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    Query was: green
  

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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    • Suppose we colour a flat surface green. We shall only sketch this
    • experience something in green as such, something which we need not
    • same thing when gazing on the green plant-covering of the earth; we
    • must do so, of course, because it is green. We must disregard
    • greenness. Let us suppose we have this greenness before our mental
    • When painting, we can introduce different colours into this greenness.
    • Let us picture three. We have before us three green surfaces. Into the
    • peach-blossom colour, or blue forms are pictured in the green. It is
    • Suppose we really wish to produce the sensation of a green surface in
    • flesh-colour — and on the third green surface we paint blue figures.
    • Suppose we have before us this landscape: Across a green meadow red,
    • the first we shall say: These red figures in the green meadow enliven
    • the whole of it. The meadow is greener because of them; it becomes
    • still more saturated with green, more vivid because red figures are
    • Red figures at rest in a green meadow act disturbingly in their
    • the meadow, they do not enhance its greenness, they are quite neutral.
    • meadow everywhere; they have no inner connection with the green
    • 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
    • meadow to us. The greenness of the meadow is weakened. It does not
    • Maximum number of matches per file exceeded.
  • Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
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    • point of view and found on the way — white, black, green,
    • living, the green arises. I shall continue today from our yesterday's
    • in the case of the plant, then, as we saw, you have green. If the
    • picture-character: black, white, green, peach-colour.
    • green
    • then get green.
    • In this way therefore we got green. We have to visualize exactly what
    • from both sides, one yellow and other blue and we get the green we
    • green, if we confine ourselves to the living production of colour. We
    • which will strike you if you observe life: green you have in nature;
    • namely, green.
    • colour — peach-colour. We get peach-colour and green, therefore, in
    • own nature green always allows us to make it with definite limits.
    • Green can be enclosed or limited: in other words it is not unpleasant
    • to us if we paint a surface green and give is a circumscribed area.
    • think of a green — you can easily think of green card-tables.
    • card-tables covered in green. What I mean is that it would be enough
    • character; whereby green allows itself to be defined, lilac and peach
    • I've dipped my brush in the green, now I must be a bit of a Philistine
    • and give the green a sharp outline; if he thinks: now I am painting
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  • Title: Colour: Part One: The Phenomenon of Colour in Material Nature
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    • got black, white, green and peach-colour as images, and from
    • living forms its image or shadow in the lifeless and how thereby green
    • green. Black and white are to a certain extent frontier-colours and are
    • is to be understood really only in movement. So that green is the most
    • green in order to find the character, the essence of green. And here
    • vegetation we have to do with a fluid green, or, in act, with fluid
    • permanent green.
    • Now a plant does not wear only this green — at least
    • red flowers, and as a green fruit — take for example, a melon,
    • work there when a plant takes on a colour other than green. When this
    • absence of green colour in certain plant parts and the sun. The sun
    • metamorphoses, one might say, the green. It brings the green to
    • green in the vegetable world?
    • can establish the connection between the green of plants and this
    • an explanation why green becomes an image, and why green in plants is
    • Compare it with the green. It is “fixed” to the plant. You
    • of light, in the green of plants. And you have in the plant through
    • “fixation”; the colour of the image in the green. These
    • the plant we have to deal with that green which becomes an image
    • origin of the green in the vegetable world. Because of it the plant
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  • Title: Colour: Part Two: Thought and Will as Light and Darkness
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    • considered the green plant-world. He had not, of course, the
    • greenness of the plant-world, which had not quite reached the stage of
    • greenness.
    • The greenness of Nature is that which, as it were, has not yet
    • which unfolds itself as green. (See Diagram 2) But that which points to
    • the future is what emerges from the darkness. There where the green is
    • green, the plant-world (thus would Goethe feel, even if he has not
    • have the darkness, where the green is darkened into blue. The part
    • there you have within you what you have externally in the green
    • peach-colour, and has the green opposite; one has on the one hand the
    • 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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    • green plant, when we can experience the sound of plashing waves. For
  • Title: Colour: Part Three: The Creative World of Colour
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    • something before it like an orange or yellow or green aura. And the
  • Title: Colour: Part Three: Artistic and Moral Experience
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    • And if one identifies oneself with green, and goes with it through the
    • Universe, which can quiet easily be done by gazing at a green field,
    • by then trying to dive down into it — as if green were the surface
  • Title: Colour: Part Three: Colours as Revelations of the Psychic in the World
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    • Let us look at the green of the plant. When a plant puts on its green
    • we cannot regard the green colour as something subjective and see
    • reality we cannot imagine the plant without its green, if we use our
    • living imagination. The plant creates its green out of itself. But
    • lifeless, i.e. the image of the plant, we get the feeling of green as
    • Everywhere we look out upon our green surroundings. We know that the
    • substances. And because of this they are green. The green is the
    • Now let us look at the green, since in a way we have in it a kind of
    • when the colour of the skin becomes green, the man is ill and soul
    • Between paleness and greenness lies the healthy human colour with the
    • suggestion of peach. And as we feel in the plant's green the lifeless
    • forms itself through the lifeless into the image of green. The psychic
    • colour and light, when we experience green as the lifeless image of
    • to describe green as the lifeless image of life; I stopped at life.
    • again, since the green was the lifeless image of life. I have
    • by means of some concept-illustration, how green, peach-colour, white
    • shadow, for it is shadowed light. Black is the darkest. Green and
    • And so one can call the four colours, flesh-colour, and green, black and
  • Title: Colour: Part Three: The Hierarchies and the Nature of the Rainbow
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    • continually emerging from the rainbow, and moving across to the green.
    • The moment they reach the underneath of the green, they are attracted



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