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- Title: Colour: Part One: Colour-Experience (Erlebnis)
- the first place, and in it we paint red figures. Whether we give them
- immaterial. In the first example we paint red figures; in the second,
- 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
- the first we shall say: These red figures in the green meadow enliven
- still more saturated with green, more vivid because red figures are
- there, and we ought to be enraged on seeing these red figures. We may
- to make the red figures like lightning, they must be moving.
- Red figures at rest in a green meadow act disturbingly in their
- The second example is harmonious. The peach-blossom coloured figures
- coloured figures have really no special conditions; they do not disturb
- 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
- figures walking over a green meadow; or blue beings generally, they
- the figures stay there long we can no longer picture them at all; we
- figures take the meadow from us, carry it away and cast it into the
- figures stand there; they take it away with them.
- green meadow when red figures walk therein? It becomes still greener;
- burn. The red figures bring so much life into the greenness that we
- meadow, we should not paint red figures standing quietly in it; they
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- Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
- One can of course have other figures than these; but the yellow must
- And the figures could stand out of the background of gold, could grow
- Title: Colour: Part Two: The Connection of the Natural with the Moral-Psychical. Living in Light and Weight.
- ellipse, the second to a figure of eight (Lemniskate) the third is
- possibility arises: I can simply take this line (Lemniskate) (figure
- Title: Colour: Part Two: Dimension, Number and Weight
- painting. It consisted in bringing out the human figure from the gold
- Title: Colour: Part Three: The Creative World of Colour
- nineteenth centuries to the Homeric figures from Raphael to the
- figures of the Madonnas or the other motives of the time! One might
- the spectator, the other away from him. And the red on a figure, in
- opposition to the blue, results in giving to a figure composition life
- spirituality, permeates it. If you colour a figure you vivify it
- figure places the latter in its full relationships with its
- a figure, of course as an artist would do, you would tear away the
- figure from its natural repose. The moment you paint, let us say, a
- figure in repose, you would have a living weaving movement, which
- elements round the figure: this is what you would have. You take away
- the mere immobility of the figure, its mere form, by means of soul.
- enters livingly into the figures of the myths and legends, we shall
- Title: Colour: Part Three: Colours as Revelations of the Psychic in the World
- us if we want, for instance, to represent a figure in a picture as a
- gleaming white figure, a figure that lives in the spirit, to reveal it
- wants to carve a plastic figure out of wood, he must carve, for
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