between the artist's
- Title: Lecture: Outlooks for the Future
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- are poets or artists, and they may say: “I feel my genius within
- Title: Significant Facts: Lecture I: A Convulsive Element in Humanity in the Nineteenth Century
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- loosened from the physical body, the man becomes an artist, producing
- grotesque, but for all that, artistic figures. The Inquisition does
- the drama from the purely artistic point of view because I know only
- Title: Significant Facts: Lecture II: Ancient Occult Magic. The Ahasver Mystery.
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- the artists would otherwise have made figures with whatever terms
- Title: Significant Facts: Lecture III: The Tragic Wrestling with Knowledge. The Secrets of the Future Sixth Cultural Period.
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- perhaps a poet or an artist today still has inklings which make him
- Title: Things Past and Present: Lecture I
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- certain way into the actual artistic content of the poetical
- its worth as we approach it from the spiritual artistic point
- to evaluate artistic representations. Today they focus
- the artistic formal element of what is being attempted, not
- realistic aspect also rejecting the real artistic
- the ideas and artistic impulses of that great period which
- reason, in his later artistic period he attempted again to
- of the artistic element which appeared as if it was being
- artistic striving of mankind, so that not everything would
- have had to sink into the inartistic barbarism, which in many
- artistic strivings together upon the waves of the spiritual
- poetic artistic form, there actually lives the striving of a
- not see much of the threatening danger of the artistic decay,
- Rheinhard. When one receives a real artistic perception from
- in modern life appears in the artistic domain is nothing
- really is is forgotten. In order for a real artistic sense to
- blind, blind precisely in relationship to the artistic. As
- far as the artistic perceptions is concerned, the world as it
- confront us. The artist must indeed look upon them in so far
- wants to describe people artistically in poetry, etc, then
- Title: Things Past and Present: Lecture VI: Death and Resurrection
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- art of the fact that that which gives the artist power
- the consciousness. Hence, in connection with the artist, it
- Title: Things Past and Present: Lecture VII: Man's Four Members
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- need do is just live yourself into the artistic style of
- Title: Things Past and Present: Lecture IX: Celtic Symbols and Cult, Jesuit State in Paraguay
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- world speaks of esthetics, artistry, sociology and even
- Title: Things Past and Present: Lecture XII: Luciferic Dangers from the East
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- with a real artistic poetical power in so far as he presents
- of such an artistic creation as
- but not in an artistic way.)
- Title: Riddle of Humanity: Lecture One
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- the artistic longings of the present, one finds everywhere the same:
- Title: Riddle of Humanity: Lecture Three
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- artists, penetrating normal consciousness with its fire and warmth and
- Title: Riddle of Humanity: Lecture Four
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- is the origin of that for which he strives in his artistic, aesthetic
- enjoyment or in his creative artistic and aesthetic efforts? And what
- for artistic experience? In the one case, our experience depends on
- second. The occult basis of all aesthetic and artistic enjoyment is
- artistic side of such a work of art. This is because the aesthetic
- Title: Riddle of Humanity: Lecture Five
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- sexuality in artistic considerations a piece of mischief for
- Title: Riddle of Humanity: Lecture Nine
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- undergoes when he enters the artistic sphere, because a materialistic
- actually lives, standing within the real world. The artist must go
- generalised sense of meaning, a sense for the typical. An artist does
- this as a matter of course. Similarly, an artist cannot directly
- things, things that contain some lesson and are not artistic in the
- true sense of the word. The changes that the artist makes in the world
- why artistic perception is never as restricted to specific sense-zones
- Title: Lecture: The Sense-Organs and Aesthetic Experience
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- art. The artist has to do something with the Ego, go through a
- significance, something typical. The artist does that as a matter of
- the artist cannot express the world of thought, as it finds
- expression in the ordinary earthly world, in an artistic way
- really be a work of art. The alterations made by the artist in what
- artistic perception is never so confined to the realm of a particular
- Title: Lecture: Inner Impulses: Lecture II
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- religious and artistic life. Its goal would be to stamp out all
- life when I let myself be ruled by this giant artist who is in me.
- de Musset it is a giant artist.
- quite unable to define. Then, when he beholds this giant artist
- not feel as though a giant artist, who makes him unhappy, were
- artists. You will find that the representation of the life of Jesus
- countenance, you have here direct artistic rebellion. You will now see
- Title: Lecture Series: Architectural Forms
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- thoughts in building, like all fruitful artistic impulses, have
- are expressed in a subjectively arbitrary manner in artistic
- of original artistic thought, but only the thought of the
- express more or less inartistically. This is particularly
- artistic form. This, however, is not adapted, like Greek or
- Winckelmann, aspiring to recreate those artistic forms. But the
- Cornelius, to create forms, to create artistic figures, yet
- truthfully create artistic forms from it. If mankind does not
- a start with new artistic forms which must be the natural fruit
- spontaneous growth of artistic forms from the urge and
- Title: of Utility: Lecture I: Western and Eastern Culture, H. P. Blavatsky
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- instance, radiated in all that the Greeks created artistically,
- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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- Click on any of the Artist names (above) to find more
- return. For in the artistic evolution of this period we witness
- lies before this period in artistic evolution is veiled pretty
- artistic ideal. Rather was it a question of calling forth those
- the study of an artist who, for the external history of art, is,
- with Giotto an entirely new artistic world-conception arose in
- and tendencies which seized the artistic imagination of Giotto at
- and the influence of this extends, by and by, to the artistic
- in his artistic work we find a feeling similar to that of St.
- artist carried along, as it were, by the living impulses of St.
- in such a case artistic realism is combined with the striving to
- how the artist seeks to represent the inner life of St. John,
- the grouping of the human figures. It is the same artistic
- faces. See how the artist's work is placed at the service of this
- artist who was permeated by this idea, and was well able to bring
- artists, nevertheless, as you will presently see for yourselves,
- stage further in artistic evolution. The following developments
- artist is at pains, not so much to subordinate his figures to one
- than heretofore, the artist's effort is to portray even the
- more and more emancipated, while the artist's power to portray
- Maximum number of matches per file exceeded.
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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- Click on any of the Artist names (above) to find more
- in the artistic world of feeling, which finally led up to what was so
- of the new age, in an artistic sense. It is the dawn of the 5th
- something is contained in these artists which we must undoubtedly regard
- the artistic or aesthetic impulses as such, attaching an excessive value
- in former epochs — epochs when the artistic understanding was
- forget how much has been done to extirpate a true artistic understanding
- subject-matter is presented to it. In wide circles, artistic understanding
- say artists such as Raphael, Michelango and Leonardo were by no means
- one-sidedly artistic, but carried in their souls the whole of the
- artistic quality of their creation, in form and colouring, there flowed
- artistic sense will nevertheless
- feeling for what is truly artistic is not always prevalent among us.
- of their time. For this civilisation entered livingly into the artistic
- can we fully understand these artists if we have no feeling for the
- time, on the other hand, people fail to understand the artistic element
- had assumed at the time when these artists blossomed forth. You need
- figure the Greek artist created. In course of time this faculty was
- mere artist in the narrower sense of the word; the artist in him grew
- no one else could make anything of them. What poured into his artist's
- Maximum number of matches per file exceeded.
- Title: Karma of Vocation: Lecture I
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- humanity. As artist or poet, he cannot be compared with Dante,
- disguises, and this Goethe also really lived artistically. We
- He wished to put into artistic form what
- relationships in an artistic way, and to do so he took that of
- he artistically mastered.
- Title: Karma of Vocation: Lecture II
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- nature and has always behind his artistic fantasy the
- he later reduced to artistic form in Werther. His own
- artist and his special experience.
- see, a writer who is not an artist can produce a drama
- Title: Karma of of the Individual and the Collective Life
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- artistic fantasy he has the impulse to strive after the
- artist and his special experiences. One who is no artist can
- Title: History of Art: Lecture III: Drer and Holbein
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- Click on any of the Artist names (above) to find more
- problem is the relation of this artistic evolution to that other
- the sea, to the Atlantic Ocean. Peculiar impulses of artistic fancy
- impulse of artistic fancy is of a very different kind. Tracing it
- Northern impulse of artistic fancy. He who is sensitive to these
- the plastic arts. The artistic elaboration of letters into
- old Bibles. Again and again you will see it is the artist's impulse
- the artistic creation of Mid-Europe.
- which the individual must groan and soffocate. In the artistic life
- the being to the surface. That which arises from the artistic
- monologue of Goethe's Faust. It is a wonderful artistic
- original artistic fancy is directed.
- the practical impulse, if I may call it so, permeating the artistic
- from 1420 to 1490. Here you will see the same artistic tendency,
- which enables the artist to embody in such realistic figures the
- detailed subject but the artistic treatment as such which shows,
- undoubtedly, a higher perfection in this artist than in the
- most eminently mediaeval artist, Albrecht Drer.
- the heads of the characters are surch as the artist saw around him
- with the artistic treatment — the plastic quality, the forming of
- Maximum number of matches per file exceeded.
- Title: History of Art: Lecture IV: Mid-European and Southern Art
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- Click on any of the Artist names (above) to find more
- how the specifically artistic quality is always influenced by the
- the specifically artistic qualities. At the same time there is
- artistic qualities, for all that works in form and colouring, in
- recognise that the specifically artistic qualities that come to
- the artist works into the spheres of form and color and expression.
- The time itself works through the soul of the artist. The whole
- centuries we witness the development of a unique artistic life in
- itself should be artistically understood.
- artistic fancy rose to such great heights of creation, while the
- of the soul's life and its artistic power of expression. It finds
- progress of artistic penetration in pictures of the countenance of
- of Jesus that is presented to us, for the artistic forms are
- much that arose out of this wrestling for artistic powers of
- Northerly qualities of artistic creation are connected with the
- But he saw nothing of the sublime heights of artistic creation; he
- attained an artistic height that stands, in a certain way, so
- its artistic perfection we see how deeply Christianity had found
- and Michelangelo. Artistically, this conception is altogether a
- artist as before — Sluter.
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- Title: Lecture: Matter Incidental to the Question of Destiny
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- intelligence. In their artistic creations they are looking
- Title: Karma of Vocation: Lecture VI
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- different complexities of life in their artistic creation than
- Title: History of Art: Lecture V: Rembrandt
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- Click on the Artist's name (above) to find more
- lantern lectures, we will today pick out a single artist — albeit
- one of the very greatest in the artistic evolution of humanity. I refer
- kind of introduction, indicating the historic background of the artist's
- life and times, would be a little out of place. With an individual artist
- cultivation of artistic taste. You have lost the Mother-Earth of spiritual
- dependent on that artistic movement which I have characterised in recent
- soul was he in any way dependent as an artist on the Latin, Southern
- historic evolution of mankind. From the aspect of artistic history,
- artistic evolution, he threw many a beautiful and brilliant search-light
- of artistic life in that age. Hermann Grimm rightly says that to understand
- hand, is an artist who makes felt — as an artist — something
- and the darkness. This artistic conception becomes so strong in Rembrandt
- — great as was his talent, his artistic genius from the very first
- existence. What does this signify for Art? It signifies that the artist
- through man. The artist of the Fourth post-Atlantean age, as I have
- out of an inward experience of his own being. The artist of the Fifth
- signifies for man an artistic process of self-knowledge. And I think
- for self-knowledge as an artist. His own form was not merely the most
- the same time. Under the influence of his artistic way of feeling —
- Maximum number of matches per file exceeded.
- Title: Karma of Untruthfulness I: Lecture One
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- England's literary and artistic world a debt of deep gratitude
- artistic and literary matters, about the relationships between the
- rich treasures of culture, artistic sense and natural beauty from her
- Title: Karma of Untruthfulness I: Lecture Three
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- document of today. I do not want to overstate its artistic and
- joining his soul forces to all sorts of spiritual and artistic
- pragmatic, unsentimental, totally unmusical, inartistic, a robust and
- owner of the handsomest artist's face in the whole of Paris. He spoke
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
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- Click on any of the Artist names (above) to find more
- Spiritual Science, we should still find in this artistic evolution a
- we may regard as the fundamental frame-work of the artistic conceptions
- olden times, the artist had in his mind's eye some story which he wished
- The artist makes use of the visibility, or partial visibility of this
- at a time when the districts where these artists lived did not possess
- we shall recognise out of this portion of artistic evolution. In the
- the second pole of that entry into the physical reality in the artistic
- through the adjoining southern countries — their artistic creation
- Thus the period in artistic
- the features I have indicated are recognisable in the whole artistic
- will see that the artist has not yet reached a thorough-going perspective.
- centuries. It could not have been embodied in this beautiful artistic
- after all, more or less superfluous, if we are interested in the artistic
- figures of Mary and St. John) — that a Southern artist would have
- of secular subjects by the same artist.
- clearly how great was the artist's power of characterisation and
- distinctness, the artist does not care at all to conceive what a man
- contemporary artist who outlived Van Eyck by a few years — the
- There is a kind of echo of artistic tradition. In Van Eyck's work we
- Maximum number of matches per file exceeded.
- Title: Karma of Untruthfulness II: Lecture Fourteen
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- the worst falsity in German art came into it not when the artists tried
- Title: History of Art: Lecture VII: Representations of the Nativity
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- Click on any of the Artist names (above) to find more
- thus be concerned today, not in the first place with the artistic elements,
- Art, and I will therefore speak not so much of the evolution of artistic
- the same great trend of evolution, as we pass from the artistic representations
- Children. Artistically, too, we can recognise the difference. The Adoration
- feeling, albeit the artistic perfection is not so great as in the Southern
- of these painters. The next is by the artist who worked in Bruges and
- Title: Karma of Untruthfulness II: Lecture Twenty
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- artistic life. A universal monarchy in connection with this could only
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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- Raphael and the Northern Artists
- Raphael and the Northern Artists
- Click on any of the Artist names (above) to find more
- Southern European and the Northern or Mid-European artistic streams
- — a more special outcome of our ideas concerning the artistic
- respect to certain artistic intentions — the highest ideal has
- Behind the artist stand great cosmic perspectives — world-conceptions
- artist as Raphael, as the artist of an epoch that was drawing to it
- as an artist properly begins. He did this at the age of twenty-one —
- will have to ask: How is the artist contriving to express — whatever
- must, rather, be directed to these laws of artistic harmony. See how
- composition. In short, you can distinguish what is purely artistic from
- the underlying subject-matter. Here, however, the artist's power is
- With such an artist as Raphael, we may, indeed, pronounce the word,
- for it is literally true: — “Artistic truth makes all the
- opposite. To begin with, the artist is simply concerned to express his
- effort is, to the best of the artist's technique and ability, with the
- artistic means at his disposal, to bring to expression what is there in
- their Masters many a tradition of aesthetic law, artistic harmony, —
- the historic documents contain little about it) that in artistic matters,
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- Title: Karma of Untruthfulness II: Lecture Twenty Two
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- of artistic phenomena. To communicate through speech one has to find
- clearly-defined concepts for artistic matters. Of course, for the
- Title: History of Art: Lecture IX: Sculpture in Ancient Greece and the Renaissance
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- Click on any of the Artist names (above) to find more
- preserved for us. The Greek artist created from an altogether different
- that tend in the long run to brutalise even the artistic life. Goethe
- — was in movement. Hence, too, as a creative artist, in all that
- we can see that the artist's creation is based on a feeling of the inner
- pictures, we shall be less concerned to discuss the individual artists;
- the artist endeavors to represent the body in such a way that the position
- in which the figure is might be a lasting one. The later artists strive
- artists of the Golden Age of Grecian Art; they, indeed, created the
- the earlier artists is made more human. We see this already in Praxiteles.
- artistic discussion, ever since Lessing's Laocoön of the 18th
- what the plastic artist has created is there before our eyes. Therefore,
- says Lessing, what the plastic artist portrays must contain far more
- unconsciousness. Hence the artist represents it as though the body of
- From the 13th century onwards, artists would educate themselves by means
- 15th century, and we come to Ghiberti, the great artist who at the age of
- apprentice he grew to be one of the very greatest artists. These
- artists — the contrast between the two artists — the contrast
- Niccola Pisano and Donatello were two artists who powerfully
- we have had before us the artists of the pre-Renaissance. They entered
- Maximum number of matches per file exceeded.
- Title: Karma of Untruthfulness II: Lecture Twenty Five
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- spiritual life works and weaves in artistic literature, in belletristic
- Title: History of Art: Lecture X: Disputa of Raphael - the School of Athens
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- The artistic representation of imaginative-spiritual imagery of
- artistically, means every small detail has a certain meaning.
- certain nostalgia for the artistic immensity of antiquity and
- this completely, could not be bothered with artistic or any
- (203). No inartistic stupidity is needed to see Plato in this
- are alive — expressed in the image itself. Un-artistic,
- we can do by experiencing such paintings in an artistic sense.
- Title: History of Art: Lecture 10: Disputa and The School of Athens of Raphael
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- The artistic description of the imaginative spiritual
- might be the basis of an artist of today, what would we say? We would
- grasp in order to understand this picture, to understand it artistically,
- truly artistically, have a specific meaning. Consider that Raphael,
- not necessary to commit the inartistic folly to define this figure as
- of Athens”. There is no need to commit the inartistic folly to
- cast if, with an artistic understanding, we reach a true sense for such
- Title: History of Art: Lecture XI: Icons, Miniatures, German Masters
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- The battle of individual artistic representation amidst the
- artistic. If you want an idea about what had been pushed back
- it here where the artistic element first only dares to appear,
- an artist like Stephan Lochner depicting space within art had
- desire to look at nature. Here, (399) you find an artist who
- Title: History of Art: Lecture 11: Fourth and Fifth Post-Atlantean Epochs, Medieval Art in the Middle, West, and South of Europe
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- a broad sense maybe called the artistic period. And if you wish to receive
- what this “City-Freedom” came to regarding the artistic.
