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    Query was: blue
  

Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

  • Title: Colour: Part One: Colour-Experience (Erlebnis)
    Matching lines:
    • into the third, blue.
    • peach-blossom colour, or blue forms are pictured in the green. It is
    • flesh-colour — and on the third green surface we paint blue figures.
    • peach-blossom colour or blue figures are passing; in each of the three
    • We pass on to the third; we look at the blue figures in the green
    • meadow. That does not last long, for the blue figures deaden the green
    • remain green. Let us try to realize the right imagination of blue
    • figures walking over a green meadow; or blue beings generally, they
    • might be blue spirits. The meadow ceases to be green, it takes on some
    • of the blueness, it becomes itself bluish, it ceases to be green. If
    • have the idea that there must be somewhere an abyss, and that the blue
    • abyss. It becomes impossible; for a green meadow cannot remain if blue
    • In the case of the blue figures, however, they run from us with the
    • We now pass on to the third colour, blue, and say: We cannot in the
    • first place find a being to which blue is peculiar as green is to the
    • plant. Nor can we speak of blue as we have spoken of the
    • flesh-colour to man. We cannot in this way start from blue in regard to
    • colour. We cannot continue by way of blue, but it is possible to
    • red, yellow, blue, etc. Light is everywhere where it is bright, but we
  • Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
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    • quiet white room — from one side yellow and from the other blue. We
    • from both sides, one yellow and other blue and we get the green we
    • yellow and blue from left to right. Now I take black and white; I
    • undulating through each other; and just as I let in yellow and blue
    • and blue. Now we shall be able to go a step further towards the nature
    • inner nature. It wants to radiate. Let us take blue on the
    • other hand. Imagine a surface covered equally with blue. One can
    • equal blue surfaces, he summons, as it were, something
    • paint an equal blue when he brings super-terrestrial things into the
    • terrestrial sphere. In the human sphere he would not do it, for blue
    • Blue by its inner nature demands the exact opposite of yellow. It
    • palest in the middle. Then blue is in its element. By this it is
    • center, and then paling off. Blue piles itself up at the edges and
    • blue. Then it shows itself in its very own nature.
    • of radiation; and if he thinks when painting blue: I draw myself in,
    • I must also paint by giving the blue a kind of crust: then he lives in
    • always radiate in some direction and the blue must always contract, as
    • yet got. But we have not three colours together: blue, red and yellow.
    • green; now red, blue and yellow are before us and we have tried to get
    • colours we found yesterday as we now have made between yellow, blue and
    • Maximum number of matches per file exceeded.
  • Title: Colour: Part One: The Phenomenon of Colour in Material Nature
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    • called the luminous nature of colours which we meet in blue, yellow and
    • red. And we saw that just these colours, blue, yellow and red, possess
    • metamorphosis merges into other colours, as a plant has yellow, blue or
    • to what we demanded of blue; possibly rather more so with red. You can
    • quite tolerable. If I paint a blue table — just imagine a room full
    • of furniture painted blue — if you have any artistic feeling, you
    • lusters, with blue and yellow and red. So you must strip those colours
    • the dignity or seriousness of red; I must share with blue its soft, I
    • yellow, there blue — this attitude is enough to drive one mad. That
  • Title: Colour: Part Two: Thought and Will as Light and Darkness
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    • of the future (blue.) On the other hand, there where we are directed
    • have the darkness, where the green is darkened into blue. The part
    • blue crosses over to the red. That is our own colour. So that, looking
    • the red which one enlarges on the one side, and the blue which one
    • peach-colour, and so sees the coloured world only from blue to red and
    • from red to blue through green. Were you to have this aspect,
  • Title: Colour: Part Two: The Connection of the Natural with the Moral-Psychical. Living in Light and Weight.
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    • can feel the message of the dawn's red, of the blue sky and of the
  • Title: Colour: Part Three: The Creative World of Colour
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    • our souls the manner in which red, for example, or blue flows; if
    • If a man in feeling the sensation of red or blue has no other reaction
    • to it than in feeling — here is red, and here is blue, he can never
    • the blue; that would lead still less to experiencing the element of
    • clothes. Blue, on the contrary, has something in it which goes away
    • coming nearer and the blue retreating; they move in opposite
    • direct idea that the red and the blue balls are revolving, one towards
    • opposition to the blue, results in giving to a figure composition life
    • blue one and he has no desire to alter the movement in any way. He may
    • blue in its movement drives something different before it.
    • attacking and the blue retreating — which makes you feel that you
    • must flee from the red and follow the blue with longing. And when you
    • longing could be expressed in the blue colour. Man would have to
    • from his own body. By day the blue half flows stronger than the red,
  • Title: Colour: Part Three: Artistic and Moral Experience
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    • And if one did the same with a blue surface, one would go through the
  • Title: Colour: Part Three: Colours as Revelations of the Psychic in the World
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    • colours are, if I take three nuances of them, red, yellow and blue.
    • mattness of the blue has a calming effect on us, or that the gleam of
    • white, the image or shadow-colours; and on the other hand blue, yellow,
    • with the three colours, red, yellow and blue, we say again to
    • soft luminosity of blue, which is thus the luster of the soul.
    • One learns, for example, what each colour wishes to say to us. Blue is
    • the luster of the psychic. When we paint a surface blue, we are
    • using blue shaded off inwards to a softer blue even if it is only in
    • picture, how it brings the object it represents near to us; while blue
    • not become blue, but smaller, the foreground not red, but larger. This
    • expression of the third dimension; when one feels blue as a retiring
  • Title: Colour: Part Three: The Hierarchies and the Nature of the Rainbow
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    • Red makes one want to run away; it pushes one back. Violet-blue one
    • enter into the blue-violet, they do it with an unconquerable courage.
    • look at the blue-violet you have the feeling that there is the seat of
    • the red-yellow and disappear in the blue-violet; here apprehension,



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