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• Title: Lecture: Christ in Relation to Lucifer and Ahriman
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  • Rudolf Steiner had begun a scaled-down model of the Christ sculpture
  • sculpture itself began, he frequently explained its significance in
  • that the Christ figure in the sculptured group would have to be
  • spot, a sculpture dominated by three figures. In the center of this
  • take form as a sculpture that will be set up in a significant place in
  • the new building. Above the sculptured group we will attempt to
  • a sculpture, and above, the same motif will appear as a painting.
• Title: Lecture: Christ in Relation to Lucifer and Ahriman
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  • Rudolf Steiner had begun a scaled-down model of the Christ sculpture
  • sculpture itself began, he frequently explained its significance in
  • that the Christ figure in the sculptured group would have to be
  • spot, a sculpture dominated by three figures. In the center of this
  • take form as a sculpture that will be set up in a significant place in
  • the new building. Above the sculptured group we will attempt to
  • a sculpture, and above, the same motif will appear as a painting.
• Title: Lecture: Foreword
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  • Only the Group, sculptured in wood, portraying the Representative of
  • possibility — of its execution in sculpture. It came before us
• Title: Lecture: Lecture 1
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  • on to produce the Greek sculptures and the art of poetry that appears
• Title: Lecture: Lecture 9
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  • were not known earlier. That man could portray himself in sculpture,
  • among the Greeks. The marble of their sculptures took on the
• Title: Evil and the Future of Man
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  • in painting or sculpture, or into the essence of the inner movements
• Title: Evil and the Future of Man
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  • in painting or sculpture, or into the essence of the inner movements
• Title: Lecture: Truth, Beauty, and Goodness
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  • If we try either through sculpture, painting, or drama — indeed,
  • more perfectly we represent the human form, say, in sculpture or
• Title: Lecture: Truth Beauty and Goodness
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  • If we try either through sculpture, painting, or drama — indeed,
  • more perfectly we represent the human form, say, in sculpture or
• Title: Universe, Earth and Man: Lecture I: The Egyptian period, and the present time.
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  • its sculptures, those great, ideal, and perfect human forms described
  • This memory, presented in sculpture, is the Sphinx. It is only thus
• Title: Universe, Earth and Man: Lecture VI: The Spirits of Form as regents of earthly existence. Participation of the Luciferic beings. The formation of race.
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  • In the sculptured forms of his Gods the Greek idealized his knowledge
  • portrayed in Greek sculpture. If we examine it carefully we find three
• Title: Lecture: Riddle of Humanity: Lecture Four
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  • paintings and works of sculpture are pictures and resemble their
• Title: The Occult Basis of Music
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  • Compared with other arts — sculpture, painting, poetry —
• Title: The Occult Basis of Music
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  • Compared with other arts — sculpture, painting, poetry —
• Title: The Nature and Origin of the Arts
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  • Sculpture
  • Sculpture”
  • of the woman became merged with the archetype of sculpture,
• Title: The Nature and Origin of the Arts
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  • Sculpture
  • Sculpture”
  • of the woman became merged with the archetype of sculpture,
• Title: Lecture: The Migrations of the Races
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  • in their art of sculpture had bodied forth a god, were also able to
• Title: Lecture: The Migrations of the Races
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  • in their art of sculpture had bodied forth a god, were also able to
• Title: Lecture: Supersensible Influences: Lecture I
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  • you will find sculptured heads of Homer. I am not saying that the
  • of the breathing. To have this feeling about the sculptured heads that
• Title: Lecture: Supersensible Influences: Lecture II
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  • is normally the case, the traditional heads of Homer in sculpture give
• Title: Lecture: The Etheric Body as a Reflexion of the Universe
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  • group. In this sculpture we shall see a kind of rock with a
  • discuss a few details, for every line of this sculpture is
  • not say: that these sculptures express “this or that”,
  • sculpture, Christ is mute impersonal, and the Beings that approach
• Title: Lecture: The Etheric Body as a Reflexion of the Universe
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  • group. In this sculpture we shall see a kind of rock with a
  • discuss a few details, for every line of this sculpture is
  • not say: that these sculptures express “this or that”,
  • sculpture, Christ is mute impersonal, and the Beings that approach
• Title: Lecture: Some Conditions for Understanding Supersensible Experiences
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  • sculpture or painting, the attempt has been made to create this
• Title: Lecture: Some Conditions for Understanding Supersensible Experiences
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  • sculpture or painting, the attempt has been made to create this
• Title: Esoteric Christianity: The Gospel of St. John and Ancient Mysteries
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  • Mysteries and they found their expression in Greek sculpture. There
• Title: Esoteric Christianity: The Gospel of St. John and Ancient Mysteries
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  • Mysteries and they found their expression in Greek sculpture. There
• Title: Mission of Folk-Souls (1929): Synopses
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  • spiritual in the physical and became basic for sculptures and art.