- — the artistic dares to come forward for the first time, where
- For such an artist as Stephan
- Title: History of Art: Lecture XII: Greek and Early Christian Art, Symbolic Signs, the Mystery of Gold
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- artistic development's depiction was what there was to be
- through the world, the artistic depiction of beauty within
- artistic work of humanity, to work against death, in other
- This becomes obvious in all that is juxtaposed in an artistic
- expression. This is evident when one sees how artistic skill
- youthful and prosperous people. This artistic skill brought the
- Hellenism was already growing in the first artistic Christian
- creations, but how simultaneously these artistic creations
- or dealt with artistically. As a result, we see how the
- artistic skill is presented in the growing, blossoming and
- still holding on to the striving in the artistic sense, with
- could not be mastered artistically, it still had the work of an
- Thus we see the characteristic style in the artistic creations
- artistically with the mystery of death, it is brought together
- periphery. In the most diverse ways the spatial artistic
- artistically.
- it artistically. If one goes however into sub-nature, into the
- artistic metallic works of art.
- animal and human. This becomes the light-dark artistic
- artistic expression of this interworking between the olden and
- Title: History of Art: Lecture 12: Greek and Early Christian Art, Symbolic Signs, the Mystery of Gold
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- important in the area of artistic development in the forth post-Atlantian
- expanded into the world, the artistic presentation of the human being
- a great artistic work of humanity, to place what the world beyond can
- observes how the artistic skill of forming the beautiful, the growing,
- first Christian artistic creations, but also how at the same time these
- artistic creation wrestle, to gain hold artistically of what cannot
- the artistic ability to describe what is growing, blossoming, flourishing,
- artistically, it still faces centuries of work. In the earliest centuries
- And so we see this process of artistic creating. I have wanted to express
- artistically, in order to bring together this mystery of death, also
- naturalism of the fourth post-Atlantean time, the artistic naturalism.
- artistically. If one enters into what is below the naturalistic, into the
- was combined artistically that which on one hand could work out of the
- also bring to expression the artistic. This penetrating of the heathen,
- Title: History of Art: Lecture XIII: The Changes in the Conception of Christ During a Certain Period of Time
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- which link to, I might call it, intimate artistic changes in
- the attempt to depict the Christ figure artistically actually
- the Gospels, a desire started in the West to artistically
- forms of the old, ancient pagan artistic development.
- People simply transposed the pagan artistic expression on to
- speaking from an artistic point of view. So much has been
- call it that, of the pagan artistic expression has not been
- bodily depictions, the artistic physical forms, one has to
- artistic matter carried a feeling which was being experienced
- possible as a result of the Greek artist, when connecting his
- artistic figure of Apollo. Swinging over to the humanistic we
- However, while artistic evolution was on a downwards path one
- Within the world of art itself artistic creativity could not
- artists. For this reason it is interesting that this particular
- which in the highest sense is artistic, oriental and still in
- one could say, having a rendezvous with the inartistic,
- the sleeping powers of the artists it was present
- expression in those artists and their art as most wonderfully
- say Giotto created his artistic offering of Francis of
- the starting point for the Renaissance artist, we see how the
- Maximum number of matches per file exceeded.
- Title: History of Art: Lecture 13: The Changes in the Conception of Christ During a Certain Period of Time
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- so artistically was made at the moment in the development of world history
- of the Gospels in artistic form. It is important to note the time at
- some animal figure. The artists confined themselves to this during the
- element in art?” (I am speaking now from the purely artistic
- tension and the relaxation of the muscle. He expressed in the artistic
- the bodily in man, in by far the greater number of his artistic creations,
- super-human, super-individual lived in the artistic representation.
- might say it was the conviction of Greek artists that the human soul
- ideal, so that something artistic, something spiritual and at the same
- the artists in Italy had no special artistic inventiveness of their
- in a world that could not of itself be artistic ally creative but received
- in no other artist do we see this conflict so intensely as in Giotto.
- highly artistic — the Oriental and the Central European (which is
- so to speak, on an inartistic, unimaginative ground which is only fitted
- as the background of the creative powers of the artist.
- I will show you become the starting point for the Renaissance artists,
- we see in these Renaissance artists a complete rejuvenation of Greece,
- Title: Problem of Faust: Lecture V: Faust and the Problem of Evil
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- encounter with Helena. All this is shaped with artistic
- Title: Historical Necessity: Lecture 6: New Spiritual Impulses in History
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- gave him a conception of the creative artistic activity of
- Title: Ancient Myths: Lecture III
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- however, they not only ruined the artistic intention from which the
- whole thing was supposed to proceed for an artistic creation
- Title: Occult Psychology: Lecture One
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- when work has been carried out under such difficult conditions, part of the artistic work has
- sincerity spoke in opposition to what was otherwise noticeable in this artistic centre (that is
- artistic activity the most intelligible as well as the unintelligible stuff was talked... It is
- Title: Mysteries of the Sun: Lecture I
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- call up an inartistic comparison — from one the left half
- Title: Problem of Faust: Lecture VII: Some Spiritual-Scientific Observations
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- the artistic point of view about the scenes from
- artistic standpoint but am relating to “Faust” a
- Title: Problem of Faust: Lecture IX: Goethe's Life of the Soul from the Standpoint of Spiritual Science
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- significant indications for the artist, belongs to the most
- connected with what we find treated artistically by Goethe in
- Title: Three Streams: Lecture V: Free Human Personality by Self Training, Justinian and the Schools
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- We have given artistic expression to them in our seven pillars, and
- Title: Three Streams: Lecture V: Free Human Personality by Self Training, Justinian and the Schools
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- We have given artistic expression to them in our seven pillars, and
- Title: Three Streams: Lecture VI: Augustus and the Roman Catholic Church, Rhetoric, Intellectual Soul and Consciousness Soul
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- artistic forms — this is what we need.
- Title: Three Streams: Lecture VI: Augustus and the Roman Catholic Church, Rhetoric, Intellectual Soul and Consciousness Soul
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- artistic forms — this is what we need.
- Title: Lecture: Evil and the Future of Man
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- — that artistic creation and enjoyment are declining in almost all
- artistic life which must pass into the evolution of humanity in future
- Anyone who truly enters, for instance, into the artistic forms created
- truly inward way (which artists themselves often fail to do nowadays)
- Title: Symptom 2 Reality: Lecture V: The Supersensible Element in the Study of History
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- that in almost every branch of art artistic creation and
- artistic forms in painting and sculpture, or of the nature of
- the inner rhythms in music and poetryand the artists
- Title: Symptom 2 Reality: Lecture VI: Brief Reflections on the Publication of the New Edition of 'The Philosophy of Freedom'
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- one could observe the profound influence of the new artistic
- seminal force in the artistic life of Weimar. In the Weimar
- Title: Symptom 2 Reality: Lecture VII: Incidental Reflections on the Occasion of the New Edition of 'Goethes Weltanschauung'
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- between perception of nature and artistic activity, between
- artistic creation and artistic imagination. One touches upon
- Goethe when he observes nature as an artist, but sees it on
- artist in such a way that, to quote his own words, one feels
- artistic in Goethe rests upon the solid foundation of a
- Title: Challenge/Times: Lecture VI: The Innate Capacities of the Nations of the World
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- those spirits who are truly artists in thought. This makes
- Title: Fundamental Social Demand: Lecture 1
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- train an artist and I said to him: You must go to as many
- artists as possible and observe — “This one
- Title: How Can Mankind Find Christ Again?: Lecture 7
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- you who are scholars, statesmen, artists. I ask you, reverend Father,
- Title: Goetheanism as an Impulse for Man's Transformation - Lecture 6: Goetheanism as an Impulse for Man's Transformation
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- an artist, will even do, but simply to leave off when the inner source
- Title: Problem of Faust: Lecture X: Faust's Knowledge and Understanding of Himself
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- there is very little real artistic feeling. In any case,
- artistic conception was not, as it is for so many,
- creations. And he had the experience that, if the artist is a
- true artist, he unites himself in marriage, as it were, with
- that can be created artistically, out of what is working in
- artists that, naturally. all external human art seems small
- that in his artistic representation, Goethe sees — or
- Title: Problem of Faust: Lecture XI: The Vision of Reality in the Greek Myths
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- prejudices the purely artistic force of its construction. I
- mood and tenor, the whole artistic structure of the
- endeavoured to portray artistically in his Faust.
- putting into new and artistic form what intimately and
- oldest artists, as it were, of the earthly world during the
- one-sidedly a scientist, nor one-sidedly an artist; in him
- scientist and artist were consciously combined. Hence, as he
- artistic conception of nature — seen from the other
- those ancient artists who first depicted Gods in human
- recognising in it an artistic representation of what has been
- Title: Problem of Faust: Lecture XII: Goetheanism In Place of Homunculism and Mephistophelianism
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- artist, no other poet, has ever done, in developing an
- artistic creation out of this spiritual life, so that in this
- artistically what you can feel as Faust stands before Manto;
- Title: Lecture: A Turning-Point in Modern History
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- is to be achieved in the likeness of genuine art. For the artist
- hut in the same way that the spiritual has an effect. Thus the artist
- the law comes about through an inclination akin to that of the artist,
- philosophical way, by Goethe in an imaginative and artistic way, is
- Title: Migrations ...: Lecture 3: Emancipation of the Economic Process
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- the economic process as such. Only in the artistic field or in that
- of many people depends upon the capitalistic economic order. An artist
- Title: The Social Question as a Question of Consciousness: Lecture 3
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- have come when the value of spiritual work and the work of the artist
- Title: The Social Question as a Question of Consciousness: Lecture 4
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- the spirit and to represent the spiritual by artistic means is being
- peak in what is called Impressionism. Before Impressionism artistic
- possible for him by the community, by the social organism. His artistic
- is there striven for artistically. It is thought out in the sense of
- Title: The Social Question as a Question of Consciousness: Lecture 6
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- said about art, what artists themselves have said about the arts of
- Title: The Social Question as a Question of Consciousness: Lecture 7
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- work by writer or artist, the proceeds from it can be left to his heirs
- Title: The Social Question as a Question of Consciousness: Lecture 8
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- Madonna is a very important artistic creation. Actually it could be
- Title: Social Question as a Problem: Lecture II: The Inner Experience of Language
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- language, just as an artist is fundamentally not simply one
- aesthetically, artistically. But they cannot soar to the
- Title: Art as a Bridge ...: Lecture: Art As A Bridge Between The Sensible And The Supersensible
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- — we were talking about artistic monuments
- Title: Education as a Social Problem: Lecture II: The Social Structure in Ancient Greece and Rome
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- artist painted it; that we have lost their feeling and at best
- Title: Lecture: Social Understanding Through Spiritual Scientific Knowledge
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- color is to an artist. He can have studied aesthetics of color very well, but
- teachers and educators in the same way as people become artists or
- them tomorrow and the day after tomorrow. But if you are the artist kind
- Title: Influences of Lucifer/Ahriman: Lecture Two
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- tendencies of some artists have been more luciferic — they are
- Title: Lucifer and Ahriman: Lecture II
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- tendencies of some artists have been more Luciferic —
- Title: Lecture: Differentation of Primeval Wisdom into East, Middle, West
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- must be an artist in ideas. One usually rejects the concepts of
- an artist of ideas. In that book I had to accept it; it all
- also necessary to cultivate a certain artistic element, and
- towards artistic things. An abstract, Aesthetically
- rejects everything artistic. Therefore it was a good fate, a
- artistic experiments here in Dornach, and that we could work
- the artistic element. That had to be linked an to the best
- Title: Mission of Michael: Lecture II: The Michael revelation.
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- artistically as well as spiritually outstanding products of culture we
- Title: Mission of Michael: Lecture III. Michaelic Thinking.
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- anything of an artistic form, for instance; that is, he has the
- to follow such a thought in depicting evolution artistically in our
- Title: Mysteries of Light: Lecture I: The Dualism in the Life of the Present Time
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- principle of evolution manifested in artistic work is the same as the
- it was essential to do likewise when developing artistically
- Title: Mysteries of Light: Lecture II: The Development of Architecture
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- sensed, felt, viewed artistically. Anyone who wishes to put them into
- Christ-Being. But this is to be felt in an artistic way. It
- but it must be felt. The whole is artistically conceived, and
- what comes to artistic expression in the forms is the most important
- at least been made to let it flow out in artistic forms: then you
- Title: Mysteries of Light: Lecture IV: The Old Mysteries of Light, Space, and Earth
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- that towering above it was the Aryan whose artistic representation
- Title: Lecture: Some Conditions for Understanding Supersensible Experiences
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- the artist's imagination unfolds freely and independently of
- Title: The Building at Dornach (Bn/GA 289): Lecture I: The Goetheanum
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- artistic forms and figures. Once again, I should like to repeat what
- own, some architect or other, and some artist or other would have been
- styles of architecture; just as when they wish to make anything artistic
- succeeded in creating artistic forms. All that has been achieved is
- the establishment relationship with the inartistic element of the present
- of artistic representation, but never identifies itself with them. Indeed,
- artistically had an actual fear of every kind of philosophy, for it
- saying in a symbolical sense; take it in an artistic sense and you will
- and allows himself to be carried into a really organic-artistic, a feeling
- of Art, but that his opinions are inartistic. If the forms in the Building
- persons of artistic natures who happened to come among us were often
- a cross with seven roses, far higher than a really artistic motive.
- in order to see only the artistic. When this form was about to be made,
- consider it from an artistic point of view, but merely an imitative
- artistic forms is growing out of the Anthroposophical conception, we
- Title: The Building at Dornach (Bn/GA 289): Lecture II: Bau Lecture II
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- to abide by such nomenclature would of course be most inartistic. The
- in an artistic manner out of its own nature that when the most complicated
- with the imagination of the artist. This is the thing that you must
- precisely through its artistic side had to make certain claims. Men
- - in its inner artistic mobility when as we enter it we allow ourselves
- Title: The Building at Dornach (Bn/GA 289): Lecture III: Lecture 3
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- been made in accordance with that artistic point of view referred to,
- conception must be sought; another principle, another way of artistic
- artistic feeling certainly will only be admitted by him who has a presentiment
- pitiful to see how those who are possessed of artistic feeling truly
- the human soul as force of inspiration through the whole artistic structure
- purposed in the painting in the domes. We get as it were inartistic
- ideas, effects of what is intended to he artistic. But of course that
- in him who has artistic perception. Hence I do not think it quite superfluous
- you must give up asking inartistic questions. When an artist paints
- a question as: What does this or that mean? The inartistic man will
- artist; it is the question which he who paints it will least of all
- which must possess the artistic soul. (I will explain more clearly in
- the artist will turn away from everything naturalistic, from all copying,
- minutely, but seek what is essential in the artistic perception.
- Title: Lecture XII ..... Spiritual Science and Medicine
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- is concerned, by the activity of the plastic artist “fluorine,” and
- Title: Lecture XIX ..... Spiritual Science and Medicine
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- speak, take the part of the artist, the sculptor, giving the substance
- Title: Man: Hieroglyph: Lecture One
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- beauty, the world of artistic creation. This goes to show how
- except the world of Artistic Semblance, where — let us say, in
- Title: Man: Hieroglyph: Lecture Nine
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- perhaps astonish some of you when I say that an artist who has become
- may arise.” It seemed to he very remarkable that an artist of all
- Title: Social Forms: Lecture VIII
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- Yoga philosophy to be his ideal, the artistic breathing that
- Title: Social Forms: Lecture XIII
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- an artistic transformation — of the images and
- its own being so that it can work artistically, religiously
- religious, scientific or artistic sphere with one pertaining
- a person grows up in an artistic atmosphere, one who is
- Title: Social Forms: Lecture XIV
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- existence will have to shape itself artistically. Without
- Title: Social Forms: Lecture XV
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- number of artists here in August. It was for the purpose of
- Title: Social Forms: Lecture XVI
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- artist does — indeed, they must proceed in a style
- surpassing that of an artist. It does not do to impose
- case. An artist who is creating something cannot go by
- establishing rules for the artists. An artist cannot even go
- Title: Boundaries of Natural Science: Lecture II
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- the portrait of a rather ugly man that a kind artist painted in such
- Title: Poetry/Speech: Lecture I: The Art of Recitation and Declamation
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- treatment of speech. In any artistic representation such as this
- artistic disposition and perception that were his
- from the point of view of their artistic – their inner
- artistic – formation, and to see how these two forms flow
- period in Goethe’s artistic creativity as the wonderful prose
- created under the tremendous artistic influence exerted on him by
- Iphigeneia arises from an artistic perception that
- can see that such a man as Goethe, an artist through and
- been able to see that here an entirely artistic personality has
- from an artistic feeling for style. Goethe’s feeling for
- regard to their purely aesthetic impulses. For to an inartistic
- For artistic perception, however, the Roman Iphigeneia is
- is with such artistic intimacies that we shall have to deal when,
- Title: Boundaries of Natural Science: Lecture V
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- itself away again and again: thus he produces not a systematic, artistic
- Title: Boundaries of Natural Science: Lecture VIII
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- concepts but by elaborating perception symbolically or artistically,
- Title: Golden Blade, 1962: Lecture 2: Paths to the Spirit in East and West
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- in an artistic or symbolising manner, we shall develop much
- Title: Poetry/Speech: Lecture II: The Art of Recitation and Declamation
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- Our present age, inartistic as it
- midway between speaking, or reading, which are not artistic, and
- artistically developed singing. In many circles there is a feeling
- artistic training. When we consider current views on the art of
- order to gain a practical, artistic realization of these things in
- exact method of educating oneself in artistic recitation and
- Und es malte der Artiste
- organization itself furnishes the instrument of artistic
- speech artistically. This is why it was quite justified when people
- Title: Poetry/Speech: Lecture III: The Art of Recitation and Declamation
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- corporeal processes: this connection with the artistic formation of
- man himself becomes an instrument of artistic expression. Knowledge
- Rather, through proper artistic formation and artistic treatment we
- soul-element which gives it artistic expression. We can then, for
- bringing knowledge to art and illumining artistic creation through
- Title: New Spirituality: Lecture 3: The New Spirituality and the Christ Experiance of the Twentieth Century - 2
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- existed in Greece, primarily as artistic beauty but also as a certain insight; and how already in
- Title: New Spirituality: Lecture 4: The New Spirituality and the Christ Experiance of the Twentieth Century - 3
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- artistic nature, but in the 1780s and the beginning of the 1790s he was strongly influenced by
- Title: New Spirituality: Lecture 5: The New Spirituality and the Christ Experiance of the Twentieth Century - 4
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- human system of ideas; but only, if I can put it so, artistic elaborations of it. In neither
- belong to an artistic pedagogy and didactics to be able to discern that one child is suited for
- Title: New Spirituality: Lecture 6: The New Spirituality and the Christ Experiance of the Twentieth Century - 5
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- judgement arose. All that was developed for the affairs of the religious life, the artistic life
- Title: Colour: Part Two: Thought and Will as Light and Darkness
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- Steiner's insights into the nature of color, painting and artistic
- Title: Colour: Part Two: The Connection of the Natural with the Moral-Psychical. Living in Light and Weight.
