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Searching Rudolf Steiner Lectures by GA number (GA0291)
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    Query was: figure
  

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)
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    • 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
    • Maximum number of matches per file exceeded.
  • Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
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    • 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.
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    • 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
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    • painting. It consisted in bringing out the human figure from the gold
  • Title: Colour: Part Three: The Creative World of Colour
    Matching lines:
    • 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
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    • 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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