• Title: Mission of Folk-Souls (1929): Lecture 6
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  • and hence became the basic people for all sculpture, for all external
• Title: Lecture: Michelangelo
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  • briefly into the particular way in which Greek sculpture affects us.
  • especially Greek sculpture work on us, we shall certainly feel that
  • us of Greek sculpture reveals that when the sculptor set his hand to
  • looks properly at the works of Greek sculpture will perceive that
  • soul. Greek sculpture in general expresses what lies within the soul.
  • sculptured groups, at least as late as the “Laocoon”;
  • these Greek sculptures to the “Moses” of Michelangelo. We
  • artist than Michelangelo were to do a sculpture of Moses and give it
  • have seen to be true of Greek sculpture. He is shown at that moment
  • insignificant relics of antiquity, of Greek sculpture. But —
  • create a sculpture which was the equal of the Greek because he had
  • of Greek sculpture had to pass through a sort of formative period in
  • during which sculpture rested, there appeared the Christian ideal: an
  • sculpture to his painting the vital creative principle which informed
  • Painting nor sculpture now can lull to rest
  • same spirit which we have found in his sculpture and painting. The
  • Painting nor sculpture now can lull to rest
• Title: Lecture: Michelangelo
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  • briefly into the particular way in which Greek sculpture affects us.
  • especially Greek sculpture work on us, we shall certainly feel that
  • us of Greek sculpture reveals that when the sculptor set his hand to
  • looks properly at the works of Greek sculpture will perceive that
  • soul. Greek sculpture in general expresses what lies within the soul.
  • sculptured groups, at least as late as the “Laocoon”;
  • these Greek sculptures to the “Moses” of Michelangelo. We
  • artist than Michelangelo were to do a sculpture of Moses and give it
  • have seen to be true of Greek sculpture. He is shown at that moment
  • insignificant relics of antiquity, of Greek sculpture. But —
  • create a sculpture which was the equal of the Greek because he had
  • of Greek sculpture had to pass through a sort of formative period in
  • during which sculpture rested, there appeared the Christian ideal: an
  • sculpture to his painting the vital creative principle which informed
  • Painting nor sculpture now can lull to rest
  • same spirit which we have found in his sculpture and painting. The
  • Painting nor sculpture now can lull to rest
• Title: Influence of Spiritual Beings Upon Man: Contents
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  • as well as the form forces which take the form of sculpture for
• Title: Influence of Spiritual Beings Upon Man: Lecture VI
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  • sculpture, Greek architecture and drama, the human being imprinted his
• Title: Influence of Spiritual Beings Upon Man: Lecture XI
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  • as well as the form forces which take the form of sculpture for
  • of lines and forces possessed by a temple or a plastic work of sculpture,
  • so — in the five arts of architecture, sculpture, painting, music,
• Title: Lecture: Reading the Pictures of the Apocalypse: Part 2: Lecture Nine
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  • Greek sculpture and architecture appear to us in comparison to Egyptian
• Title: Genesis: Lecture VII
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  • externally sense-perceptible. When does a marble sculpture become a
• Title: Deeper Secrets: Lecture III
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  • For example, in many ancient sculptures of lions it is clearly evident
• Title: Lecture: Buddha and Christ: The Sphere of the Bodhisattvas
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  • produce such wonderful sculptures, in which the human form was given
• Title: Lecture: Buddha and Christ: The Sphere of the Bodhisattvas
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  • produce such wonderful sculptures, in which the human form was given
• Title: Universal Human: Lecture Four: The Universal Human: The Unification of Humanity through the Christ Impulse
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  • But if we have a sense for Greek sculpture, we can feel how the
  • attention. After seeing the paintings and sculptures in the
• Title: Universal Human: Back Cover
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  • wooden Group,” sculpture by Rudolf Steiner, reproduced by
• Title: Lecture: Anthroposophy and the Visual Arts
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  • the ancient art of sculpture sees from the sculptured forms created
  • into those forms. In the oldest works of sculpture it is the cosmos
  • eyes of a sculptured figure of a human being, I must confine myself
  • sculptured expression in the formation of the eyes and his nose.