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- Steiner's insights into the nature of color, painting and artistic
- Title: Lecture Series: Eurythmy
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- itself “artistic” and would consequently be out
- and makes use of an artistic language whose forms are
- artistic medium, by a different form of speech. Hence, as you
- recited and the real artistic content of it is translated
- how Eurhythmy in this somewhat inartistic age may be able to
- develop a true artistic understanding and rendering of
- But the real artistic value of poetry is not determined by
- care must be taken that they shall bring out the artistic
- epochs which were truly artistic. It is interesting in this
- which forms the artistic basis of Eurhythmy.
- briefly, is the artistic side of the question, and it
- artistically impartial than ours, there will be a quite
- Title: Lecture: Social Life
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- the head, but cannot make a person an artist in pedagogy; it
- manipulator of that artistic dexterity, (as I might call it)
- Title: East and West, and the Roman Church: Lecture I
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- artistic marble ship afloat on the great lake. In the middle of all
- Title: East and West, and the Roman Church: Lecture II
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- technical age and loses even his artistic intercourse with the
- Title: Festivals/Easter IV: Spirit Triumphant
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- beauty with which artists have endowed it, we may not rest content
- Title: Easter/Pentecost: Lecture I: Thoughts on Easter
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- the artistic attempts that were made to represent the suffering
- the cross, with all the beauty with which artists have endowed
- Title: Poetry/Speech: Lecture IV: Poetry and the Art of Speech
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- artistically active. This moves us to consider the essentials of
- something inartistic. When in reciting, as happens at the present
- artistic. Let us be clear that a poet – if he is a true poet
- among artists, a certain fear of this consciousness when it is
- on artistic, creative work. They
- the soul in artistic creation they will lose that spontaneity
- the intellectual, so that artistic feeling need in no way be lost
- Imagination manifested when the soul gives it an artistic
- impart artistic form, the Imaginative comes to be something
- raises artistic activity into consciousness, will have to be
- when, instructed by an accomplished artist, he paints directly onto
- to artistic speaking. This aberration might almost be called
- nonsense; it certainly does not derive from true artistic
- outside world, we shall be led artistically from these elementary
- artistic declamation, it is of primary importance to lose nothing
- poetry itself, will only become artistic when everything that the
- artistic is at that point disrupted.
- from inartistic content to genuine artistic form or to what has
- its own artistic forms must be represented when it is expressed in
- artistic.
- Maximum number of matches per file exceeded.
- Title: Curative Eurythmy: Lecture 1
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- how certain artistic forms transform themselves in one direction or
- course, be essential to emphasize that artistic eurythmy — which
- for those who wish to practise artistic eurythmy, I want to specifically
- what they have acquired in these hours when they do artistic eurythmy.
- those goals which one pursues in hygiene and therapeutics and that artistic
- persists in mixing the two will first of all ruin his artistic ability
- and that through which one achieves what is essential in artistic eurythmy
- children as a class. Artistic eurythmy and the eurythmy for pedagogic
- Title: Curative Eurythmy: Lecture 2
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- of extending what comes to expression in artistic eurythmy in a certain
- which are carried out with the arms only in artistic eurythmy —
- can see most clearly that one must admonish the artistic eurythmists
- not to mix the two things; the artistic eurythmists would not do well
- Title: Curative Eurythmy: Lecture 3
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- hold one's stand is called forth. This is present in the U in artistic
- Title: Curative Eurythmy: Lecture 4
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- in such a way that what we are developing as artistic eurythmy can unite
- other thing I wish to say today is that I really do not want artistic
- discipline. I beg the artistic eurythmists to forget these things
- thoroughly when they practise artistic eurythmy so that they are not
- in artistic eurythmy. That would be most troubling. One must nevertheless
- Title: Curative Eurythmy: Lecture 6
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- that which can he observed in this connection in artistic eurythmy will
- from artistic eurythmy to the fortified eurythmy we have become acquainted
- us can already be discovered purely artistically in a performance of
- When artistic eurythmy is performed one should not think of it in the
- He becomes an inwardly more agile person. And to become a true artist
- the case in outward artistry is in a higher degree the case here as well
- Title: Anthro Medical Therapy: Lecture IX
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- the artistic productions were poems and not drawings) that
- Title: Materialism/Anthroposophy: Lecture VII
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- efforts of artistic character. For him, what had developed as
- to penetrate the artistic element based on knowledge and the
- The artistic
- Out of their innermost human nature, poets and artists of the
- Title: Materialism/Anthroposophy: Lecture VIII
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- namely, that it seems abhorrent to us if, as artists, we are
- supposed to measure anything; for, if an artist actually has
- artistic. But we consider the work artistic when we see that
- Artistically, it would be the worst thing simply to draw
- have no true artistic feeling. One must have a feeling for
- artistic feelings, a slight touch has remained of what was
- only a slight touch of them in the artistic realm. We no
- words naming the numbers; or, from an artistic viewpoint, it
- Title: Colour: Part One: Colour-Experience (Erlebnis)
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- Steiner's insights into the nature of color, painting and artistic
- more than all these, if must interest the artist, the painter. In a
- what the artist has to say about the world of colour must be bound up
- Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
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- Steiner's insights into the nature of color, painting and artistic
- with our artistic sense. Peach-colour can be represented really only as
- intolerable for someone with artistic feeling. The soul cannot bear a
- Just think what this means to Art. The artist knows if he is dealing
- form the psychic into the artistic. And if you so understand the
- Title: Colour: Part One: The Phenomenon of Colour in Material Nature
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- Steiner's insights into the nature of color, painting and artistic
- artistic considerations from its study. So that actually the artist
- from this world of feeling by means of an artistic appreciation of the
- that the old artists did not make this distinction in their painting.
- of furniture painted blue — if you have any artistic feeling, you
- generally speaking an inartistic element has been introduced into
- symbolically, that one must unfold the quite inartistic; this colour
- One hears very often, after all, that artists have a proper fear of
- artists to put to practical proof the laws as laid down.
- that artists rightly have such a fear of theory. This theory is
- theoretical to the artistic. Then you produce a method of studying
- Title: Lecture: A Picture of Earth-Evolution in the Future
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- make these cosmic events part of an artistic conception of existence. But other
- region where the creative fantasy and feeling of the artist who understands the
- science, but able to provide a true foundation for artistic creation, if man
- raising science to the level of artistic perception. We shall realise then that
- really artistic conception of the world. For the world of Nature itself creates
- as an artist. And until we realise that Nature is a world of creative art which
- can be understood only through artistic feeling, no healing will come into our
- understanding for what is truly artistic that man will be able to understand
- herself as an active expression of artistic creation. In connection with the
- only by an inner understanding of this wonderfully artistic transformation of
- necessity for artistic insight and perception. This faculty was already alive
- Title: Materialism/Anthroposophy: Lecture XIV
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- unification of clear thinking with artistic perception in a science
- together with an artistic conception of existence. Very
- fancy, the feeling of the artist who understands the being of
- nature of color can be taken hold of, how the artistic
- a basis for artistic creativity, if we will only imbue
- lifted into artistic vision. We must admit that science in
- the universities must everywhere turn into an artistic
- artistically. Unless it is understood that nature around us
- is an artistic creation and can be grasped only with artistic
- However, by again acquiring an understanding of the artistic
- Goethe, who was artistically inclined. All the pedants around
- today. In Goethe, however, the artistic conception of the
- nature as the artist. He was not yet capable of seeing the
- body, that marvelously artistic transformation of the long
- the way to an artistic grasp of things. Like a great hymn, I
- reflections on color. These inartistic concepts neither
- Title: Development of Thought: Lecture 1
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- be able to concentrate upon those who were either scientists or artists
- Title: Materialism/Anthroposophy: Lecture XVII
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- being has worked like an artist on this body. I see much more
- element, the inner forming, the artistic self-development of
- Title: Therapeutic Insights: Lecture II
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- was shaped artistically in the recitation of the Greek
- Title: Lecture: The Remedy for Our Diseased Civilisation
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- for he had a poetical nature, an artistic nature and had published
- Title: Lecture: Goethe and the Evolution of Consciousness
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- At last Goethe is satisfied with an environment, an artistic
- itself. The poet of modern times has to give language artistic form
- most charming way of this poetic, artistic element of speech in
- speech but to the artistic element at work in the shaping of speech.
- Title: Lecture Series: Fundamental Impulses in the Mysteries of Ancient and Modern Times
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- found your social organisations on fear, follow your artistic
- Title: Art of Lecturing: Lecture I
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- understood. A lecturer who composes artistically will more
- Title: Art of Lecturing: Lecture I
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- understood. A lecturer who composes artistically will more
- Title: Art of Lecturing: Lecture II
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- artistic treatment of the language. Even the way in which one
- beautiful, so that one was thus a true speech artist when one
- Title: Art of Lecturing: Lecture II
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- artistic treatment of the language. Even the way in which one
- beautiful, so that one was thus a true speech artist when one
- Title: Cosmosophy 1: Lecture IX
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- Darwin for a midwife and the ape for an artist,”
- if once one were really to fix in a symbolic, artistic way
- Title: Art of Lecturing: Lecture V
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- persons who place something artistic into the script, they
- Title: Art of Lecturing: Lecture V
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- persons who place something artistic into the script, they
- Title: Art of Lecturing: Lecture VI
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- have, as it were, a sort of artistic character.
- The artistic
- proceed artistically — through repetition, composition,
- must remember that the artistic has its own means of
- only should different means of artistically structuring the
- things, if they are rightly felt, are those artistic means
- certain way, artistically. For basically, one speaks today
- Title: Art of Lecturing: Lecture VI
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- have, as it were, a sort of artistic character.
- The artistic
- proceed artistically — through repetition, composition,
- must remember that the artistic has its own means of
- only should different means of artistically structuring the
- things, if they are rightly felt, are those artistic means
- certain way, artistically. For basically, one speaks today
- Title: Lecture: The Alphabet
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- planted trees in a beautifully artistic order. Each individual tree
- Title: Old/New Methods: Lecture Ten
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- secrets of nature were depicted artistically out of the Greek world
- transformed into artistic and poetic form by someone who has an inner
- such things can certainly be expressed in artistic
- artistic spirit who watched from the sidelines, but of someone who
- Title: Old/New Methods: Lecture Thirteen
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- I said that in the whole mood and artistic form of Shakespeare's
- — if I may put it like this — to work artistically in
- depicted artistically in a way which leads to an understanding of the
- the social human being, whereas the artistic human being in
- and how in the artistic realm there is an ebbing and flowing of
- artistic manner, we cannot but be reminded, in ‘The Eternal
- Title: Old/New Methods: Lecture Fourteen
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- artistically or when he is enjoying something artistic. The
- human being works artistically or enjoys art. Artistic activity
- nature, as Schiller puts it. Living in the artistic realm, the human
- artistic object than he does in the case of logical research.
- spiritual seeing of something artistic. So inasmuch as a human being
- is capable of working artistically he is also capable of unfolding
- an artist was a creative spirit — not in his intellect but in
- this. He felt that Goethe in his artistic activity was as free as is
- artistic activity which is reminiscent of a child at play. His
- enthusiasm led him to say in one of his letters to Goethe: The artist
- Frivolous or merely entertaining play is not meant, but artistic activity
- and artistic enjoyment. The human being dwells within artistic experience,
- receive it only in the exclusive activity of artistic experience.
- artist so that, as Schiller put it, society can become entirely
- achieved if we recognize that to our freedom in the realm of artistic
- Title: Lecture: On the Dimensions of Space
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- figure. For a more artistic way of feeling is it not rather crude how
- the one dimension in which he grows. Artistically we do already make
- this artistic perception of the human form, we
- Title: Mystery Trinity: Part 1, Lecture 3
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- artistic creation and aesthetic appreciation. One who simply
- possibility of freedom in appearances, in artistic appearances.
- Faust, and express them artistically, even if he
- Title: Lecture XIII
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- Labour has been combined. Now if an artist paints a picture, the
- Title: Lecture XIV
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- contributes it. Take for example the artist who paints a
- picture and the existence of the artist are to be economically
- healthy, the artist must value it in this way: It must save him the
- Title: Philosophy, Cosmology and Religion: Lecture I: The Three Steps of Anthroposophy
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- knowledge that is in a position to lead the artistic into the
- spiritual. We strive for an artistic element here, which in a
- Title: Supersensible Influences: Lecture V
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- the lower jaws in a human skeleton with the eye of an artist. You will
- with the eye of an artist and you can easily imagine the legs becoming
- this idea of metamorphosis because, owing to his artistic nature,
- nature herself is an artist ... presuming this, the whole of natural
- which I once heard when I was talking to an artist in Munich. He had
- “Yes, when we were young, we artists used not to attend
- “rapture-monger” by artists, so, if nature herself were to
- perhaps, for nature creates as an artist. One cannot order nature to
- For when one reads Spengler with feeling, above all with artistic
- Title: Supersensible Influences: Lecture VI
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- actually says but in the artistic grandeur and majesty of his
- Title: Man/World of Stars: Lecture II: Moral Qualities and the Life After Death. Windows of the Earth
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- artists even in their thinking. The logic we are generally at
- Title: Inner Nature of Music: Lecture IV
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- gratifying artistic event, let me say something about the connection
- what is this human organization? Viewed from an artistic standpoint,
- prosaic speech into the poetic and artistic element of the rhythmic
- appearance. Our fantasy, which give rise to the artistic, is
- things, the greatest artist was called Orpheus. He actually possessed
- our two artists [The two artists and the concert refer
- Title: Lecture: Speech and Song
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- happy artistic event in our midst, by telling you a little of the
- takes back his now prosaic language into the poetic and artistic
- all artistic things, is at bottom nothing else than the power of
- of all artists, Orpheus, that his command over the soul was such that
- Title: Man/World of Stars: Lecture V: Human Faculties and Their Connections with Elemental Beings
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- in the ordinary sense than to those who are genuinely artistic
- while given up in some way to artistic impressions, to direct
- requisite spiritual vision and visit some studio where artistic
- manifest. And the greatest artists were men who because of
- Title: Lecture: The Spiritual Communion of Mankind
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- he embodied in his materials as an artist and what he took to be
- artistic and the scientific did not, in fact, appear until
- an activity of soul with the procedure he adopted in his artistic
- Title: Conferencia: La Comunión Espiritual de la Humanidad
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- encarnaba en sus materiales como artista y como lo que tenía por
- Title: Spiritual Communion: Lecture I: Midsummer and Midwinter Mysteries
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- his materials as an artist and what he took to be science. The
- philistinism expressed in the distinction between the artistic
- in his artistic creations.
- Title: Lecture Series: La Comunin Espiritual de la Humanidad
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- artista y como lo que tena por ciencia. La filistica expresin en la
- Title: Origins/Natural Science: Lecture II
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- of speaking, the body was only the vessel, the artistic reproduction,
- Title: Origins/Natural Science: Lecture IV
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- recognized as the image of the artist's ideas, so one found in
- Title: Spiritual Communion: Lecture III: From Man's Living Together with the Course of Cosmic Existence Arises the Cosmic Cult
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- contemplation becomes artistic study and contemplation: when
- understand the form and structure of the world as artistic
- scientific conception of the world to artistic understanding,
- rises to the level of artistic creative power and finally
- Title: Lecture: The Relation of the Movement for Religious Renewal to the Anthroposophical Movement
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- one hand an artistic way, and on the other a religious, ethical, and
- Title: Spiritual Communion: Lecture IV: The Relation of the Movement for Religious Renewal to the Anthroposophical Movement
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- artistic way, and on the other a religious, ethical, and social
- Title: Lecture: Man and Cosmos
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- — even as you see animals, plants, minerals, artistic
- he elaborated artistically in his literary works.
- Title: Lecture Series: Anthroposophy and Modern Civilization
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- wonderful, plastic, artistic forms in Greece, passed over into
- Title: Lecture: Fall and Redemption
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- Anthroposophical Society. Although for now even our artistic forms
- attention. By doing so, we lose nothing of the warmth, the artistic
- Title: Lecture: Man's Fall and Redemption
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- within it something beautiful, decorative, adorning, artistic.
- to form the human being artistically. The expression that Plato used
- Title: Lecture: Knowledge Pervaded with the Experience of Love
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- ancient Greek, or what he set forth as an artistic realization,
- to set forth the divine in man artistically, out of the
- Title: Colour and the Human Races: Lecture I: The Nature of Color
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- yellow. If I therefore get the same process into my artist's
- themselves as artists and not as having to encroach on the
- Title: Awakening to Community: Lecture V
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- to convey, was an ideal, a scientific, artistic and religious ideal.
- scientific, artistic and religious ideal.
- equally the source they drew on for artistic creation. The spiritual
- media were still so rudimentary, artistic creations of the period
- greater beauty human beings perceived with spiritual eyes. An artist
- Artists in those days
- it for themselves. These latter were convinced that when an artist
- artist engaged in creative activity felt that his god was guiding his
- The artistic ideal
- master the physical laws inherent in the artistic medium employed
- the religious, artistic and scientific ideal changed in the course of
- require that the religious, artistic and scientific ideals be clothed
- artistic terms.
