Searching Rudolf Steiner Lectures (by Place/City) Matches
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- Title: Origin and Destination of Humanity: Lecture XII: Goethe's Secret Revelation I
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- It creeps through the rock and finds a room in which the portraits of
- Title: Riddles of the World: Lecture XVII: Siegfried and the Twilight of the Gods
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- portrait exists in this legend of prehistoric time. Everywhere
- Title: Lecture: The Nature and Origin of the Arts
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- sea of the imaginative world rose the Portrait.
- Title: Deeper Secrets: Lecture I
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- human portrait. In St. John's Gospel we saw a Divine and Cosmic Man,
- Individuality. In St. Matthew's Gospel we have the portrait of the Man of
- Title: Lecture: Leonardo da Vinci
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- to that portrait of his in Turin, supposed to be painted by himself,
- portrait drawn by himself — the drawing of an old man —
- Title: Leonardo's Spiritual Stature: Lecture
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- Leonardo da Vinci: Self-Portrait, Turin
- self-portrait in Turin, we see a portrait of the old
- again to the drawing that rightly counts as a self-portrait, to
- Title: Lecture: Michelangelo
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- portrait of “Christ as Judge of the World,” He will
- 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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- or has his portrait painted. The principle point in the picture will
- it mildly, to take special pleasure in one's own portrait;
- love with himself, and also with his own portrait, so there it is
- Title: Necessity and Freedom: Lecture V: The "I" is Found on the Physical Plane in Acts of Will
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- precisely the old portraits that people admire today? Because
- can put it even more plainly. Suppose I paint a portrait
- opinion “This portrait is very like the person,”
- compares the portrait with the person, they both look the
- same. The likeness is due to the fact that the portrait agrees
- we look at his portrait thirty years later. Is it no longer
- person passes from existence to nonexistence, a portrait of him
- in cases like the comparison with the portrait. If you
- Title: Toward Imagination: Lecture 2: Blood and Nerves
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- sciences think is real. It means believing when we paint a portrait,
- Title: Toward Imagination: Lecture 4: The Human Organism Through the Incarnations
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- Hermann Bahr in a sense presented a self-portrait in the character of
- Title: Toward Imagination: Lecture 7: Toward Imagination
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- make the same mistake as we would if we claimed we could paint a portrait,
- Title: Lecture: The Human Soul and the Human Body
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- of the nerves is truly a portrait, a picture, of the soul's
- world the forces are active which make the brain a portrait
- picture, a portrait, of the soul's life in its activity of
- The nervous system — a true picture, a real portrait; the
- from her portrait (the nervous system) what she wishes to
- Title: Eternal Human Soul: Lecture VI: The Historical Life of Humanity and Its Riddles
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- contains a picture of Wilson. One can compare the portraits.
- knows to judge such a thing. If you look at Grimm's portrait,
- look at the portrait of Wilson, after you have also read his
- Title: Sound Outlook: Lecture II: The Building at Dornach
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- true to nature: he had to sit for his portrait!
- Title: Lecture: From Jesus to Christ (single lecture)
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- portrait of Him, had an entirely false conception of the Gospels? Were
- Title: Art/Mystery Wisdom: Lecture Five
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- sees the portrait of Capesius, and says he would like to
- Title: Lecture: The Sense-Organs and Aesthetic Experience
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- as in ordinary earthly life. To paint the portrait of a man as an
- Title: History of Art: Lecture I: Cimabue, Giotto, and Other Italian Masters
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- 46. Ghirlandajo: Portrait, Framseslo Sassetti and Son.
- portrait with the head we saw before, by Ghirlandajo. In that
- "https://www.rudolfsteinerelib.org/Lectures/GA292/English/UNK1981/images/HA01-065_Self-Portrait.jpg"
- 65. Leonardo da Vinci: Portrait of Himself. (Milan.)
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
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- which have the character of portraits. Only then will we go on to his
- is a well-known Self-portrait.
- 1. Leonardo da Vinci: Portrait of himself. (Milan.)
- portraits. There follows the other one, still better known.
- 2. Leonardo da Vinci: Portrait of himself. (Turin.)