  • “sculpture in motion”
  • “sculpture in motion” — the other pole
• Title: Lecture: Anthroposophy and the Visual Arts
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  • the ancient art of sculpture sees from the sculptured forms created
  • into those forms. In the oldest works of sculpture it is the cosmos
  • eyes of a sculptured figure of a human being, I must confine myself
  • sculptured expression in the formation of the eyes and his nose.
  • “sculpture in motion”
  • “sculpture in motion” — the other pole
• Title: Lecture: Speech and Song
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  • represents the plastic sculpture of the human body.
  • becomes in him the plastic sculpture of the human frame, and the Soul
  • of the human being, we have the Art of Sculpture. If on the other
  • Arts — a Cosmic Art of Sculpture from the one side, and a
• Title: Lecture: Speech and Song
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  • represents the plastic sculpture of the human body.
  • becomes in him the plastic sculpture of the human frame, and the Soul
  • of the human being, we have the Art of Sculpture. If on the other
  • Arts — a Cosmic Art of Sculpture from the one side, and a
• Title: Old/New Methods: Lecture One
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  • natural forces, the result is the art of sculpture; then, something
• Title: Old/New Methods: Lecture Ten
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  • sense for sculpture and music. In a work of poetry such as the drama of
• Title: Influences of Lucifer/Ahriman: Introduction
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  • sculpture, the
  • sculpture, a strong figure stands with one clenched hand upraised to
• Title: Young Doctors Course: Easter Course: Lecture II
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  • learn how to sculpture, if you learn the hand grip, the
• Title: Young Doctors Course: Easter Course: First Circular Letter
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  • a lateral tendency in the ribs of the Lucifer sculpture.
• Title: Things Past and Present: Lecture IX: Celtic Symbols and Cult, Jesuit State in Paraguay
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  • stone sculpture that was so good that every Spanish Church
• Title: Fall/Darkness: Introduction
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  • sculpture showing the Representative of Man between the
• Title: Symptom 2 Reality: Lecture V: The Supersensible Element in the Study of History
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  • artistic forms in painting and sculpture, or of the nature of
• Title: Aspects/Evolution: Foreword by J. Leonard Benson
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  • being inside a piece of sculpture and from there
• Title: Aspects/Evolution: Lecture V
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  • painting, a sculpture or anything else is observed. What
• Title: Richard Wagner: Lecture IV
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  • reunited with art and science. Art — poetry, painting, sculpture
• Title: Sound Outlook: Lecture II: The Building at Dornach
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  • fourteen in the former. The sculptured designs of the pillars
  • in sculpture, something arose that was like bringing
  • architecture into movement and sculpture into repose. It was
  • wood-carving, architecture and sculptures the pure forms are
  • and the same applies to other Christian sculpture I have
  • form, at any rate in sculpture.
• Title: Gospel of John: Lecture XI: Christian Initiation
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  • because your ear has been sculptured, a world of tone is
• Title: Karmic Relationships, Volume IV: Lecture V
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  • wonderful architectural works and works of sculpture in the mediaeval
• Title: Lecture: History of the Physical Plane and Occult History
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  • sculpture, showing a wonderful union of spirit with matter.
• Title: Lecture: History of the Physical Plane and Occult History
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  • sculpture, showing a wonderful union of spirit with matter.