- the new artistic ideal that comes to stand beside the religious ideal
- perceiving the artistic element in nature, the element that endows
- to apply this same artistry in the pedagogical-didactic field. We
- bring this same creative artistry to pedagogical work with children,
- branches, the former disclose themselves to modern artistic fantasy
- artistry into the schooling of the human race, and the same holds
- the artistic ideal, the scientific ideal — appear,
- Maximum number of matches per file exceeded.
- Title: Awakening to Community: Lecture X
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- religious, artistic and cognitive effect on the physical world in the
- Title: Inner Nature of Music: Lecture VII
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- the ancient mysteries, which at the same time was in itself artistic;
- resounds as an artistic conception from the ancient mysteries. From
- through the religious welling up in it, the artistic streaming
- religiously and artistically, must go through with the world, so that
- artistic forces of creativity just as Homer did, who said, “Sing,
- loss of an ancient cognitive, artistic and religious treasure of
- Title: Driving Force: Lecture III
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- This artistic
- knowingly, religiously and artistically in order that he may
- feelings as a result of their knowledge and their artistic,
- of having lost an ancient knowledge and an ancient artistic
- Title: The Cycle of the Year: Lecture III
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- forming. This can work religiously, artistically, cognitionally, and
- Title: The Cycle of the Year: Lecture IV
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- cast up, it assumed the most remarkable artistic shapes, which of
- Title: Child's Changing Consciousness: Lecture I
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- called the Goetheanum, which stood over there. The artistic
- — that would have reigned within this material, artistic
- Title: Child's Changing Consciousness: Introduction to a Eurythmy Performance
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- impression of eurythmy. It is an artistic movement that draws
- would be inartistic. Every art must speak for itself, and, one
- thought element always tends to be inartistic and prosaic.
- themselves artistically through the medium of language. They
- artistic. Consequently, for the art of speech to do justice to
- our inartistic time — but it should concentrate on how
- the limelight, it nevertheless remains inartistic. The artistic
- esthetic and artistic effect. These gestures are neither
- uses the most perfect instrument available for any artistic
- true and artistic image of all cosmic secrets and laws. The art
- open to an artistic approach to speech than our present times.
- Our current age is hardly sensitive to artistic refinement. For
- artistic formation of speech, while the prose meaning of a poem
- feeling for the artistic element in speech has declined
- is completely possible to render artistically the same poem in
- poem in the same way, from an artistic point of view there
- skills, but also in the artistry demonstrated. Likewise, an
- inborn artistic gift will also be clearly perceptible, even
- is not really purely artistic. Eurythmy is an art already.
- Title: Child's Changing Consciousness: Lecture III
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- to the realm of language has an artistic nature. Language
- itself is an artistic element, and we have to consider this
- artistic element above everything else in the time between the
- these may appear artistically justified. Far from it! I have no
- language, with its artistic and pictorial element. Thus, only
- artistic and esthetic changes during this period of life.
- Title: Child's Changing Consciousness: Lecture IV
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- working — artistic impulses that allow the child to
- artistry that avoids an overly one-sided exercise in
- Title: Child's Changing Consciousness: Lecture V
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- we introduce not aesthetics but a thoroughly artistic element,
- wonderful instinct for painting artistic color combinations,
- Title: Child's Changing Consciousness: Lecture VI
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- Whether it is written in an artistic, in a less-refined, or
- Title: Spiritual Development: Lecture I: The Inner Experience of the Activity of Thinking
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- artistic approach, inspired by thoughts
- You must realise that with ordinary artistic thinking, with
- ordinary artistic feeling, you cannot reach the
- Title: Child's Changing Consciousness: Lecture VII
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- writing. They may be considered far ahead in artistic subjects,
- Title: Child's Changing Consciousness: Lecture VIII
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- which was rendered very competently and artistically by Mister
- unfortunately) how our pupils are being directed into artistic
- Title: Arts and Their Mission: Lecture I
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- stimulation from the spiritual world. We must become artists, not by
- Title: Arts and Their Mission: Lecture II
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- stimulation from the spiritual world. We must become artists, not by
- Precisely in our time the human inclination toward the artistic has
- foster, in every possible way, the artistic element.
- to the artistic. Today the positive way in which Goethe and many of
- world, the artistic was considered absolutely vital to civilization.
- the artistic element flourished have had a definite relation to the
- spiritual world. It was out of a spirit-attuned state that the artistic
- must, to be true to itself, become inartistic, philistine. Unfortunately
- individual arts. Pure naturalism can never create an artistic architecture,
- hears the statement: “To build artistically is too expensive.”
- our whole artistic attitude. For, in the final analysis, why do we build
- architectural forms. Insofar as these forms were artistic and not merely
- words, artistic construction was intimately connected with the cult
- The answer was ecclesiastical architecture, the artistic element in
- artistic meaning of the colors and styles of dress, the art of costuming
- period, were highly artistic.
- creates no aesthetic forms. Artistry arises always and only through
- if we would penetrate to the truly artistic. And since Anthroposophy
- artistic; will culminate in art.
- become clear only if we perceive the human head artistically, in relation
- Maximum number of matches per file exceeded.
- Title: Arts and Their Mission: Lecture III
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- stimulation from the spiritual world. We must become artists, not by
- materialism, the artistic element; and how Anthroposophy feels about
- smiles), and about sculpture as dealing artistically with the form of
- review the most important aspects of this threefold artistic perception
- forms of architecture insofar as they are artistic. Thus, if we would
- understand architecture's artistic element we must consider the soul's
- The artistic
- means seeing man artistically.
- this we must go beyond theoretic comprehension; the artistic impulse
- an artistic living with color, which involves experiencing the plane
- is the world's most perfect instrument; and he can experience artistically
- man, as nerve man, is inwardly built up of music, and feels it artistically
- any theory of art emerge therefrom. Only artistic creation and enjoyment
- when poetry, including poetic dramas, by reason of that fact, was artistic
- through and through. Yesterday I pointed out that in artistic ages it
- honoring its own dynamics, so it is not stage art if we have no artistic
- being who would make use of his body in artistic creation. Epic poetry
- weaving and being. Because what surrounds us lives in the artistic,
- artistic activity. That is why we constantly feel a need to enliven
- philistine and horribly scientific formulations — into artistic
- Maximum number of matches per file exceeded.
- Title: Arts and Their Mission: Lecture IV
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- stimulation from the spiritual world. We must become artists, not by
- HE LAST two lectures concentrated on artistic feeling and creation. I
- physicality is not the whole of his humanness. In all artistic and
- spiritual. No artist could create in his medium if there were not alive
- art. But any devoted study of true artistic creation reveals it as an
- northern land, he felt no possibility of reconciling, artistically,
- through shaping, through an appropriate treatment. Thus Goethe the artist
- just purify seceded nature by artistic fashioning; then it will express
- permeated by a conviction that every artist harbors the religious impulse,
- artistically the sensory-physical-earthly form to a point where it became
- of changing it greatly to give it artistic form.
- over into the dramatic; wishing, as artist, to part with the earth as
- to artistic form was a tremendous struggle which required the help of
- — Goethe strove to rise to the pinnacle of artistic creation by
- for him to round it out. The serious, difficult task of the artist weighed
- Goethean manner, artistically to bridge the abyss between earthly and
- the light which falls, from there, upon Ludwig Tieck's artistic creations.
- us how the cognitionally-serious can infuse the artistically-serious.
- end of an artist's life. What was great in Tieck was not his own personality,
- to stand solidly on the earth without spiritual impulse in artistic
- Maximum number of matches per file exceeded.
- Title: Arts and Their Mission: Lecture V
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- stimulation from the spiritual world. We must become artists, not by
- an end. The artistic element comes from treating the medium in such
- in mankind the true artistic mood, we must, to a certain degree, transport
- asked it. And what answer arose in him? This artistic obligation:
- known people — artists, mainly — who hated
- in a spiritual fashion. Thus can the artistic be brought back to what
- in bygone ages an artistic-religious concern which aroused all the forces
- If we do not acquire a breath of the artistic-religious-cognitional soul
- Soma drink and carried out sacrifices in a ritualistic-artistic-cognitional
- it entrusted the religious-artistic-poetic, word, what the gods needed
- Title: Arts and Their Mission: Lecture VI
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- stimulation from the spiritual world. We must become artists, not by
- times, when man's artistic sense was not outward but inward, he painted
- Well, this was only material, not artistic, interest. He wanted the
- the sensory, this may be artistic. If I want to show, in totality, the
- this may also be artistic. But if I try to imitate Mr. Lehman as he
- of art. What is artistic is how the sun illumines him, how light is
- however, properly and artistically take hold of these truths if we stop
- with what I have just described. For I have translated the artistic
- into the inartistic. We feel them artistically only if we create directly
- to know how to live in colors. Living so, an artist develops an ability
- derived from color not intellectually but artistically. True painting
- earthly-material with the artistic. But the artistic is not permitted
- but wisdom. For wisdom is no longer artistic, wisdom leads into the
- With artistry like
- the intellectualistic, the inartistic. We must not make one stroke beyond
- on contour, we become intellectualistic, inartistic. Near the top this
- picture is in danger of becoming inartistic. The painters immediately
- artistry ceases.
- be clouds? When reason is active, artistry dies.
- of Mary” only Mary is really artistic. Above, there is the danger
- Maximum number of matches per file exceeded.
- Title: Anthroposophic Movement: Lecture One: The Homeless Souls
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- position in life, whether they were lawyers or artists, cabinet
- Title: Anthroposophic Movement (1938): Lecture I: Homeless Souls
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- lawyers, or lords, or artists, or M.P.s, or whatever else they
- Title: Anthroposophic Movement: Lecture Six: The Emergence of the Anthroposophic Movement
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- anthroposophy into the artistic field, with performances of the
- Title: Anthroposophic Movement: Lecture Seven: The Consolidation of the Anthroposophic Movement
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- the end everything concentrated on the artistic side. General human
- sources, rather in the way that eurythmy has done in the artistic
- Title: Anthroposophic Movement (1938): Lecture VII: The Third Stage: The Present Day. - Life-Conditions of the Anthroposophical Society
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- present day, my dear friends, all manner of schools of artistic
- leaned more towards the artistic side; interests of a general
- as we work in the artistic branches, in eurhythmy, for
- artistic side; interests of a general human kind came into the
- in the artistic branches, in eurhythmy, for instance;
- Title: Anthroposophic Movement: Lecture Eight: Responsibility to Anthroposophy
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- growing number of people. Then knowledge and ethics, artistic and
- display of bad taste and, to the contrary, a certain artistic sense
- Title: Anthroposophic Movement (1938): Lecture VIII: Conclusions: The Anthroposophical Society and its Future Conduct.
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- have a certain artistic sense; the Goetheanum in Dornach must
- Title: Course for Priests: Lecture III
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- like religious artists. Today we have come to the point where
- Title: Colour: Part Two: Dimension, Number and Weight
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- Steiner's insights into the nature of color, painting and artistic
- object. And the more physical people become, the more inartistic they
- such a manner that the artist takes no more heed of the physicist.
- with weight, which Giotto began in an aesthetic-artistic way and
- one must be able to proceed consciously, even with artistic
- If that succeeds, then, as against the inartistic physical
- Title: Gegenwrtiges Geistesleben und Erziehung: Siebenter Vortrag
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- nicht bloß einen artistischen, künstlerischen
- Title: Gegenwrtiges Geistesleben und Erziehung: Zwlfter Vortrag
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- artistischen, künstlerischen Element, sondern wenn wir
- Title: Four Seasons/Archangels: Lecture II: The Christmas Imagination
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- formative forces in a picture, we come by necessity to an artistic
- during the deep winter season, we have an artistic, imaginative
- artist, so that the things which the heavens imprint on the Earth
- Title: Four Seasons/Archangels: Lecture III: The Easter Imagination
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- fancies which are favoured in artistic circles to-day. If a man
- living artistic work everything is a challenge, and fundamentally
- for a presentation in the space surrounding it of the artistic
- a truly living, artistically religious form. They would indeed be
- Title: Four Seasons/Archangels: Lecture IV: The St. John Imagination
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- instantly, perhaps by making artistic use of vaporous substances or
- described should find artistic expression, on the one hand, in
- Title: Man/Symphony: Lecture I
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- head, limb-system, and so on. But this is a thoroughly inartistic way
- intellectual must gradually change into an artistic conception of the
- Certainly, an inartistic method of observation does speak about the
- is thoroughly inartistic, unimaginative observation. If we would
- of this being of the eagle, when we develop an inner, artistic
- And again, let those who have a sense for the artistic understanding
- intellectualism is led over into the artistic element of the world.
- intellectualism into artistic comprehension, and are able to develop
- the artistic into the principle of knowledge, then you find what is
- Title: Man/Symphony: Lecture IV
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- Cosmic activity is indeed the greatest of artists. The cosmos fashions everything according to laws which bring the deepest satisfaction to the artistic sense.
- understanding. Cosmic activity is indeed the greatest of artists. The
- satisfaction to the artistic sense. And no-one can understand the
- abstract thoughts into artistic sense. No-one can understand the
- again he can bring artistic movement into abstract thoughts.
- are only reached when prosaic concepts can be led over into artistic
- Title: Man/Symphony: Lecture V
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- be compared to what often happens with a not very artistic person, who
- Title: Man/Symphony: Lecture VI
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- time of instinctive clairvoyance, it was the natural thing in artistic
- Title: Man/Symphony: Lecture X
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- The artist in education must work in a spiritual way with the forces
- Title: Mystery Centres: Lecture I
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- looked with artistic understanding at the paintings in the small
- Title: Nine Lectures on Bees: Lecture VI
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- artistic construction of these waxen cells with the honey
- with their waxen combs really show us a kind of artistically formed tree-trunk
- Title: Christmas Conference: Lecture 1: Introduction to the Eurythmy Performance
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- the case that every artistic activity which was to bring
- can flourish in this materialism, anything genuinely artistic
- Title: Christmas Conference: Lecture 3: Rudolf Steiner's Opening Lecture and Reading of the Statutes
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- no artistic intention is set up in any dogmatic way. The only
- and for the moral and religious as well as the artistic and
- scientific or artistic conviction, who considers as
- Title: Christmas Conference: Lecture 8: Continuation of the Foundation Meeting, 27 December, 10 a.m.
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- and for the moral and religious as well as the artistic and
- Title: Christmas Conference: Lecture 9: Continuation of the Foundation Meeting, 28 December, 10 a.m.
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- social standing, religion, scientific or artistic
- Title: World History: Lecture V: Mysteries of the East, West, and of Ephesus
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- may see placed before us in an artistic picture the feeling
- Title: Christmas Conference: Lecture 13: Continuation of the Foundation Meeting, 30 December, 10 a.m.
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- like to work out of the artistic impulses of Anthroposophy
- the artistic aspect of the idea of the building in
- Title: Christmas Conference: Lecture 15: The Idea of the Future Building in Dornach
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- building a truly artistic character in keeping with the
- by walls, which would provide space for artistic and
- artistic space would have to be created for the Mystery
- concrete, forms that offer something new to the artistic eye.
- which the eye of the human soul can follow artistically and
- an artistic and sculptural way, so that the material of
- concrete can for once be revealed in an artistic manner.
- to work on the artistic creation of the Goetheanum and it
- Title: Colour: Part Three: The Hierarchies and the Nature of the Rainbow
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- Steiner's insights into the nature of color, painting and artistic
- Title: Anthroposophy Introduction: Lecture I: Anthroposophy as What Men Long For Today
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- his artistic activities and the grounds for his religious worship. It
- again we find something significant. The artistic treatment of physical
- a really artistic subconscious nature who feels most dissatisfied today;
- truly belongs. Where is the artist today who can handle earthly, physical
- substance in such an artistic way?
- Title: Anthroposophy Introduction: Lecture IV: Meditation and Inspiration
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- response to the needs of life, in his artistic aims and religious
- every religious or artistic aspiration — in fact, any higher striving
- Title: Anthroposophy Introduction: Lecture VII: Dream-life and External Reality
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- unusual beauty; and when the artist is told what organ he has really
- Title: Anthroposophy Introduction: Lecture IX: Phases of Memory and the Real Self
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- imagination of the artist draws. That is the first form of memory. Behind
- Title: Eurythmy as Visible Singing: Lecture 1: The Experience of Major and Minor
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- we would have achieved artistically in speech eurythmy, if until now
- o, oo! But so far artistically we have actually had no more than
- our whole being within the realm of art. Something artistic which has
- Something artistic can only endure when the whole human being has poured
- Title: Eurythmy as Visible Singing: Lecture 2: Experience and Gesture; the Intervals
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- makes the matter artistic. The experience will grow with the gesture.
- Only then will the matter become artistic.
- in order that the fundamental mood of the artistic process may be brought
- do not make for the poetical element, the artistic and poetic element.
- its actual content is concerned, language is inartistic. It exists for
- prose. This is the inartistic element in language. Not until language
- is fashioned, not until it is given shape and form, does it become artistic.
- our age does not care much for real artistic creation, for it happens
- no truly artistic gestures can come about. I am sure you will have plenty
- Title: Eurythmy as Visible Singing: Lecture 3: Melodic Movement; the Ensouling of the Three Dimensions through Pitch, Rhythm and Beat
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- you that speech eurythmy has a corrective artistic influence upon recitation
- are demanded if we are to describe the inartistic nature of our modern
- the matter is that in our inartistic age, recitation and declamation
- (this is naturally still more shocking) in a terribly inartistic age
- in a terribly inartistic age. For today there is an exceedingly widespread
- upon the foundations of what is really artistic, and to be able to speak
- We actually arrive at the annulling of the artistic, eurythmic activity.
- Title: Eurythmy as Visible Singing: Lecture 4: The Progression of Musical Phrases; Swinging Over; the Bar Line
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- to differentiate whether the movement has artistic taste or is tasteless,
- virtuoso is from the artist. A person can know perfectly well how to
- be a virtuoso, but is not therefore an artist. These things, when brought
- materialist deems poetic speech of any sort, that is, artistic speech,
- Title: Eurthmy as Visible Singing: Lecture 5: Choral Eurythmy
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- but also enter somewhat into the quality of working together in artistic
- predominant element of all artistic endeavour.