- 8. Portrait of a Woman. (Vienna.)
- To begin with, his portrait of himself.
- 25. Michelangelo: Portrait of himself.
- 71. Raphael. Portrait of himself. (Uffizi. Florence.)
- a few of Raphael's portraits.
- Title: History of Art: Lecture III: Dürer and Holbein
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- early age in his portrait of the Jungfer Furlegerie
- 38. Dürer. Portrait of Himself. (Madrid.)
- 39. Dürer. Portrait of Himself. (Alte
- strong realism into the clement of portraiture. At the same time he
- Title: History of Art: Lecture IV: Mid-European and Southern Art
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- We need only call to mind the portraits, the Madonnas, for
- a portrait painter of no mean order. Here you have an example.
- same master cultivated the art of portraiture. He was a pupil of
- Title: History of Art: Lecture V: Rembrandt
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- Rembrandt Self-portrait 1639
- Rembrandt painted so many portraits of himself. I think there is a deep
- — in the self-portrait.
- post-Atlantean age painted so many portraits of himself.
- 528. Portrait of Himself. (The Hague.)
- 500. Portrait of Nicholas Ruts, 1631.(London.)
- This portrait will certainly
- whom we saw in the portrait just now, and in the portrait of the two
- a series of “self-portraits”:
- 530. Self-Portrait, 1645. (Amsterdam.)
- 531. Self-Portrait, 1656. (Dresden.)
- 532. Self-Portrait, 1669. (London.)
- 535. Portrait of a Painter (New York.)
- 554. Portrait of an Old Woman. (National Gallery.
- 533. Portrait of Himself. (Lord Iveagh's Collection.
- the self-portraits we have shown you as a final scene, another etching:
- 529. Self-portrait with propped arm, 1639.
- Title: Karma of Untruthfulness I: Lecture Three
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- to be a kind of likeness — not a self-portrait, but a kind of
- streams. This is not a self-portrait; the novel contains no
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
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- further in the way of portraiture;
- Here, then, we have a portrait
- in the art of portraiture.
- ourselves with Memling's portraits. You will see that all this School
- 37. Memling. Portrait of a Man. (Berlin.)
- 38. Memling. Portrait. (The Hague.)
- Title: Karma of Untruthfulness I: Lecture Five
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- position the portraits, personally autographed, of Draga Masin and
- visible to all comers, the autographed portraits of Alexander
- Title: History of Art: Lecture VIII: Raphael and the Northern Artists
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- Title: Karma of Untruthfulness II: Lecture Twenty Two
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- entitled ‘Holbein's and Liebermann's Portraits of Merchants’.
- Title: History of Art: Lecture IX: Sculpture in Ancient Greece and the Renaissance
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- — lifted far beyond the sphere of portraiture.
- or less towards a portrait likeness in each case. You will see how they
- strive away from the ideal type, towards the quality of portraiture.
- Of course, these portraits
- 76. Donatello, Portrait of Niccolo da Uzzano.
- Title: History of Art: Lecture XII: Greek and Early Christian Art, Symbolic Signs, the Mystery of Gold
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- dedicated, presented in portraits, then the two rows above and
- Title: History of Art: Lecture 12: Greek and Early Christian Art, Symbolic Signs, the Mystery of Gold
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- portraits of the couple for whom the sarcophagus is made; then, above each
- Title: History of Art: Lecture XIII: The Changes in the Conception of Christ During a Certain Period of Time
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- likeness of a portrait of some model, corresponding in any way
- Title: History of Art: Lecture 13: The Changes in the Conception of Christ During a Certain Period of Time
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- by the Greeks, as might be done for a portrait likeness, nor as though
- Title: Mysteries of the Sun: Lecture I
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- portraits, and that this has a particular sequel. Imagine
- self-portraiture has a quite definite sequel — the ladies
- disappeared — they have painted their own portraits and
- Title: Symptom 2 Reality: Lecture I: The Birth of the Consciousness Soul
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- kindly disposed towards his fellow men. Such is the portrait
- Title: Symptom 2 Reality: Lecture II: Symptomatology of Recent Centuries
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- finished portrait of James I, but to leave something to the
- Title: Symptom 2 Reality: Lecture VIII: Religious Impulses of the Fifth Post-Atlantean Epoch
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- Goethe. But Baumgartner's portrait is reinforced with the
- Title: Mysteries of Light: Lecture II: The Development of Architecture
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- century, and they are really not in any way true portraits, if I may
- portrait of Christ, Who is to be at the same time the Representative
- 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
- had previously paid little attention to the portrait, grew older and
- Title: Poetry/Speech: Lecture IV: Poetry and the Art of Speech
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- the formal poetic “epiphanies” from his A Portrait
- Title: Colour: Part One: Colour-Experience (Erlebnis)
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- Here we come to something very important. Anyone entering the portrait
- seen — will not fail to say that the portraits are only the
- portraits of the ancestors, not the ancestors themselves. As a rule,
- the ancestors are not there, only their portraits are to be found. In
- than we have the ancestors in the portraits. Now let us reflect that
- When I receive a photograph I can say that it is a portrait of Mr. N.