• Title: Apocalypse of John: Lecture III
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  • to the stage of personality, where in the sculptures of the
• Title: Three Streams: Lecture V: Free Human Personality by Self Training, Justinian and the Schools
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  • arbitrary act to place the Christ in our sculptured group together with
• Title: Karmic Relationships, VII: Lecture Three
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  • into a milieu of Platonism, and also of sculpture. This
• Title: Karmic Relationships, VII: Lecture Six
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  • organiser. Scholarship, art, poetry, architecture, sculpture,
• Title: Spiritual Development: Lecture I: The Inner Experience of the Activity of Thinking
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  • wooden sculpture would not, it is true, become a human
  • wooden figure remains a sculpture only, as it has only physical
  • cannot happen, otherwise my wooden sculpture would be a growing
• Title: Mission/Folk-Souls (1970): 6. The Five Root Races of Mankind.
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  • sculpture and architectonic forms. We have here indicated the very
• Title: Lecture: The Mission of Raphael in the Light of Spiritual Science
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  • State, Greek sculpture, or Greek philosophy. A formless element
• Title: Lecture: The Mission of Raphael in the Light of Spiritual Science
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  • State, Greek sculpture, or Greek philosophy. A formless element
• Title: Four Seasons/Archangels: Lecture III: The Easter Imagination
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  • as we have shown here in painting and sculpture. And here is shown
  • is he represented in the sculpture-group which was intended to be the
  • I have described exists in architectural and sculptured form, and when
  • in the future it will be possible to present in front of the sculpture
  • presence of the sculpture, there would have to be enacted a kind of
  • there is no sculpture and no architecture which — if it
  • action it embodies. At Easter this architecture and sculpture would
  • enacted in front of the painting and the sculpture, and through it
• Title: Tension Between East and West: Lecture 3: East and West in History
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  • detail. But if you will look at Greek sculpture with sound
  • sculpture. Art was a revelation of this vision. And the vision,
• Title: What was the Purpose of the Goetheanum
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  • domes, the sculpture placed in it, had to be fashioned as the
  • the inner architecture, the inside sculpture and painting
  • building was created in its architecture, in its sculpture, in
• Title: Purpose of the Goetheanum and Anthroposophy
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  • domes, the sculpture placed in it, had to be fashioned as the
  • the inner architecture, the inside sculpture and painting
  • building was created in its architecture, in its sculpture, in
• Title: Reincarnation and Immortality: Introduction
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  • as Mathematics, Physics, Painting, Sculpture,
• Title: Reincarnation and Immortality: Lecture III: The Supersensible Being of Man
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  • of saying anything against the value of sculpture. That would
• Title: Reincarnation and Immortality: Lecture IV: Nature of Anthroposophy
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  • shape of every wall and column, all sculpture and painting at
• Title: Differentation of Primeval Wisdom into East, Middle, West
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  • painting, in sculpture, and even in architecture must live
• Title: The Physical-Superphysical: Its Realisation Through Art
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  • work of sculpture — containing what is striving to arise
• Title: The Sources of Artistic Imagination and the Sources of Supersensible Knowledge
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  • and sculpture.
  • caricature. Whereas plastic art (architecture, sculpture) is
  • meets the blood-stream, architecture, sculpture are
• Title: Mystery of Death: Lecture X: Central Europe between East and West
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  • expressed in this sculpture — is not achieved because the
• Title: Mystery of Death: Lecture XI: Christ's Relationship to Lucifer and Ahriman
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  • sculpture. So that we have this group of three figures: Christ,
  • Lucifer, and Ahriman as a sculpture group at the bottom and
• Title: The Building at Dornach (Bn/GA 289): Lecture II: Bau Lecture II
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  • see a bit of what is in the middle; beneath that will be the sculptured
  • Building in a certain sense. So that this sculptured central group might
• Title: The Building at Dornach (Bn/GA 289): Lecture III: Lecture 3
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  • to represent in the painting and sculpture and that which we have attempted
• Title: Esoteric Cosmology: Lecture X: The Astral World (continued)
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  • sculpture by three symbols: (1) the Satyr, or bestial type; (2) the
• Title: Genesis: Lecture VII
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  • externally sense-perceptible. When does a marble sculpture become a
• Title: Synopsis: The Forming of Destiny and Life after Death
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  • mind soul. Sculpture was an inner experience. Homer not so interested
• Title: Lecture: Foundations of Esotericism: Lecture XVIII
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  • thought in sculpture.