- artistic development of eurythmy.
- things, to develop a rounding-off of the artistic process, which is
- discord. When you consider the artistic effect of placing three people
- Where shall I put the fourth person? Whoever has artistic feeling will
- body in a truly artistic, complete form. There is very little opportunity
- and able to be artistically fashioned for eurythmy. For when you lead
- Title: Eurythmy as Visible Singing: Lecture 6: The Sustained Note; the Rest; Discords
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- For, you see, in very truth the poet, the artist, must basically be
- painter, indeed no artist at all. Only someone who allows the lines
- and shade], is an artist.
- in doing eurythmy really leads into the artistic realm. Thus whenever
- Title: Eurythmy as Visible Singing: Lecture 7: Musical Physiology; the Point of Departure; Intervals; Cadences
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- they appear unmotivated. For in everything artistic, nothing is as important
- Title: Eurythmy as Visible Singing: Lecture 8: Pitch (ethos and pathos), Note Values, Dynamics, Changes of Tempo
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- you begin to think, artistic activity ceases. I am not saying that art
- ceases to be a poet. Certainly he may embody thought in artistic form
- physical and etheric bodies. If he were to do this in an inartistic
- or even an anti-artistic manner, then he would faint. If he were to
- Title: First Class, Vol. I: Lesson 4
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- towards them. When artistically presented, however, I can
- such excellent villains. This is possible in the artistic area,
- possible to separate thinking from feeling in the artistic
- Title: First Class, Vol. I: Lesson 4
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- towards them. When artistically presented, however, I can
- such excellent villains. This is possible in the artistic area,
- possible to separate thinking from feeling in the artistic
- Title: Karmic Relationships, Volume I: Lecture VIII
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- artistic, perhaps also the inartistic elements in Arabism; it was
- Title: Karmic Relationships, Volume I: Lecture XII
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- find a poet or an artist, not to look for the same
- individuality in the present epoch as a philosopher, poet or artist.
- Title: Young Doctors Course: Easter Course: Lecture I
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- that really represents a primeval, artistic principle given
- Title: THE MYSTERIES OF EPHESUS. THE ARISTOTELIAN CATEGORIES
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- and gladness and inner artistic understanding.
- Title: Esoteric Easter: Lecture IV
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- felt with such an intense, inner artistic grasp.
- Title: Easter Festival: Lecture IV:
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- least not with the same sense of joy or artistic vision.
- Title: Festival of Easter: Lecture 4
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- Title: Karmic Relationships, Volume II: Lecture III
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- works upon it in the manner of an artist; and at length one finds
- visualises such a gesture quite objectively, but with inner, artistic
- in itself, for he is an artist with very definite and fixed
- artistic imitator in the best sense, not a pedantic one — an
- imitator of this style in the artistic, aesthetic sense of the word.
- Title: Karmic Relationships, Volume II: Lecture IV
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- the soul works on, streams into artistic, poetic qualities of soul
- Title: Karmic Relationships, Volume II: Lecture V
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- city, as something he can play with? “What an artist is lost in
- Title: Karmic Relationships, Volume II: Lecture VI
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- somebody was a great artist, for example, is something which may
- Title: Star Wisdom: Lecture III: Characteristics of Judaism
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- different from that of Christian or oriental artists. The actual
- Title: Karmic Relationships, Volume II: Lecture XI
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- impression on their contemporaries, perhaps as young poets or artists
- older; after the poetic and artistic achievements of youth the stream
- the names of those who made reputations as young poets or artists and
- Title: Curative Education: Lecture 1
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- not upon the forces of heredity. Suppose I am an artist and you give
- Title: Curative Education: Lecture 9
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- how in Eurythmy we have to develop an artistic speaking in order for
- Title: Curative Education: Lecture 12
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- such wonderful artistic power in four majestic stages of development.
- been carried to the point of full artistic development. Nor must we
- Title: Karmic Relationships, Volume III: Lecture IV: The Soul's Condition of Those Who Seek for Anthroposophy
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- Anthroposophy in artistic scenes or pictures, (where we too
- Title: Karmic Relationships, Volume IV: Lecture II
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- rate in one former earthly life he was, if not a musician, an artist of
- artist should strive for, as a lyric and epic poet, or as a dramatist.
- Title: Karmic Relationships, Volume IV: Lecture III
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- spirituality and artistic sense, synthesised in the community of
- Title: Pastoral Medicine: Lecture 4
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- the artist working in the human being (who consists now in these
- heredity work together in artistic reciprocal activity. If a human
- between change of teeth and puberty than one can say of an artist
- Title: Broken Vessels: Lecture 4
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- the artist working in the human being (who consists now in these
- heredity work together in artistic reciprocal activity. If a human
- between change of teeth and puberty than one can say of an artist
- Title: Book of Revelation: Lecture Ten
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- Russia where they expect even artists to acquire some sort of
- Title: The Apocalypse: Lecture X
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- even have this difficulty in artistic things. It won't be very
- Title: Karmic Relationships, Volume IV: Lecture VI
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- artistically, with the force that works within as the force of life and
- Title: Pastoral Medicine: Lecture 11
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- artistic healing practices of the old mysteries. Obviously you will
- Title: Broken Vessels: Lecture 11
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- artistic healing practices of the old mysteries. Obviously you will
- Title: The Apocalypse: Lecture XIV
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- which has often been depicted by artists in connection with the
- Title: Book of Revelation: Lecture Seventeen
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- their spirituality, and when a painter or other artist gives
- Title: Karmic Relationships, Volume IV: Lecture X
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- already spoke at this place some time ago of a young artist who grew up
- follower of Plato. For as I said, he was not a philosopher but an artist
- Title: The Individuality of Elias, John, Raphael, Novalis
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- painter who let his artistic power unfold in marvellous depths of
- And now we behold the wonderful artistic power of Raphael come to life
- Title: Lecture: Evolution of Human Freedom/The Idea of God
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- cosmic events to an artistic understanding. Man has brought
- the artistic.
- thought must be raised to artistic comprehension, artistic
- with understanding by raising himself to an artistic
- something of an artistic nature prevails. True Spiritual
- Science points to an artistic understanding. The longing
- terrible torture chamber of the prevailing inartistic ideas
- continue with new forces. The artist adds his share, working
- Title: Lecture: The Etheric Body as a Reflexion of the Universe
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- artistic structure of our Building. Those who work upon the
- is built in such a way that its forms are an artistic expression of
- artistic way, that is to say, we should not interpret things
- should be transformed into something artistic. We should therefore
- but they should reveal to us, through what they are artistically and
- this with the artistic means of the past. Every movement of the
- expressed in our Building. You will see in it the artistic expression
- artistic achievement — the Christ, portrayed in
- Title: Mystery of Death: Lecture XII: Spiritual Science as an Attitude
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- the forms and artistic decoration of the construction. Somebody
- arranged in such a way that its forms express artistically what
- be felt artistically. That is, it must not be interpreted
- feeling has really to be raised to the artistic realm. Hence,
- Christ, to Lucifer and Ahriman artistically. That is why this
- cannot be expressed using the old artistic means. Each movement
- Title: Reincarnation and Immortality: Lecture IV: Nature of Anthroposophy
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- itself. Everything artistic then must in a sense proceed from
- should work in an artistic way as the surrounding; everything
- really has flowed into artistic form.
- Title: Lecture: The Renewal of Culture
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- searching souls in many fields of artistic life. Who has not noticed these
- matter in artistic creation and in the enjoyment of art. It reveals itself in
- Title: Lecture: Woman and Society (Die Frauenfrage)
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- can be embodied an eternal, hidden element, then the artistic image
- Title: Riddles of the World: Lecture V: The Question of Women's Rights
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- the artistic image works not only in the astral body, but the
- Title: Gospel of John: Lecture III: The Mission of the Earth
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- so far advanced that it can build such a highly artistic
- Title: Gospel of John: Lecture VIII: Human Evolution in its Relation to the Christ Principle
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- convert their own individuality into artistic form. They step
- Title: Gospel of John: Lecture IX: The Prophetical Documents and the Origin of Christianity
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- did the Greeks. There is an artistic sense which feels the
- Title: Manifestations of Karma: Lecture 2: Karma and the Animal Kingdom
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- should bring such artistic powers into the world, were at one time at
- artistic skill into the world with them, this is, however, limited in
- that as regards the development of certain artistic capacities, etc.,
- Title: Manifestations of Karma: Lecture 11: Individual and Human Karma. Karma of the Higher Beings.
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- Greek civilisation, in the Greek heroes, in the great men and artists
- Title: Lecture: Relationships Between the Living and the Dead
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- artist works out of the soul-impression of the colours. In this case,
- it is not as it is with the artist who simply uses a model —
- who simply imitates the model; but, rather the real artist knows
- Building and lives in this aura. And when some artistic work must be
- Title: Reappearance/Christ: Lecture VIII: The Etheric Vision of the Future
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- development. Great artists have always felt these imperfections.
- Title: Lecture: Some Characteristics of To-day
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- spiritual science and belong to the same region of soul as artistic
- wanted to point out that the domain usually reached only in artistic
- Title: Lecture 2: Spiritual Beings in the Heavenly Bodies and in the Kingdoms of Nature
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- still do so are no longer quite believed. The poets, the artists do;
- Title: Lecture: The National Epics With Especial Attention to the Kalevala
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- for artistic spirits like Hermann Grimm, there was a question in those
- can grasp. Ilmarinen, whom one often calls the Smith, the clever, artistic
- creative power remodelled all matter in an artistic way, so that it
- Title: Occult Significance of the Bhagavad Gita: Lecture 2 of 9
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- wonderfully composed, that it forms an artistic whole. I could show,
- depths, reveals a wonderful, artistic composition. With remarkable
- artistic beauty at the foundation of these occult records. I could
- cannot be other than artistically, beautifully composed, in the
- a hidden artistic beauty in the song, so that if nothing else were to
- because these points are important both for the artistic structure
- the great beauty in the artistic composition of the
- In its climaxes, its inner artistic form, it reflects deep occult
- Title: Occult Significance of the Bhagavad Gita: Lecture 6 of 9
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- vision. A sound idea of the artistic composition of this poem may be
- What may we expect here, realizing the artistic form of the poem and
- Title: Man/Being/Spirit/Soul: Lecture III: The Science of the Spirit and Modern Questions
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- artistic way of perception, in real Imagination. We are not
- given us out of the Science of the Spirit in an artistic
- anthroposophical sense. If they are artists they do not employ
- experience it if we are unbiased and impartial. The artists of
- spirit-soul reality. And artists will now begin to create
- artistically through the realization of the spiritual with the
- same sense of reality which artists worked with earlier where
- the outward reality was idealized. Earlier the artist
- business, and artists also spoke. As I have said, thirty people
- The Goetheanum itself is built in a new artistic form, in
- artistic expression. We would have committed a
- artistically out of the Science of the Spirit. And so you see
- artistic, pedagogical form.
- Title: Education: Lecture I: Science, Art, Religion and Morality
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- greatest artistic achievement of the Cosmos — man himself.
- science. If you try to understand the human being by the artistic
- use of the artistic sense — man is none the less an artistic
- effect that this way of artistic understanding is thoroughly
- in an outwardly artistic sense, but taking the true path, we can allow
- form of divine worship. Artistic creation was sanctified in the
- Title: Education: Lecture IV: The Connection of the Spirit with Bodily Organs
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- thought. Theoretical observation passes over into artistic feeling
- and becomes artistic, creative power. To see the spirit actively at
- the human being, we must not merely set about this with an artistic
- of ideas. He finds the way to an artistic apprehension of man; to an
- Title: Education: Lecture VI: Walking, Speaking, Thinking
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- one thing it is so utterly inartistic, in spite of its
- toys that are dreadfully inartistic copies of life. The doll is
- a hideous, ghostly production from the artistic point of view —
- education therefore the essential thing is to be able to bring an artistic
- Title: Education: Lecture VII: The Rhythmic System, Sleeping and Waking, Imitation
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- artistic feeling. I am not here referring to the individual arts, but
- civilization penetrated with artistic quality. This has very great
- imbue our whole teaching with artistic quality, we influence the rhythmic
- of all artistic creation lies in reality the unceasing activity of the
- all-important early school years our teaching has a basic artistic
- to begin with we stimulate the child's artistic feeling by letting
- the paper from his innermost being. Then, as the child's artistic
- essential thing — how greatly man is enriched by this artistic
- a man inwardly barren, whereas artistic activity makes him inwardly
- The pictorial and artistic tends of itself to pass into the more
- stimulated the child artistically, we then allow the intellectuality
- to develop from the artistic feeling, it will have the right intensity.
- at the Waldorf School value is placed upon artistic rather than upon
- and more artistically conceived educational system so develops the
- the artistic, and all physical culture has a definite relation to the
- hand we can give cur educational methods an artistic form (and remember,
- in artistic activities the whole nature comes into play) a certain
- for, as we have seen, the excessive richness of the artistic sense
- artistic activity. If the child has been occupied artistically for
- of the inner organic processes called up by the artistic work in the
- Maximum number of matches per file exceeded.
- Title: Education: Lecture VIII: Reading, Writing and Nature Study
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- (after the change of teeth) all teaching should be given in an artistic,
- artistic element of painting and drawing. I have already said that if
- movements of the hand — by developing the letters in an artistic
- worked out with true artistic feeling.
- to the nature of man. This is quite possible if the preliminary artistic
- do our utmost to give the child a concrete, artistic understanding of
- blood. Having spoken of the artistic modelling of the cup-like
- with the necessary artistic feeling and is given in the form of pictures,
- animals, all these give us a golden opportunity for artistic
- an artistic synthesis of the separate parts of his being, which are
- Title: Education: Lecture IX: Arithmetic, Geometry, History
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- only thing still to be done is the artistic moulding of his lesson.
- Title: Education: Lecture XI: Memory, Temperaments, Bodily Culture and Art
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- teaching during the Elementary School period is informed with artistic
- Concrete artistic activity builds it up; activities of will
- for in arithmetic we ought always to begin with an artistic
- is concerned. For while for the normal human being they are artistic
- be artistic from the beginning, but art itself must play its proper part
- the artistic around him, in the arrangement of a room perhaps, and
- distaste for the inartistic, but he will begin to observe those things
- musical instruction is not only a means of unfolding his artistic
- artistic feeling, then and only then is a true understanding of man
- possessed of true artistic feeling and can introduce the child to
- be left undone in the way of imbuing the child with artistic feeling at
- is, and every artist has felt the same, that art is not a mere
- of art and regards Nature as a creative artist, not until then is he
- cur teaching itself be full of artistic feeling, but an understanding
- Title: Agriculture Course: Lecture 3
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- plastic artist in carbon, and this plastician building the manifold
- so-to-speak with sulphur, and working as a plastic artist —
- Title: Lecture: Parsifal
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- is a deep connection between the artistic work of Wagner
- to the works of a great artist.”
- greatness as an artist. We must not think of him merely as
- on “Parsifal.” It was inartistic, but it
- Title: Lecture: The Animal Soul
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- example, a beaver's dam. This so artistically constructed
- Title: Egyptian Myths: Lecture 7: Evolutionary Events in the Human Organism up to the Departure of the Moon. Osiris and Isis as Builders of the Upper Human Form.
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- kingdom. This was the artistic principle in earlier times; the artist
- seen. Artists were often initiates. It is said that Homer was a blind
- Title: Egyptian Myths: Lecture 9: The Influence of the Sun and Moon Spirits, of the Isis and Osiris Forces. The Change in Consciousness. The Conquest of the Physical Plane.
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- into the objective world. Such artistic creations as we find in Greece
- experienced by one who has an artistic feeling for space, who feels
- these lines were already invisibly present in space. The Greek artist
- As in the great temple buildings, so was it in everything artistic
- Title: Egyptian Myths: Lecture 10: Old Myths as Pictures of Cosmic Facts. Darkening of Mans Spiritual Consciousness. The Initiation Principle of the Mysteries.
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- Title: Egyptian Myths: Lecture 12: The Christ Impulse as Conqueror of Matter.
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- about the life of the Greeks. This world of artistic creations, into
- Title: Mission of Spiritual Science and Its Building at Dornach
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- it became necessary to represent in an artistic, dramatic form that
- year 1913 we tried every year to give artistic expression in dramatic
- say to-day that it is intended to be nothing else but an artistic
- otherwise dormant in him — artistic faculties as well as others
- artistically out of the most modern of materials, concrete. The
- nutshell is shaped so as to fit the nut-kernel, so does the artist try,
- artistic in forms, colours and so forth. We have striven to make the
- Title: Life Between ... IX: Life After Death
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- that manifests itself on earth in this or that artistic form, that
- world. A person who brings artistic gifts into the world does so
- Title: Lecture: Christ In Relation To Lucifer and Ahriman
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- special artistic care is the manner in which he raises his left arm,
- figures must be portrayed artistically to show how the Christ, by the
- visible will be a particularly important artistic task and you will
- Imagine, for example, an artistic portrayal of the Christ suggesting
- and the left one upward. Again, it will be an important artistic task
- occult perception who is working artistically on the building in
- Bruckner and other artists from a variety of
- Title: Mystery of Death: Lecture XI: Christ's Relationship to Lucifer and Ahriman
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- What has to be worked out artistically in particular is the way
- must be artistically arranged so that, while Christ raises the
- into the chasm. This is one especially significant artistic
- downwards. It will be a significant artistic task again not to
- construction since that time with artistic intentions,
- and other artists in all kinds of fields. It matters such a
- Title: Address: The Spiritual-Scientific Basis of Goethe's Work
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- become insensitive to the beauties of their style or their artistic
- creative artist; only the means of expression were different in
- with an artistic form in the transformation of Homunculus into a
- Goethe could only understand artistic work when based
- on a profound penetration of the truth. As an artist, he wished
- Title: Lecture: Knowledge and Initiation
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- unbiased artistic sense can understand and appreciate a painting, and
- Title: Lecture: Cognition of the Christ Through Anthroposophy
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- that of the artistic life. Through the help and self-sacrifice of its
- building and the paintings express in an artistic way what is
- Title: Karmic Relationships, VIII: Lecture V
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- artistic effect upon one. I always had an intense desire to unravel
- artistic skill and fluency in speech show themselves in the karma of
- Title: Cosmic Christianity: Lecture V
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- artistic effect upon one. I always had an intense desire to unravel
- artistic skill and fluency in speech show themselves in the karma of
- Title: An Outline of Anthroposophical Medical Research
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- with beauty. Religious ceremony became artistic. And later, when what
- Title: An Outline of Anthroposophical Medical Research
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- with beauty. Religious ceremony became artistic. And later, when what
- Title: Old/New Methods: Lecture Four
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- artistic element is cultivated, since this is what stimulates the
- later still. Demands are made, not of the head but of the artistic
- artistic element, then we are justified in asking: Does our heart
- means that artistic work, not theoretical work, is what is required.