- line, so truly can I go through these portraits and have the portraits
- Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
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- for this reason the majority of portraits are really only masks,
- Title: Colour: Part One: The Phenomenon of Colour in Material Nature
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- dummies which are painted by the portrait-painters from time to time
- Title: Development of Thought: Lecture 2
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- this in the portraits painted at that time. But the village communities
- Title: Lecture: The Remedy for Our Diseased Civilisation
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- the beautiful book, Portraits of Goethe at the
- Title: Human Soul/Evolution: Lecture II: The True Nature of Memory - 1
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- portraits were there. The portraits would have the same
- Title: Karmic Relationships, Volume I: Lecture XII
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- standards, and behind you see something spiritual, a spirit-portrait,
- Title: Karmic Relationships, Volume IV: Lecture V
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- Chartres preserves as it were the portraits of the inspiring genii of
- Title: Lecture: Relationships Between the Living and the Dead
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- Thus a concept might be compared with a portrait which
- someone has made of a human being. The portrait is good, if it
- existence or life, and the portrait; as far as life is concerned, it
- Title: Lecture Series: The Physical-Superphysical: Its Realisation Through Art
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- decide to paint a portrait of a pretty woman we have
- Title: Lecture: The Wisdom Contained in Ancient Documents and in the Gospels
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- theoretically, as it were, the portrait of a personality who lived
- Title: Mystery of Death: Lecture X: Central Europe between East and West
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- as very similar portraits — we may express such a matter
- Title: Karmic Relationships, V: Lecture IV
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- top of this pillar, but altered in such a way as to be a portrait of
- Title: Lecture: The Ten Commandments
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- coming from Upper Devachan. Images and portraits could be given
- However, not a finished image, not a portrait should they
- Title: Truths and Errors: Lecture VIII: The Questions of Life and the Riddle of Death - 2
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- understand a portrait who does not understand the technique of
- Title: Practical Course/Teachers: Lecture V: Writing and Reading - Spelling
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- letters! In short, the portrait of this personality in its
- Title: Lecture: It is a Necessity of Our Earnest Times to Find Again the Path Leading to the Spirit
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- painting portraits, we really lie. We look at people outwardly and
- Title: True/False Paths: Lecture Three: Form and Substantiality of the Mineral Kingdom in Relation to the Levels of Consciousness in Man
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- life. Strader is a poetic, non-realistic portrait of a personality
- faithful portrait, but bore a certain likeness to him. In the fourth
- no bounds — that Strader was to some extent a portrait of the
- Title: True/False Paths: Lecture Three: Form and Substantiality of the Mineral Kingdom in Relation to the Levels of Consciousness in Man
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- life. Strader is a poetic, non-realistic portrait of a personality
- faithful portrait, but bore a certain likeness to him. In the fourth
- no bounds — that Strader was to some extent a portrait of the
- 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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- journal, for example, a portrait of Poincaré.
- 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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- journal, for example, a portrait of Poincaré.
- Title: Karmic Relationships, VI: Lecture III
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- portrait in which an uncultured person sees no likeness whatever,
- individual whose portrait has been painted. We get to know someone
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