• Title: Lecture: Foundations of Esotericism: Lecture XXI
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  • the etheric body. An artistically formed piece of sculpture or a
  • in buildings, paintings and sculpture. If we were to have a world
• Title: Man/Being/Spirit/Soul: Introduction
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  • as Mathematics, Physics, Painting, Sculpture, Architecture,
• Title: Man: Hieroglyph: Lecture One
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  • sculpture or in painting — we appear to be picturing what comes
• Title: Mysteries of Light: Contents
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  • resulted in social revolutions. In their three types of sculpture
• Title: Mysteries of Light: Lecture IV: The Old Mysteries of Light, Space, and Earth
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  • of humanity; for the Greeks have in their sculpture (one need only
• Title: Occult History: Lecture 3
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  • sculpture man stands before us wholly as personality — in so far
• Title: Occult History: Lecture 6
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  • they were able in their sculptures to embody in marble or in bronze,
• Title: Lecture: Rosicrucian Esotericism: Lecture VIII: Stages in the Evolution of our Earth. Lemurian, Atlantean, Post-Atlantean Epochs.
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  • wonderful sculpture of Greece and the citizenship of Rome are the hallmarks
  • and sculpture and those of other cultural epochs is that the Greek temple
• Title: Lecture: Younger Generation: Lecture IV
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  • Aeschylus, of Sophocles, in the early sculpture and in the mighty
• Title: The East in the Light of the West: Lecture V
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  • us now consider Greek sculpture. When a Greek sculptor wished to
• Title: Life Between ... VII: The Working of Karma in Life After Death
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  • sculptures. It is not that Michelangelo was conscious of it. It
• Title: Lecture: Secrets/Threshold: Lecture VI
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  • or architecture, sculpture, painting, music and poetry. Other arts
  • Of the five arts, architecture and sculpture are those
  • sculpture we must find our way into the form element, which is
  • with sculpture must plunge his head into the living element of the
  • sculpture.
  • differentiation, much more than in architecture and sculpture.
  • element works in architecture and sculpture, the luciferic more in
  • easy to answer the question once and for all, “In sculpture is
  • the stronger, but in sculpture the luciferic influence opposing
  • luciferic sculpture and though poetry is chiefly under the influence
  • architecture and sculpture and what is luciferic in poetry and music
• Title: Lecture: Cognition of the Christ Through Anthroposophy
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  • Everything that is found in Dornach, be it sculpture or painting, is
  • that works within the physical body as its sculpturer and architect
• Title: Mystery Centres: Lecture I
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  • form. If I wish to grasp the human form either in sculpture or in
  • understand the form of a true Grecian sculptured head unless you have
• Title: Mystery Centres: Lecture XII: The Mysteries of the Samothracian Kabiri
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  • Greek sculpture, and which are greatly valued because people have no
• Title: Anthroposophical Approach to Medicine: Lecture IV
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  • form-giving. The forms of all the organs are sculptured by the
• Title: Lecture: Michaelmas III: The Michael Inspiration
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  • great artistic motifs of painting and sculpture never would have
• Title: Arts and Their Mission: Cover Sheet
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
• Title: Arts and Their Mission: About The Transcripts of Lectures
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
• Title: Arts and Their Mission: Introduction
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
  • architecture, sculpture, painting, costuming, music, drama, poetry,
  • the cosmos, the soul in life or death can expand; that true sculpture
• Title: Arts and Their Mission: Contents
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
• Title: Arts and Their Mission: Lecture I
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
• Title: Arts and Their Mission: Lecture II
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
• Title: Arts and Their Mission: Lecture III
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
  • smiles), and about sculpture as dealing artistically with the form of
  • brings us to a consideration of sculpture.
  • To sum up: in sculpture
  • with the erection of tombs, sculpture shows how man, through his earthly
  • approach a step nearer the spaceless, we pass from sculpture to painting,
  • from architecture, costuming as an art, and sculpture. Painting is an
  • it needs when it gazes back into the body; nor, as in the case of sculpture,
• Title: Arts and Their Mission: Lecture IV
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
• Title: Arts and Their Mission: Lecture V
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
• Title: Arts and Their Mission: Lecture VI
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
  • to walk through a picture or sculpture gallery where completely unrelated
• Title: Arts and Their Mission: Lecture VII
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
  • artistically in sculpture, painting, music, poetry.