- Title: Theosophy/Rosicrucian: Lecture III: The Elemental World and the Heaven World. Waking Life, Sleep and Death.
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- artists and discoverers are only higher in the sense of degree than
- Title: Theosophy/Rosicrucian: Lecture IV: The Descent to a New Birth
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- the most lofty inspiration of the inventor or artist, exists as an
- Title: Theosophy/Rosicrucian: Lecture VII: The Technique of Karma
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- artistry, constructed as it were of intersecting beams. Anyone who
- Title: Lecture: Man and Woman in Light of Spiritual Science
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- certain form expresses itself in the feminine. That which an artist
- in outer nature. Only the artist's inner being, which is rooted in
- artistically creative. Indeed the reality is that the forces and
- astral body and ego of the human being. And that which the artist
- the artist has drawn from the spiritual world and has built
- inspiration the artist has been able to hold on to life and form in
- the artist is able to mould life and form into his great works, so is
- Title: Esoteric Lesson: Muenchen, 6-14-'08
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- always productive, as when an artist devotes himself creatively to his
- Title: Principle/Economy: Lecture III: More Intimate Aspects of Reincarnation
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- Golgotha. All those who created the original artistic
- fact that all the artists were clairvoyant; what they created
- course, artists. Take, for example, John Scotus Erigena,
- Title: Metaporphoses/Soul One: Lecture 5: Human Character
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- connection, an artist once gave wonderful expression to something which
- Title: Lecture: The Son of God and the Son of Man
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- anticipates what actually comes to pass. The echoes of Greek artistic
- adequately described. The ego is a supreme artist! But
- Title: Wonders of the World: Lecture 1
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- enthusiasm for what as religion overflowed into artistic form, then
- Eleusis? If we look back to the original sources of European artistic
- attention to the scenery contributed by our artists Herr Linde, Herr
- those words should be spoken with perfect artistry and the utmost
- the beginning of something which will one day be regarded as artistic
- Title: Wonders of the World: Lecture 1
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- enthusiasm for what as religion overflowed into artistic form, then
- Eleusis? If we look back to the original sources of European artistic
- attention to the scenery contributed by our artists Herr Linde, Herr
- those words should be spoken with perfect artistry and the utmost
- the beginning of something which will one day be regarded as artistic
- Title: Wonders of the World: Lecture 7
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- artists, who were stimulated and inspired by the Initiates.
- Title: Wonders of the World: Lecture 7
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- artists, who were stimulated and inspired by the Initiates.
- Title: Lecture: On the Occasion of Goethe's Birthday
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- first and foremost the ether hypothesis with its artistic
- Title: Lecture: Esoteric Studies: Cosmic Ego and Human Ego
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- It is said trivially that poets and geniuses and artists grow above
- Title: Lecture: Reflections of Consciousness, Super-consciousness and Sub-consciousness
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- — let us say — by the poet, by the artist. If he
- is a real poet, a real artist, he will know that he does not
- Title: Psychoanalysis: Lecture III:
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- experienced by the poet or the artist who knows — if he
- is a genuine poet or artist — that he does not conceive
- Title: Initiation/Passing Moment: Lecture I
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- been the introduction to these Munich lectures, that is, our artistic
- what is put before you in our anthroposophical artistic and dramatic
- Title: Life Between ... V: Life Between Death and Rebirth 1
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- figures. The artistic element in these figures is usually overlooked.
- gesture, every movement of the limbs, one asks oneself how an artist
- would have to do it out of his artistic instincts exactly as
- Title: Truths and Errors: Lecture V: Errors of Spiritual Research - 1
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- forms the basis. The serious artist describes, even if he takes
- Title: Life Between ... XIII: Life Between Death and Rebirth 2
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- Pandora shows that Goethe made such considerable artistic
- also by artists. In fact, the whole subsequent period was under his
- Title: Secrets/Threshold: Lecture I
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- You as an artist could, of course, avoid
- Title: Secrets/Threshold: Lecture II
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- artistic development. Wherever the human being creates something
- uplifting and liberating in the artistic development of mankind is
- artistic impulses, there arises in humanity from his activity great
- Title: Secrets/Threshold: Lecture IV
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- and artistically — in regard to the relationship of human
- Title: Secrets/Threshold: Lecture VI
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- still hold to what has already been said, that in all human artistic
- Title: Esoteric Lessons Part III: Muenchen, 9-4-'13
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- immersion, also in all enthusiasm and in artistic activity, in
- what an artist creates and in what creates in the artist.
- Title: Lecture Series: The Physical-Superphysical: Its Realisation Through Art
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- desire for the embodiment of an idea, for the artistic
- which in many people has to be first developed — artistic
- walls which has to do with artistic perception. When I am
- soul, either in artistic creation or in the enjoyment of art.
- to find that the soul-processes in the artist and the lover
- describe is experienced in advance by the artist; he
- the artist makes his start. Now it seems to me that the
- age fitted for giving clearer expression to this artistic
- these trends have prevailed, artistic perceptions, artistic
- there is of necessity more interest in the artistic and
- artistic concepts of the scholar were very far from what was
- artistic creation and the appreciation of art, we can very
- well see how there is a source of artistic work which
- this is what constitutes artistic creation.
- it becomes artistic perception.
- same artistic perception I should like to say something more
- become reconciled. It becomes necessary to atone artistically
- intellectual and without artistic feeling, for any idea,
- actually accomplished in art — in artistic creation and
- would have been looked upon as very primitive had the artist
- Maximum number of matches per file exceeded.
- Title: Mission of Michael: Signs of the Times: Michaels Battle and Its Reflection On Earth -- II
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- Not yet translated. Anthroposophic Press, New York.} many artistic
- Title: Lecture Series: The Sources of Artistic Imagination and
The Sources of Supersensible Knowledge
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- The Sources of Artistic Imagination andThe Sources of Supersensible Knowledge
- The Sources of Artistic Imagination and the
- connection exists between the impulses inherent in artistic
- imagination, artistic creative power and appreciation, and
- come across artists realise the fear, very prevalent among;
- them, that artistic creative power might be disturbed by any
- whence artistic imagination receives its impulses, such
- that certain gifted artists whose creations suggest a kind of
- imagination. Writers of fairy-tales or other artists who try
- of resemblance between artistic creation, artistic
- of view the argument that the artist ought not to allow his
- essentials of the connection between artistic imagination and
- connections of true artistic creation and appreciation with
- artistic imagination and seership it is necessary to realise
- creating out of artistic imagination or phantasy will
- the reality takes place in all artistic activity. In artistic
- active. The artist adheres to his perception of the external
- world. In his artistic creation there remains the image of
- Everything that the artist has absorbed in life works on as
- will be of artistic imagination, based upon his personal
- Maximum number of matches per file exceeded.
- Title: Christ and the Human Soul: Lecture Two
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- to her talent for the beautiful, was able to give to the artistic
- Title: Christ/Human Soul: Lecture II:
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- to the artistic realization of our anthroposophical ideas, worked down
- Title: Lecture: Faith, Love, Hope: Towards the Sixth Epoch
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- example, and how even as an artist he was rising all his life to a
- Title: Spiritual Ground: Lecture I: The Necessity for a Spiritual Insight
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- and artistic."
- them what is appropriate to their age with artistic love and loving
- Title: Spiritual Ground: Lecture II: Spiritual Disciplines of Yesterday: Yoga
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- and artistic."
- apprehend it artistically, not logically. Then logic would be a means
- Title: Spiritual Ground: Lecture III: Spiritual Disciplines of Yesterday and To-day
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- Title: Spiritual Ground: Lecture IV: Body Viewed from the Spirit
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- and artistic."
- conveyed in artistic form.
- the child is taught must be conveyed in an artistic form. According to
- we have to do is to work artistically (Manuscript defective.); and the
- work artistically in education. This we shall never achieve unless we
- Title: Spiritual Ground: Lecture V: How Knowledge Can Be Nurture
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- and artistic."
- letter by an artistic activity which carries over what is observed
- artist. It is thus possible for us in the Waldorf School to
- Title: Spiritual Ground: Lecture VI: The Teacher as Artist in Education
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- Lecture VI: The Teacher as Artist in Education
- and artistic."
- THE TEACHER AS ARTIST IN EDUCATION
- must be that of an artist. And the teacher must be in a position to
- experience the child artistically, to see him as an artist would.
- manner of a work of art, which can be an inner artistic representation
- of the world we have before us. We must accept such an inward artistic
- artistic comprehension and knowledge of the child.
- some sort at his side, when we can transpose ourselves, as artists,
- raging by means of artistic sensibility. You will see the child will
- forced or inartistic in what the teacher gives the child it will have
- no result. The teacher must indeed have artist's blood in him so that
- artist teacher or educator.
- permeated by an artistic element. This will bring it about that much
- organism. An artist in educating will instinctively keep such a thing
- in view in all his specifically artistic work with the child. If I
- painting lesson. If there is the right artistic contact between
- and other artistic work done by the younger and older children in the
- Title: Spiritual Ground: Lecture VII: The Organisation of the Waldorf School
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- and artistic."
- but the love which belongs to an artistic teacher.
- their toys and games, we develop this into more artistic crafts but
- both spontaneous and artistic. The child works with a will on
- which shall be artistic as well as useful. In this for instance: (Tr.
- in an artistic form, in the manner I have described, the children have
- In this way, artistic work is related to the geography teaching.
- Naturally it is the most horrible thing in the world to an artistic
- an artistic pattern of one kind on a band, but the child must learn
- because they have had an artistic, living experience of the elements
- Title: Spiritual Ground: Lecture VIII: Boys and Girls at the Waldorf School
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- and artistic."
- Dornach studio. They are artistic representations of the real content
- appreciation of artistic eurhythmy. But I shall be able to make use of
- eurhythmist, can bring this feeling into his movements in an artistic
- which is eurhythmy, all else is left out; and thus we get an artistic
- Title: Spiritual Ground: Lecture IX: The Teachers of the Waldorf School
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- and artistic."
- necessity to one who has to deal with human beings as an artist. And
- Title: Presence of the Dead: Lecture Four: The Presence of the Dead in our Life
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- artistic sensitivity and understanding. One could not help but love
- artistic aspect we wanted to incorporate. Now, I can assure you that
- physical world in 1904 entered more and more into our artistic work
- experienced in the spirit into artistic form. So if people ask what a
- Title: Evolution of Consciousness: Lecture II: Inspiration and Intuition
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- and artists, made clear to their pupils through everything contained in
- Title: Evolution of Consciousness: Lecture VIII: During Sleep and after Death
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- into the experience of the artist.
- the artistic. For the intellectual loses its form, and takes on the
- Title: A Lecture on Eurythmy
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- pillars, and realised that through artistic activity they had gained a
- nature, either in one's work as an artist or in any other form of
- originally implanted in it, so is it also when artistic impulses unite
- the artist is not merely developing some more or less limited impulse,
- Eurythmy became more and more widely known, and its artistic
- through the artist working from a model, and in his way more or less
- languages a really fundamental artistic element entered into human
- artistic point of view can be not merely equally expressive, but much
- When one brings artistic feeling to the study of the nature of speech,
- a true artist, which cannot be said of most of those people whose
- his true artistic impulse. Just as his material — the clay or the
- And it is this artistic element which must be brought out in
- In our somewhat inartistic age, it is customary in recitation and
- which has made it possible to bind together into one artistic whole,
- language are treated. As far as the artistic element of poetry is
- really deep artistic feeling and understanding. A truly artistic
- sculptor as the medium of his artistic expression; this is also true
- — when such movements arise as a means of artistic expression,
- then enthusiasm burns in the soul of the true artist at the prospect
- The whole artistic conception of these models, both as regards their
- Maximum number of matches per file exceeded.
- Title: Lecture: Polarities in Health, Illness and Therapy.
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- artistic eurythmy and transforming it into health-giving movements for
- Title: Evolution of Consciousness: Lecture XII: The Evolution of the World in Connection with the Evolution of Man
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- right way the artistic shaping of a man's head can see in the very
- this with true artistic-religious insight, then all that can be seen
- spiritual, surpass all other artistic, scientific or religious
- all the meaning that this artistic process conveys. But it is also
- Title: Lecture: Pre-Earthly Deeds of Christ
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- Certainly he would have been able to utter much more artistic or
- Title: An Occult Physiology: Lecture 1: The Being of Man
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- action. Take, for example, an artist who observes external nature,
- Title: Truths and Errors: Lecture III: How Does One Defend Spiritual Science?
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- cultural region, for example, one child has an artistic talent,
- human being with a basic mood that one can artistically express
- Title: Mystery of Death: Lecture IX: The Relation of the Human Being to the Realms of Nature and the Hierarchies
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- is inspired. Think of Dante, of all the great Italian artists.
- Title: Mystery of Death: Lecture X: Central Europe between East and West
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- up the distinguished philosophy and the artistic world view of
- Title: Lecture: Goethe's Personal Relationship to his 'Faust'
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- one needs to look at the drama, at the artistic elements
- suchlike. In this scene, considered as dramatic, artistic and
- art. He regarded the Greek artist as one who had solved
- Title: Karmic Relationships, V: Lecture II
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- if an artist were painting a picture but instead of standing in front
- Title: Karmic Relationships, V: Lecture III
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- at this Court. Scholars, artists, a whole host of poets,
- scientific and artistic activity prevailing in the empire of the
- Title: Lecture: The Supersensible in the Human Being and in the Universe
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- painted artistically, so can anyone take up the truth of
- Title: Lecture: 'Goethe's Faust' From the Standpoint of Spiritual Science
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- letter: "This much is certain, the old artists possessed a
- pass on in peace. These sublime artistic creations are, like
- transformed by the artistic treatment, in his
- The teaching of reincarnation we see artistically and
- Title: At the Gates: Lecture IV: Devachan
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- Chakrams. Clairvoyant artists have been aware of this and have used
- Title: At the Gates: Lecture IX: Evolution of the Earth
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- thigh-bone. Every single bone is so artistically structured and wisely
- marvellously artistic structure of the human body was then present only
- Title: At the Gates: Lecture XII: Occult Development
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- or his artistic sensibility can never go through occult development.
- over egotistically to them. The greatest artists owe their greatest
- Title: Lecture III: Occult Signs and Symbols
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- life. Imagine the artist, Michelangelo, arranging a group of models.
- Title: Lecture IV: Occult Signs and Symbols
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- divine artistic skill fashioned the heart from it. You may feel that
- Title: Universe/Earth/Man: Lecture I: The Egyptian period, and the present time
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- not for nothing that the artist has surrounded the Madonna with a
- Title: Universe/Earth/Man: Lecture VI: The Spirits of Form as regents of earthly existence
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- how refined the Greek artists were in their efforts to give
- artists formed such details as the eyes, for example. We see in this
- not only the minute observation of the Greek artists, but we see in
- Title: Universe/Earth/Man: Lecture XI: The progress of Man
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- the Greeks represent in many artistic forms as the Satyr, the Hermes,
- Title: Universe/Earth/Man: Lecture XI: The Reversing of Egyptian Remembrance by way of Arabism.
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- to him is an artistic reflection of science. But he does not see only
- Title: Lecture: Yuletide and the Christmas Festival
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- artistically that hardly more than the intellectual meaning
- Title: Occult History: Lecture 3
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- the urge has arisen instinctively in personalities of great artistic
- Title: Occult History: Lecture 6
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- worlds were conveyed in a certain human form to the artists of Greece,
- Title: Man/Being/Spirit/Soul: Lecture II: The Psychological Expression of the Unconscious
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- the whole sphere of artistic enjoyment and creation, which I
- appears in human life when we consider real art and artistic
- the real artist or the soul of a person receptive to real art.
- temporal pictures of our dreams. But the poet, or artist
- and genuine art has its roots in what the artistic soul
- that the whole process is conscious. With the poet, the artist,
- in the poet and artist. What reaches into the world as
- eternal, that true artistic enjoyment brings the human
- Title: Social Basis For Primary and Secondary Education: Lecture I
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- everything that has to do with practical physical exercises and artistic
- will. Here it is a matter of physical exercises and artistic training.
- Title: Threefold Order: Part II: Lecture: The Impulse Towards the Threefold Order
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- Title: Social Basis For Primary and Secondary Education: Lecture III
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- not decorated in the way often thought artistic today, but shaped by an
- artist in such a way that each single form is in harmony with what his
- within him the artistic impulse, has no possibility of really drawing
- no one can have will who has not had it drawn out by a genuinely artistic
- founders of our future psychology will have to be the artists, who still
- Title: Practical Course/Teachers: Lecture I: Introduction - Aphoristic remarks on Artistic Activity, Arithmetic, Reading, and Writing
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- which we must call artistic, we enter with them into the sphere
- these three impulses, the super-physical in the artistic
- artistic element. Therefore we must begin, in teaching to
- write, with the artistic drawing of the shapes — of the
- reading and writing artistically; we must permeate our whole
- teaching with the artistic element. Consequently, from the
- artistic element in the child. The artistic element, as is well
- artistic feeling is awakened in him. Then he will develop, as
- attention on the development of an artistic feeling with which
- only that the artistic element must be cultivated, too, but the
- whole of our teaching must be drawn from the artistic element.