  • we meet architecture, sculpture, the art of costuming and painting when
  • architecture, sculpture and painting, we now penetrate into his
  • to fashion it artistically by means of architecture, sculpture, painting,
• Title: Arts and Their Mission: Lecture VIII
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  • Steiner's extraordinary insights on architecture, sculpture, painting,
  • discussing architecture, the art of costuming, and sculpture,
  • in the dead image of sculpture; how life can be expressed through dead,
  • art of costuming, sculpture and painting, to those of the inner world,
• Title: Lecture II: The Balance in the World and Man, Lucifer and Ahriman
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  • sculptured wood, but is where there is nothing — where the air bounds
• Title: Poetry/Speech: Lecture VI: Speech-Formation and Poetic Form
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  • unartistic times when in neither painting nor sculpture,
• Title: From Jesus to Christ: Lecture V: Redemption of the Physical Body
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  • art, the enhancement of the human form in sculpture. And if we then
• Title: Education: Lecture I: Science, Art, Religion and Morality
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  • sculpture, painting, music and other arts. He embodied with
• Title: Human Values in Education: Guide to Contents
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  • history. Greek relation to sculpture. Genius in childhood.
  • survive. All teachers should practise sculpture, which helps in
• Title: Human Values in Education: Lecture III
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  • extended, and this feeling he embodied in his sculpture.
• Title: Human Values in Education: Lecture VIII
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  • body! — But let the teacher practise the art of sculpture
  • University courses. Anyone who really works at sculpture and
  • wanted to portray plants by means of sculpture! Out of sheer
• Title: Study of Man: Contents
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  • sculpture. Head arrests limb movement. Head and breast turn limb dance
• Title: Study of Man: Lecture X
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  • sculpture. Head arrests limb movement. Head and breast turn limb dance
  • or, indeed, any sculpture of antiquity you can see that this thought
• Title: Spiritual Ground: Lecture II: Spiritual Disciplines of Yesterday: Yoga
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  • stuff. The consonants mould and sculpture the substance provided by
• Title: A Lecture on Eurythmy: Introduction
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  • as painting, sculpture and music exist as arts in their own right,
• Title: Lecture: A Lecture on Eurythmy
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  • architecture, for example, sculpture, painting or music — certain
  • however, easily be shown that the art of sculpture, which reached its
  • The materials used in sculpture — the bronze, clay and marble
• Title: Lecture: Inner Nature of Music: Foreword
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  • the case with architecture, sculpture, or painting. Since every night
• Title: Lecture: Inner Nature of Music: Lecture II
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  • sculpture and painting, the mental images must be combined before the
• Title: Lecture: Inner Nature of Music: Lecture IV
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  • being the consonants, the art of sculpture arises; if one extracts
• Title: Anthroposophic Movement: Chronology of Rudolf Steiner's Life
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  • new styles and techniques in painting, sculpture, architecture,
• Title: True/False Paths: Lecture One: Nature is the Great Illusion; Know Thyself
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  • the spiritual human form within himself In sculpture, if he wished to
• 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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  • reason its architecture, sculpture and painting met with so little
  • be introduced into painting, sculpture and architecture, in
• Title: True/False Paths: Lecture One: Nature is the Great Illusion; Know Thyself
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  • the spiritual human form within himself In sculpture, if he wished to
• 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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  • reason its architecture, sculpture and painting met with so little
  • be introduced into painting, sculpture and architecture, in
• Title: Art/Mystery Wisdom: Introduction by Marie Steiner
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  • the luminous creation of the windows. Sculpture and painting
• Title: Art/Mystery Wisdom: Lecture Two
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  • Through this process, sculpture arises out of the etheric
  • Sculpture
  • space outside us, so in sculpture we push the laws of the
  • our own physical body, so we find in sculpture the natural
  • into our works of sculpture. In architecture we transplant
  • body, nothing of the ego. In the same way, where sculpture is
  • sculpture appears to be alive. It would actually be alive if
  • the laws of sculpture we must realise that they are in fact
  • laws of our astral body, just as sculpture contains the laws
  • Sculpture
  • Sculpture
  • Sculpture
  • beyond painting, painting beyond sculpture, and sculpture
  • Sculpture
• Title: Art/Mystery Wisdom: Lecture Three
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  • pass on to sculpture. Yesterday we saw that the laws of
  • sculpture are the laws of the etheric body which have been
  • space outside, becomes architecture, so sculpture appears
  • the physical body. In enjoying sculpture we abandon the
  • reappears when we enjoy or create works of sculpture. On the
  • architecture, sculpture, and painting out of the memory
  • sculpture that really stand before our physical eyes as the
  • create something in architecture or sculpture for ourselves.