- All method must be immersed in the artistic element.
- but while still remaining in the artistic element. When we have
- the strengthening of the will by artistic means. To this end,
- from the first, teaching in painting, artistic
- This ability to secure an artistic footing in the world's rush
- in drawing on the artistic element we assimilate into the
- where the artistic element is being cultivated. We draw with
- Title: Study of Man: Lecture II
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- extent, a retrogression; this wonderful artistic structure is already
- Title: Study of Man: Lecture III
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- Copernican system; it has also quite different, artistic
- Title: Practical Course/Teachers: Lecture III: On the Plastically Formative Arts, Music, and Poetry
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- as a point of departure in teaching, for a certain artistic
- beginning our work with the child with a certain artistic form
- everything which approaches man artistically falls into two
- with the fact that this duality of the artistic element comes
- artistic productions in the general conditions of civilization.
- up the structure of the artistic element as a whole in just the
- artistic. I felt particular pleasure when one of our
- artistically gifted friends said that certain cycles of my
- artistic communication of art.
- we were to guide the artistic element like this, in its two
- Title: Study of Man: Lecture IV
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- Why then has the artistic element such a special effect, as I have
- child acquires artistically gives him fresh joy each time. The
- artistic is enjoyed every time, not only on the first occasion. Art
- education is intimately bound up with the artistic element.
- Title: Practical Course/Teachers: Lecture IV: The First School-lesson - Manual Skill, Drawing and Painting - the Beginnings of Language-teaching
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- benefit, for people will not only learn something artistic in
- Title: Study of Man: Lecture V
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- artistic sphere between what is purely thought-element and what
- artistic production.
- Title: Study of Man: Lecture VI
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- unconsciously inspired mental pictures. In the artist this is
- Title: Practical Course/Teachers: Lecture VI: On the Rhythm of Life and Rhythmical Repetition in Teaching
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- artistic: music, drawing, plastic art, etc.; but on the other
- the whole being, for instance, of artistic subjects. What lies
- inartistically pulling to bits whatever you deal with. You can
- Title: Practical Course/Teachers: Lecture VII: The Teaching in the Ninth Year - Natural History - the Animal Kingdom
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- the head artistically, as spherical. This is important. In this
- cuttle-fish. You must try to develop this artistic feeling in
- artistic description of the cuttle-fish so that the children
- really grasp it in this artistic description.
- its physical form artistically. And you will succeed in
- this artistic construction if you evoke in the child a notion
- in the water. Sum up in artistic form what you are trying to
- artistically prepared lessons. In short, describe the
- Title: Practical Course/Teachers: Lecture VIII: Education After the Twelfth - History - Physics
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- artist, if, as a mature man, you can always live over in your
- Title: Study of Man: Lecture IX
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- one will try and immerse oneself in artistic experience so that the
- teaching in this period may be artistic through and through. It
- teacher discourses on with his pupils is inartistic and commonplace.
- it that the things he talks about to his children are artistic.
- Title: Study of Man: Lecture X
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- stocking were of malleable material and you could give it an artistic
- Title: Practical Course/Teachers: Lecture X: Arranging the Lesson up to the Fourteenth Year
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- subjects shall we then teach? We shall take the artistic
- Title: Study of Man: Lecture XI
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- education by way of artistic education. Thus, even in these early
- reading and writing in an artistic way.
- Title: Practical Course/Teachers: Lecture XI: On the Teaching of Geography
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- to convey to the child, again artistically, by a kind of
- Title: Necessity for Spiritual Knowledge: Lecture 2
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- the artist. It is quite certain that well written books on
- aesthetics do not make a man into an artist — and a
- regard it as artists regard aesthetics, being quite conscious
- to paint. An artist in Munich once said to me when I was
- Title: Cosmic New Year: Lecture III: The Mystery of the Human Will
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- the artistic impulse of mankind, as we ourselves still look upon it.
- Title: Cosmic New Year: Lecture V: The Dogma of Revelation and the Dogma of Experience. The Spiritual Mark of the Present Time. A New Year Contemplation.
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- artistic method of education. Those who mock and tread
- Title: Lecture: The Peoples of the Earth in the Light of Anthroposophy
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- the artistic creations of the oriental. It seems to rise from inner
- the artistic conceptions of Greece that the human form was first
- Title: Lecture Series: Introductory Words by Rudolf Steiner to the First of Four Educational Lectures
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- of artistic speech is the most important.
- the rhetorician's cultivation of artistic speech is the most important.
- we must as teachers become artists. Just as it is impossible
- for an artist to take a book on aesthetics in his hand in order
- education as in the arts, I do not think that an artist
- really do it. I do not think that an artist has the right
- when it is finished really loses for the artist a large part of
- Title: Meditative Knowledge of Man: Lecture I: The Pedagogy of the West and of Central Europe: The Inner Attitude of the Teacher
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- of artistic speech is the most important. Also the second of 15 lectures given
- regard we must as teachers become artists. Just as it is quite impossible
- for the artist to take a book on aesthetics in hand, and then to paint or
- consider anyone a right-minded artist who doesn't say to himself on
- properly disposed as an artist, if he is satisfied with any work he has
- Title: The Three Fundamental Forces in Education: Lecture
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- wished to represent, externally, artistically, something like
- always feels the urge to pass over into the artistic. That is
- into the artistic. But only through the artistic can one
- when your knowledge takes on artistic form, will you become a
- science to artistic grasp, from the monster to the complete
- Title: Meditative Knowledge of Man: Lecture II: The Three Fundamental Forces in EducatioN
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- of artistic speech is the most important. Also the second of 15 lectures given
- artistically, that as a group [
- that would shift over from the more abstract lingual form to the artistic.
- scientific into the artistic, even in the shaping of his thoughts. But only
- through the artistic do we grasp the world. And we can always say, the man
- body, only when your knowledge assumes an artistic form, do you become a
- from science to an artistic grasp of the world, from the moon-calf to the
- Title: Meditative Knowledge of Man: Lecture III: Spiritual Knowledge of Man as the Fount of Educational Art
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- of artistic speech is the most important. Also the second of 15 lectures given
- Title: Meditative Knowledge of Man: Lecture IV: The Art of Education Consists of Bringing Into Balance the Physical and Spiritual Nature of the Developing Human Being
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- of artistic speech is the most important. Also the second of 15 lectures given
- — as I have indicated in my article on the artistic
- artistic education. What does this mean?
- true artistic treatment in education we can avoid that even in a man with
- education one has to create an artistic balance. Because if one does not
- artistic, creative pedagogy.
- Title: Anthroposophy Science: Lecture V
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- brain. To do this it is necessary to bring in an artistic
- Title: Anthroposophy Science: Lecture VI
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- an artistic direction. On the other hand there is a
- good tendency to artistic fantasy, as well as from the forces
- Title: Anthroposophy Science: Lecture VIII
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- movement is artistically, scientifically and culturally
- Title: Fruits/Anthroposophy: Lecture 8: The Social Question
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- People who are artists justifiably
- a form of thinking habitual to science, is also something artists avoid — justifiably
- genuinely artistic work, in a truly natural way. The art we cultivate
- into an artistic approach. No, it is merely the soil that is the same,
- the other branch, the artistic one, will arise from the same root. That
- movement. Anything artistic will have to arise from the same source
- experience where fertilization may be found for man's artistic
- Title: Younger Generation: Lecture I
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- But, my dear friends, what if reality happens to be an artist and
- Nature herself works according to artistic impulses? If it were so,
- human science, according to Nature, would have to become an artist,
- scientist. His standpoint is: Nature may be an artist or a dreamer;
- cultivate science. What does it matter to us if Nature is an artist?
- Title: Younger Generation: Lecture IV
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- of art would again be revived by Wagner and through his artistic
- Title: Younger Generation: Lecture V
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- poetical, artistic phantasy, to a creative moral Imagination.
- Title: Younger Generation: Lecture VIII
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- building up of the universe artistically.
- Title: Younger Generation: Lecture IX
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- astronomy and music as much of the artistic as was possible, having
- had an artistic point of departure.
- artistic that appeared then we have but the scantiest remains. Here
- that something thoroughly artistic came into education. But the
- introduction of the artistic into education was still in keeping with
- done by giving the human being with artistic beauty what he needs for
- artistic element. During the primary school years everything must be
- that only through an artistic grasp of the world does man reach the
- artistic can we penetrate into the realm of truth, there can be no
- out of artistic experience of the soul. Art must become the life
- the artistic way.
- teaching is again that of the artist, and is permeated by art, there
- will crowd around the teachers who are artists, because there they
- stimulated when the young find the artistic coming from the older
- activity. Artistic education will be an education of the will, and it
- Title: Younger Generation: Lecture X
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- show how we must come to an education, steeped in artistic form. I
- from the artistic, which he did in higher education by treating as
- same time artistic, wholly identical with artistic activity. So that
- becomes that of an artist.
- experienced. To know this second man a kind of artistic activity must
- touches the level of the artistic. Only most people do not discover
- this because they look for the artistic in the trivial, in the
- become an artist in education when he finds his way into this mood.
- arranged as to create an artistic atmosphere between teacher and
- pupil. And within this artistic atmosphere there can develop that
- artistically, and one feels that what he can do one would like to be
- artistic way. Then we shall see how out of this artistic feeling the
- intellectual theory about education. The aim is to create an artistic
- — in whom he can believe with the help of the artistic
- Title: Younger Generation: Lecture XI
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- school education in future must proceed by way of the artistic I
- the realm of the artistic everyone is individual, each one is a
- In the realm of the artistic each human being is an individuality in
- artistically, and this should be so. True, one does not come to the
- soul only through what we are artistically. We can have soul if we
- give science an artistic form through the way it is presented, but
- artistic impulse gives to the human soul there lives and weaves what
- an artistic way. And even if the rare thing should happen that as
- instinctive artistic sense he will offer less hindrance to the growth
- of the child's soul than the teacher who is inartistic and
- alive. This is not easy. But the artistic way of education succeeds
- Title: Younger Generation: Lecture XII
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- reality of things which later as an artistic copy shed their light
- knowledge with artistic perception, will remain young. For there is
- Title: Fundamentals of Anthroposophical Medicine: Lecture III
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- we form our education artistically. Then we are working upon
- Title: Fundamentals of Anthroposophical Medicine: Lecture IV
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- no sense for this artistry in nature — an artistry
- who is not an artist can be a sculptor. An individual may have
- the realm of the artistic. Without this, true therapy is
- Title: Anthroposophical Approach to Medicine: Lecture IV
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- who have no feeling for this artistry in Nature — an artistry
- more exclusively be science than a man who is not an artist can be a
- Title: Curative Eurythmy: Lecture 8
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- eurythmy took shape out of something purely artistic, out of what was
- first developed as an artistic impulse; and in certain connections a
- from artistic eurythmy. Now perhaps I will be most clearly understood
- if at first I attempt to indicate the difference between artistic and
- in speech. For this reason eurythmy is, artistically, really a sort
- this eurythmy. When artistic eurythmy is performed, the attention of
- the corresponding sound, to the formation of the word or the artistic
- on. When active in artistic eurythmy, one is completely absorbed in
- the possibilities of artistic formation and portrayal of the elements
- artistically active in eurythmy, since in eurythmy one naturally follows
- but carries on further, in artistic eurythmy we have to do with something
- organism. Ordinary artistic eurythmy has no other physiological
- consequences for the human organism other than that this artistic
- in eurythmic artistic activity, it is conducive to health. But just
- the artistic practice of eurythmy can be overdone. Professor Benedikt,
- only be conducive to health; a certain artistic feeling of satisfaction
- in the devotion to the sound-, word- and sentence-formation in artistic
- from the sound A to an I or something else in an artistic presentation.
- movements of artistic eurythmy are somewhat modified for curative eurythmy.
- certain artistic grasp of the human organism how the upper teeth will
- Maximum number of matches per file exceeded.
- Title: Lecture: Memory and Love
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- feeling — particularly if he is artistically inclined — that
- the essential content of his memory, he can be no artist. Neither is he
- a true artist who in a pronounced way is impelled to be an egotist in
- If an artist makes a slip of the pen, it gets handed down to posterity.
- becomes art. And when the artistic is grasped in its spiritual nature in
- Title: Lecture: Memory and Love
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- Esta é a glória essencial da arte: ela nos leva, por meios simples, ao mundo espiritual, no presente imediato. Quem é capaz de olhar para a vida interior do homem dirá: de modo geral, o homem se lembra apenas das coisas que vivenciou no curso de sua vida terrena atual. Mas a força pela qual ele se lembra dessas experiências terrenas é a força enfraquecida de sua existência como um eu na vida pré-terrena. E o amor que ele é capaz de desenvolver aqui como um amor universal da humanidade é a força enfraquecida da semente que frutificará após a morte. E assim como no canto e na fala declamatória aquilo que um homem é deve estar unido, pela memória, àquilo que ele pode dar ao mundo por meio do amor, assim também é em toda arte. Um homem pode experimentar uma harmonia de seu eu com o que está fora, mas a menos que seja capaz de mostrar externamente o que está dentro dele – seja no tom, na pintura ou em qualquer outro ramo da arte –, a menos que mostre na superfície o que ele é, o que a vida fez dele, qual é o conteúdo essencial de sua memória, ele não poderá ser um artista. Tampouco é um verdadeiro artista aquele que é acentuadamente inclinado a ser egotista em sua arte. Somente aqueles dispostos a se abrir para o mundo, os que se tornam um com seus semelhantes, os que desdobram o amor, são capazes de unir esse desdobramento do amor intimamente a seu próprio ser. Altruísmo e egotismo se unem em uma única corrente. Confluem naturalmente e mais intimamente nas artes sonoras, mas também nas artes plásticas. E quando, por meio de um certo aprofundamento de nossas forças de conhecimento, nos é revelado como o homem está conectado a um mundo suprassensível, no que diz respeito ao passado e ao futuro, podemos também dizer que o homem tem um antegosto presente desse vínculo, no criar e fruir artístico. Na verdade, a arte nunca adquire todo o seu valor se não estiver, em certa medida, de acordo com a religião. Não que t@!
- Prova abundante disso reside na maneira como a arte se desenvolveu. Originalmente era uma com a vida religiosa. Nas eras primitivas da humanidade, ela era imbuída nos cultos religiosos. As imagens que os homens formavam de seus deuses eram a fonte das artes plásticas. A título de exemplo, recordemos os Mistérios da Samotrácia a que alude Goethe na segunda parte de Fausto, onde fala dos Cabiros. [Vide ciclo de palestrasGoetheanism as an impulse for man's transformation,Dornach, janeiro de 1919.] Em meu estúdio em Dornach tentei fazer um desenho desses Cabiros. E o que resultou disso? Foi algo muito interessante. Simplesmente me propus a desvendar intuitivamente a maneira como os Cabiros teriam aparecido nos Mistérios da Samotrácia. E imagine só: cheguei a três jarros, mas jarros, é verdade, moldados plástica e artisticamente. A princípio fiquei pasmo, embora Goethe tenha realmente falado de jarros. O assunto ficou claro para mim apenas quando descobri que esses jarros ficavam sobre um altar: então, algo semelhante a incenso era colocado neles, as palavras sacrificiais eram cantadas, e pelo poder das palavras de sacrifício – que nos tempos mais antigos da humanidade carregavam uma força de estímulo vibratório bastante diferente de qualquer coisa possível hoje – a fumaça do incenso era formada na imagem desejada da divindade. Assim, no ritual, o cântico imediatamente se expressava plasticamente na fumaça do incenso.
- A humanidade realmente adquiriu a arte da vida religiosa. E Schiller tem razão ao dizer: “Somente no alvorecer da beleza se avança para a terra do conhecimento”, que geralmente se encontra citado nos livros como “Somente através da porta da beleza se avança para a terra do conhecimento.” Se um artista comete um lapso, isso é passado para a posteridade. A leitura certa, é claro, é: “Somente no alvorecer da beleza se avança para a terra do conhecimento”. Em outras palavras: todo conhecimento vem por meio da arte. Fundamentalmente, não há conhecimento que não seja intimamente relacionado à arte. É apenas o conhecimento ligado ao exterior, à utilidade, que aparenta não ter ligação com a arte. Mas esse conhecimento só pode se estender ao que, no mundo, um mero lapidador saberia sobre pintura. Assim que na química ou na física se vai além – estou falando figurativamente, mas você sabe o que quero dizer – do que a mera retificação de cores implica, a ciência se torna arte. E quando o artístico é compreendido em sua natureza espiritual da maneira correta, ele gradualmente avança para o religioso. Arte, religião e ciência eram uma coisa só, e ainda é possível termos uma noção de sua origem comum. Isso alcançaremos apenas quando a civilização e o desenvolvimento humano retornarem ao espírito; quando levarmos a sério a relação existente entre o homem aqui, em sua existência física terrena, e o mundo espiritual. Devemos nos apropriar desse conhecimento sob os mais diversos pontos de vista.
- Title: Lecture: The Ear
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- the middle man contains above all the artistic faculty of man, the
- artistic tendency, which is always to unite the Heavenly with the
- Title: Awakening to Community: Lecture I
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- possible to speak to the world at large in the purely artistic forms
- evince little feeling for the artistic forms they perceive in the
- Title: Awakening to Community: Lecture II
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- freedom and abstraction! But how richly saturated with artistic
- ourselves to the level of artistry, and to end in the warmth of
- Title: Awakening to Community: Lecture III
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- over into artistic forms of revelation, as was done with the
- second phase was the further development of the artistic element.
- wanted to know the artistic aspects of anthroposophy as well as the
- Title: Awakening to Community: Lecture VI
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- one-sidedly religious or scientific or artistic. It is an
- mankind's great ideals: the moral-religious, the artistic, and the
- had to be carried out in artistic harmony with that outlook. For
- the artistic and scientific striving in the Movement. Friends who
- forms — forms that were artistically shaped by and for
- of artistic stimulation. But the terrible flame into which all the
- Title: Awakening to Community: Lecture VII
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- built in a definite artistic style that was the product of an
- my task to erect a building designed in a style artistically
- Now an artistic style
- felt in the testing that the artistic style of the Goetheanum gave
- Title: Inner Nature of Music: Lecture V
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- the outer world, even artistic forms. The eye is important to a
- Title: Inner Nature of Music: Lecture VI
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- artistic. It goes without saying that one can introduce the child to
- artist who basically lives completely in the element of music, such
- Title: Poetry/Speech: Lecture VII: The Uttering of Syllables and the Speaking of Words
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- today’s proceedings at this Pedagogical and Artistic Congress
- Waldorf education, of introducing an artistic quality into the art
- artistic creativity and sensitivity are the organs for a genuine
- artist the moment she ascends from
- artistically about art. To speak about art is to lead what is
- become a truly artistic poet. (Of course, the question of
- proper artistic domain. He can only achieve his aim if he leads the
- belong to the syllable, and round it out artistically, imparting
- age, with its lack of artistic feeling, there has arisen a curious
- the prose-sense, something quite unartistic. The real poet always
- truly artistic.
- Title: Poetry/Speech: Lecture VIII: The Interaction of Breathing and Blood-Circulation
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- universe, the cosmos is artistically active in man; but man then
- artist. It is the collaboration, the wonderful interaction between
- articulates this artistically through the syllables in quantity and
- release, in a properly artistic way when we allow fewer or more
- adopt an outward artistic form that works through quantities and
- “Roman Iphigeneia”. For someone with artistic
- penetrate into materiality, but even into a rhythmical-artistic
- weaves within corporeal man, and how artistic creation means making
- artistically. A dead, abstract science can indeed be grounded on
- inartistic. Hence it is so alien to man; for Nature herself becomes
- an artist at the point where she produces man.
- Title: Poetry/Speech: Lecture IX: The Alliteration and Terminal Rhyme
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- artistic will grasp what I mean.
- raised into the super-sensible, in a sacred, but also in an artistic
- artistically and poetically with the divine-spiritual in the
- Title: Man in the Past, the Present and the Future: Lecture III
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- artistic and religious experience or ideas.
- of real artistic capacity. With rare exceptions we have to live on
- scientific and artistic spheres but also in the social, religious, and
- Title: III: THE MICHAEL INSPIRATION
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- when all this is given artistic form, then it is that the
- great artistic motifs of painting and sculpture never would have
- Title: Deeper Education: Lecture I: Gymnast, Rhetorician, Professor: A Living Synthesis
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- formed in an artistic sense, as the means of bringing their
- as possible the ideal of an artistic speaking. The need for
- connected with our ever-increasing disregard for the artistic
- [vorstellen] the process artistically. It
- unless we picture it artistically. If you picture the
- a world of wonderful artistry. Just try for yourselves,
- its work of artistic creation.
- first feeds the gills and tail, this extraordinarily artistic
- work together in an artistic way. If you reach
- speech has something artistic about it. This may require some
- Title: Karmic Relationships, VI: Lecture VI
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- spirit, and his colossal artistic powers were able to translate into
- Title: Effects of Occult Development: Lecture X
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- a sum-total of pictures painted by an unknown artist, the
- Title: Lecture: It is a Necessity of Our Earnest Times to Find Again the Path Leading to the Spirit
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- science and life, social life and artistic life. Anthroposophy and
- Title: Lecture: The Position of Anthroposophy among the Sciences
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- meant more: the artistic use of language. Dialectic was the
- Title: Lecture: Anthroposophy and the Visual Arts
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- of artistic creation. I hope, however, that to-day's considerations
- spirit, but from an artistic spirit also. It would speak from a
- are set up — thoroughly inartistic products which flout the
- really artistic sense.) It must be clearly understood, above all,
- but in genuinely artistic creations.
- seen. Everything that has been given artistic expression was born
- from artistic perception, came to birth in the moulding of forms, in
- it had its origin in a thoroughly artistic act of perception and had
- something — in the genuinely artistic sense; it
- stage — should speak also through the artistically plastic
- artistic reminiscences, Antique, Renaissance or Gothic, could be
- apprehension of space needed for sensitive, artistic creation if one
- many circles (including artistic circles), people will probably laugh
- fledged artists; one becomes a sculptor by reaching back, with full
- mode of feeling, in cognition and artistic expression, must be able
- the human form before us, we direct our artistic eye at first to the head.
- from fundamentally artistic feelings. If, as sculptors, we were striving
- offends the sculptor's artistic eye. I know that I am saying
- fundamentally artistic. Correctly chiselled legs! — one does
- at work on the head, one comes through the inner necessity of artistic
- Maximum number of matches per file exceeded.
- Title: Lecture: Spiritual Knowledge: A Way of Life
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- one must be an artist; but to experience the beauty and inner content
- of the picture one need not be an artist, one has only to approach
- themselves “artists”, are free from prejudice and are
- kind of experience one may have from the painting of a great artist.
- in him that man finds his way to religion, and to all true artistic
- Title: Supersensible Man: Lecture V
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- and artistic imagination are often the words used by Initiates to
- in the whole artistic form of the poem, so is it possible for us,
- Title: True/False Paths: Lecture One: Nature is the Great Illusion; Know Thyself
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- artistic expression to this information we are again faced with
- He sets out to copy and imitate. The Greek artist did not work in
- other kingdom of Nature. You cannot become an artist. In the sphere
- ability did not come from the artists themselves. They owed it to
- earlier artists who in their turn had it from their
- destiny. If we are to return to the fountain-head of art and artistic
- feeling, as a creative artist, as healer or doctor, that he stands
- Title: True/False Paths: Lecture One: Nature is the Great Illusion; Know Thyself
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- artistic expression to this information we are again faced with
- He sets out to copy and imitate. The Greek artist did not work in
- other kingdom of Nature. You cannot become an artist. In the sphere
- ability did not come from the artists themselves. They owed it to
- earlier artists who in their turn had it from their
- destiny. If we are to return to the fountain-head of art and artistic
- feeling, as a creative artist, as healer or doctor, that he stands
- Title: True/False Paths: Lecture Two: The Three Worlds and their Reflected Images
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- to be a poet or artist, one must be able to translate the natural
- Title: True/False Paths: Lecture Two: The Three Worlds and their Reflected Images
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- to be a poet or artist, one must be able to translate the natural
- Title: Kingdom of Childhood: Lecture 1
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- occupies the same relation to this body as an artist to a model which
- artistically. The artistic element must be in it all. Tomorrow
- thus give it an artistic form, and how you must then lead this over
- artistically to the teaching of reading, and how this artistic
- treatment of reading and writing must be connected, again by artistic
- Title: Kingdom of Childhood: Lecture 2
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- beauty. In truth it is horribly ugly because it is so inartistic.
- what he does possess is an artistic sense, a faculty for creating
- this task the teacher must have an artistic feeling in his soul, he
- must be of an artistic disposition. For what works from teacher to
- use his fantasy, to be artistic, for then he will meet the child with
- Title: Kingdom of Childhood: Lecture 3
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- must be brought to him through the feelings in an artistic way, for
- kinds we may give the child in an artistic form what he himself finds
- Title: True/False Paths: Lecture Seven: Knowledge of the World of Stars. Differentiation of the Historical Epochs of Mankind and their Spiritual Background
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- and artistic images. In their own way they delight and enchant us
- mechanically or artistically. — These beings pay close
- influence of the Moon beings, readily assimilate the artistic talents
- artistic impetus in their etheric and astral bodies which can be
- Title: True/False Paths: Lecture Seven: Knowledge of the World of Stars. Differentiation of the Historical Epochs of Mankind and their Spiritual Background
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- and artistic images. In their own way they delight and enchant us
- mechanically or artistically. — These beings pay close
- influence of the Moon beings, readily assimilate the artistic talents
- artistic impetus in their etheric and astral bodies which can be
- Title: Kingdom of Childhood: Lecture 6
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- artist in the child in the first seven years; it is a modeller, a
- yourselves must have a kind of artistic conception of the human
- teaching is this artistic element of which I have just spoken.
- one must of course have a great deal of artistic tact and, I was
- only make all your teaching artistic, but that you also begin
- teaching the more specifically artistic subjects, Painting, Modelling
- right thing from the point of view of artistic education. In a true
- something artistic and work out the forms of the letters through art;
- Title: Kingdom of Childhood: Lecture 7
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- how that can be done artistically. Then, in the second period, we saw
- rhythm, everything that is artistic or rhythmic, must be engaged.
- led into a really artistic approach to handwork; the girls will not
- Title: Kingdom of Childhood: Questions and Answers
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- the matter artistically. You must remember that drawing is a sort of
- the sea, is really a very abstract statement. So from the artistic
- artistic feeling will prompt you to work out what is really there out
- with artistic feeling: such feeling simply does not exist.
- Title: Das Initiaten-Bewutsein: Elfter Vortrag
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- finden, denn sie wird rein künstlerisch, artistisch,
- Title: True/False Paths: Lecture Eleven: What is the Position in Respect of Spiritual Investigation and the Understanding of Spiritual Investigation?
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- Impulse, for it will reveal purely artistically and intuitively how
- Title: True/False Paths: Lecture Eleven: What is the Position in Respect of Spiritual Investigation and the Understanding of Spiritual Investigation?
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- Impulse, for it will reveal purely artistically and intuitively how
- Title: Article: West-East Aphorisms
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- of the spirit and inspired piety in the artistically inspired man. There
- thought artistically; Aeschylos and Sophocles were artists who moulded the
- striving in beauty toward artistic revelation. If the Western man beholds
- Title: Social Understanding: Lecture II: Social Understanding Through Spiritual Scientific Knowledge
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- of artistic speech is the most important. Also the second of 15 lectures given
- thing to a good teacher as the aesthetics of colour is to an artist. He can
- educators in the same way as people become artists or botanists. It is that
- day after to-morrow. But if you are the artist kind of teacher you are not
- Title: Goethe As Founder of a New Science of Aesthetics: Steiner's First Lecture
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- artistic creation, is barely 160 years old. It was with
- lies a noble task which accrues to the artist. He has, so to
- produces in the artist works, which, while existing for our
- didactic poetry in the poetic art, are the highest artistic
- merely becomes a storehouse for collections of notes on artists
- living presentment of its own Idea. The artist must grasp and
- permit. The artist must revert to Nature's tendency, as this
- which much may be developed.’ In the artist's work the whole
- with which the artist goes to work are none other than the
- Artistic creation rests not on what is, but on what might be;
- not on the actual, but on the possible. The artist creates
- what the artist wills; in giving it its form, he directs
- object which the artist sets before us is more perfect than it
- ‘The artist, to be sure, must faithfully and devotedly follow
- of artistic activity, where actually a picture becomes a
- cloak that is divine. The artist does not bring the divine on
- Taken in this sense, the artist appears as the continuator of
- artist with the cosmic Spirit, and Art appears as the
- continuation of Nature's process. Thus the artist raises
- find expressed by Goethe in his poem, ‘The Artist's
- Maximum number of matches per file exceeded.
- Title: Lecture: Regarding Higher Worlds
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- mankind who worked artistically, had a clairvoyant
- clairvoyant consciousness of the artist works into it, or
- Title: Life Between ... IV: Recent Results of Occult Investigation Into Life
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- we have something analogous. The artist who cannot wait will not be
- spiritual research. This is true of every genuine artist. He need not
- inspiration. What humanity has received through its artists in the
- will value all the more its true artists when, as a result of occult
- of which the artist has drawn his inspiration. Of course, those who
- at one time or another have been regarded as important artists but
- indicated or portrayed in our time by artists. In the future it will
- towards a really new attitude that has to come. Artists have prepared
- of great artists and poets. This is also the case with the great
- artistic study. The gesture, the position of the resting body with
- fact the whole arrangement of the figure can be studied artistically.
- life, immortalized with remarkable artistic penetration. I kept away
- Title: Tension Between East and West: Lecture 3: East and West in History
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- these concepts strictly from what we call artistic experience
- science which involves no element of artistic creation or
- converted into a kind of artistic thinking or artistic
- shrink from transposing anything exact into the artistic
- these artistic features — if nature and reality do in
- fact operate artistically at a certain level, so that they only
- yield to an artistic mode of comprehension?
- allow logical thinking to flow over into a kind of artistic
- the scientific spirit and absorb the artistic spirit.
- short, we must create from the science of today an artistic
- the presence there of a co-operation between the artistic and
- out. Earlier on, thought is an artistic element in
- understood if it is also apprehended with an artistic
- became a science that retained an artistic character by
- a kind of knowledge that flows over into the artistic sphere. I
- differently from scientific or artistic experience. The vital
- before him in artistic beauty; and what he thus knew and
- that was when the unity of religious, artistic and scientific
- will be capable of artistic creativity in new styles,
- inartistic.
- Maximum number of matches per file exceeded.
- Title: Tension Between East and West: Lecture 4: Spiritual Geography
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- artistic eye. The Oriental has no retuning to do. Since what he
- scientifically, artistically and religiously, there flows much
- Title: Poetry/Speech: Lecture V: Poetry and Recitation
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- that can become a direct artistic creation.
- should be present in an artistic sensibility. We will therefore
- best meet the requirements of Goethe’s artistic perception
- artistically at home. We might add that the idealism of thought
- nobility and what makes his verve and colour genuinely artistic as
- Title: Tension Between East and West: Lecture 8: The Problem (Asia-Europe)
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- which the West has derived so much of artistic importance for
- with its purely artistic aspect, something that brought man
- Title: Tension Between East and West: Lecture 9: Prospects of its Solution (Europe-America)
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- our artistic depiction, from the inside, of the life of the
- Title: Michaelmas-Soul: Lecture I
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- cognition of the artist concerning what was possible at that time in a
- Title: Supersensible Knowledge: Lecture II: Anthroposophy and the Ethical-Religious Conduct of Life
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- artistic creation, which stimulates this intellectual life even
- concepts which afford us only the laws of nature to an artistic
- artistic experience. It must not be said that science must remain
- which is artistic. And it actually does this. For this reason, only
- pass from the ordinary knowledge to an artistic and
- Title: Reincarnation and Immortality: Lecture V: Mystery of the Human Being
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- can refer to what I have said about the artistic side of this
- Title: The Social Question: Lecture I: The True Form of the Social Question
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- that everything, from thought, artistic creativity and
- Title: Inner Aspect of the Social Question: Lecture I
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- thinks and learns and creates artistically arises from them like a
- Title: The Social Question: Lecture III: Fanaticism Versus a Real Conception of Life in Social Thinking and Willing.
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- included in religious life, all that is artistic, literary and
- everything from educational to artistic life need to be
- Title: Inner Aspect of the Social Question: Lecture II
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- through artistic impressions and so on — is not determined
- that is shall develop their talents. Of any kind of artistic
- Title: The Social Question: Lecture V: The Social Will as the Basis Towards a New, Scientific Procedure.
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- relevant in religious convictions, all artistic life, all which
- Title: The Social Question: Lecture VI: What Significance Does Work Have for the Modern Proletarian?
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- artistic life, a certain ethical life — what the
- the artistic, right into the ethical life, yes, right into
- Title: Social Future: Lecture I: The Social Question as a Cultural Question, a Question of Equity, and a Question of Economics
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- gradually developed, as we can show, out of old religious, artistic,
- aesthetic, artistic, religious, moral beliefs of former times. All
- Title: Social Future: Lecture IV: Cultural Questions, Spiritual Science, Art, Science, Religion
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- of art, or in judging anything artistic, is whether the thing is
- strange as the question may appear to the holders of certain artistic
- an artistic point of view. But it is also true, that no artistically
- done in the direction of industrial art. We see how inartistic our
- daily routine are as devoid of artistic beauty as possible. Practical
- life cannot be raised to artistic form, because art has separated
- when we see them, we at once have the feeling of something artistic.
- because we are unable to give it an artistic form and to surround
- research, lest something like imaginative or artistic intuitions
- envisioned by artists such as Raphael, Michelangelo, and Leonardo da
- will the artist receive a revelation from the spiritual world; he
- the artist. Once more an art will arise, filled with spirit, an art
- artist's attempt to give expression to something spiritual be but a
- is there represented. The artists who are working there are
- immediate artistic form. That which is expressed here has nothing of
- an artistic shaping of actual practical life.
- are immediately surrounded in life should take on an artistic form;
- Title: Karmic Relationships, VI: Lecture III
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- Anthroposophy, and just as nobody need himself be an artist to see
- connected and feel impelled to paint him. An artist may paint a
- Title: Lecture: Richard Wagner and Mysticism
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- Spiritual Science lived in one of the greatest artists of our time. In
- no need to reiterate the generalisation that an artist creates
- which help us to understand the achievements of an artist need not be
- our interpretation of these words will be put down as inartistic
- was not one of those artists who think they must out with everything
- artists: Shakespeare and Beethoven. He saw in Shakespeare the
- it unfolds in outer happenings. He saw in Beethoven the artist who was
- artist, Richard Wagner recognised and knew of their existence.
- Wherever we look we find that as an artist and as a human being,
- Title: Community Building: Lecture One
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- sort of religious or scientific or artistic movement, but that
- the artistic. Thus, it was quite impossible that the purpose
- an artistic way the construction of this building, and for
- artistic sensibilities. Yet in the background of all the work
- Title: Community Building: Lecture Two
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- Goetheanum possessed a very definite artistic style, born out
- artistically appropriate style. This became the Goetheanum. At
- Anthroposophy. For such things, the right artistic style had to
- to the artistic style; and in the case of the Anthroposophical
- Title: Polarities in Evolution: Lecture 1: Evolution and Consciousness, Lucifer, Ahriman
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- our creative artistic work, they are constantly trying to
- Title: Polarities in Evolution: Lecture 11: Modern Science and Christianity, Threefold Social Order, Goetheanism
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- the work of creative artists and in aesthetic pleasures.
- Title: Problems of Our Time: Lecture I
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- have hitherto sought in the form of beauty, artistic
- which runs through our earthly civilization as artistic
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