  • the the deeper laws of sculpture will reveal themselves; and
• Title: Art/Mystery Wisdom: Lecture Six
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  • music of the past. Architecture and sculpture of the future
  • should educate in the child is the element of sculpture.
  • lies in the future, and the realm of sculpture and
  • the most wonderful example of sculpture we can see. What we
• Title: Star Wisdom: Lecture I: Star Wisdom, Moon Religion, Sun Religion
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  • the other hand they have no outstanding gift for sculpture,
  • of the Greeks lay above all in the direction of sculpture, pictorial
  • of sculpture. The Jews have always been, and are by nature, a musical
• Title: Star Wisdom: Lecture III: Characteristics of Judaism
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  • example: you have little talent for sculpture ... they can say to
  • for sculpture. One of the Ten Commandments decrees: “Thou shalt
• Title: Art of Lecturing: Lecture I
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  • paint painting, and sculpture sculpturing!
• Title: Colour: Part Three: Introduction
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  • arts, — Architecture, Sculpture, Painting, Music, Poetry and so on.
• Title: Colour: Part Three: The Creative World of Colour
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  • dead; form, as exemplified in modern sculpture, is dead. A new Art
• Title: The Building at Dornach: Lecture V
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  • of sculpture, painting, and so forth.
• Title: Ways/Architecture: Lecture I: The Acanthus Leaf
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  • and development of form in architecture and sculpture. The
• Title: Ways/Architecture: Lecture II: The House of Speech
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  • achievements of true architecture, sculpture and the like,
  • sculpture on the capitals, plinths, architraves. They grow
  • and sculpture which will be produced in this house we have
  • lives in the sculptured forms is three dimensional; relief is
• Title: Ways/Architecture: Plate 11: The Pillar Motif
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  • Here the great wooden sculptured group of the
• Title: Ways/Architecture: Lecture IV: True Aesthetic Laws of Form
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  • sculpture and all that this work of art may contain. Much
  • attained its summit, so far as sculpture was concerned, in
  • their prime in the sculpture of antiquity, in Raphael,
• Title: Ways/Architecture: Lecture V: The Creative World of Colour
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  • is dead as is expressed in modern sculpture. A new art will
• Title: Ways/Architecture: Figure 2: View of the small dome, which was also used as a stage.
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  • The great wooden sculptured group of the
• Title: Art of Lecturing: Lecture I
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  • paint painting, and sculpture sculpturing!
• Title: Karmic Relationships, Volume I: Lecture II
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  • another man for that; one man for sculpture, another for in music:
• Title: Christmas Conference: Lecture 1: Introduction to the Eurythmy Performance
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  • human endeavour. Whether you look at architecture, sculpture,
• Title: Christmas Conference: Lecture 9: Continuation of the Foundation Meeting, 28 December, 10 a.m.
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  • way of sculpture and in the realm of the sculptural arts
• Title: Christmas Conference: List of Names
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  • sculpture
• Title: Awakening to Community: Lecture III
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  • into the realms of architecture, sculpture and painting. Then
• Title: Awakening to Community: Lecture V
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  • building materials as were available, the materials of sculpture and
• Title: Awakening to Community: Lecture VII
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  • decoration, the architecture, the sculptured forms, the painting,
• Title: Temple Legend: Lecture 19: The Relationship Between Occult Knowledge and Everyday Life
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  • beautiful forms of the sense world in the sphere of sculpture, the
• Title: Temple Legend: Lecture 20: The Royal Art in a New Form
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  • sculptures, but will be in a position to breathe life into what he
• Title: Problem of Death: Lecture III
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  • or sculpture, and he does not occupy himself with the inner
• Title: Fruits/Anthroposophy: Lecture 4 (Summary): The Relationship between Goethe and Hegel
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  • the road to becoming a sculptor. The leaning towards sculpture, existing
  • formation he grasped through this unexpressed talent for sculpture.
  • him in sculpture, but which appears in his dramas. He could not give
  • sculptured form. Yet someone who, like Goethe, holds back his talent
• Title: Fruits/Anthroposophy: Summaries
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  • the road to becoming a sculptor. The leaning towards sculpture, existing
  • formation he grasped through this unexpressed talent for sculpture.
  • him in sculpture, but which appears in his dramas. He could not give
  • sculptured form. Yet someone who, like Goethe, holds back his talent
• Title: Toward Imagination: Lecture 4: The Human Organism Through the Incarnations
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  • keen perception, particularly in the sculptures, revealing things people
  • a painting or a sculpture.
  • acknowledge the inner understanding of sculpture the ancient Greeks
  • European painting and sculpture, you will find the difference between
• Title: Eurthmy as Visible Singing: Lecture 5: Choral Eurythmy
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  • its sculpture gradually was led away from eurythmy. Here we must compare
• Title: Three Streams: Lecture V: Free Human Personality by Self Training, Justinian and the Schools
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  • arbitrary act to place the Christ in our sculptured group together with
• Title: Spiritual Science/Treasure for Life: Lecture III: Spiritual Science and Denomination
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  • say facing a picture, a drama, a sculpture or a piece of music:
• Title: Spiritual Science/Treasure for Life: Lecture XI: Spiritual Science as a Treasure for Life
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  • in the fields of architecture, sculpture, and painting. With
• Title: Child's Changing Consciousness: Introduction to a Eurythmy Performance
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  • a wooden sculpture was to be erected, which could already be
  • main figure of this sculpture shows the features of Christ in
• Title: Riddles of the World: Lecture VI: The Basic Concepts of Theosophy. Human Races
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  • Greek starts erecting monuments and cultivating sculpture
• Title: The Social Question as a Question of Consciousness: Lecture 6
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  • painting and sculpture and so on, how critics have influenced public
• Title: History of Art: Lecture 12: Greek and Early Christian Art, Symbolic Signs, the Mystery of Gold
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  • 9, Greek and Roman sculpture)
  • a sculpture, in the Lateran. You can see from it how
• Title: History of Art: Summaries and Contents
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  • old Christian sculpture, sarcophagi and relief. Bernward von
  • early Christian sarcophagus sculpture the image-rich
  • human being within Christ. A new endeavour in wood sculpture
• Title: History of Art: Lecture XII: Greek and Early Christian Art, Symbolic Signs, the Mystery of Gold
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  • Ancient Christian sculpture
  • arena of sculptural relief and sculpture as such, dates back to
• Title: History of Art: Lecture XIII: The Changes in the Conception of Christ During a Certain Period of Time
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  • Greek sculpture, 4BC, Socrates, scale down copy (London,
• Title: History of Art: Index of Artists
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  • Greek Sculpture (and Roman Kaisertime)
• Title: Mystery Trinity: Part 1, Lecture 3
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  • of sculpture, for instance, as if spirit itself were already
• Title: Esoteric Development: Lecture IX: Imaginative Knowledge and Artistic Imagination
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  • clearly formed in the Greek sculpture. The Satyr type is to represent
• Title: Thomas Aquinas: Preface to Part Two
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  • logical thought into living speaking sculpture.
• Title: Theosophy/Rosicrucian: Lecture XII: Evolution of Mankind on the Earth II
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  • spirit into substance, whether in sculpture or in the drama. Here too
• Title: Destinies of Individuals and Nations: Contents
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  • The Group Sculptured for the
• Title: Destinies of Individuals and Nations: Lecture 12: The Group Sculptured for the Building in Dornach
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  • The Group Sculptured for the
  • sculpture. (There has actually been some sort of an
  • sculptured figure the whole theme will be shown in
  • souls, just because it is there. The wood sculpture we
  • though only on the way, to what the dominant sculptured
  • sculptured group. It is the mission of Europe to
  • That comes to expression in the sculptured group. The
• Title: Turning Points: Lecture 2: Hermes
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  • particular polychrome sculpture, while characteristic of the work