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- Title: Colour: Part One: Colour-Experience (Erlebnis)
- for the knowledge of the objective nature of the world of colour — a
- the nature of colour and its quality in the objective sense. At the
- according to the surface of the objects presenting themselves to us as
- the coloured object.
- whereas in the world outside, objective colour presents nothing but
- in mind, and seek for something objective. They then wander away from
- world of colour. In order to arrive at the objective nature of colour we
- penetrate into the objective nature of colour — as a rule the
- the image. Thus we remain entirely within the world of objective fact
- by means of which we can place this colour objectively in the world.
- human flesh-colour. We do not really find it in external objects. What
- objectively to the colour, not merely to reflect upon the subjective
- supposed to be objective. It is palpable that it is an absurdity to
- objective idea of white. If we have white before us and expose it to
- to us upon the object. Such a thing as the white of the sun, which for
- us represents light, does not appear to us directly on objects. Later
- objects; but we cannot say that light belongs to something, it is
- We have now obtained a remarkable circle respecting the objective
- This leads us to the objective nature of colour. This we had to set
- must image itself outwardly as green. That is something objective.
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- Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
- colours. (Blanz-farben,) in yellow, red and blue, objects glisten: they
- Title: Colour: Part One: The Phenomenon of Colour in Material Nature
- pictorial character we meet most visibly in the objective world is
- element by which we can understand how colour is attached to an object,
- at any rate primarily to a vegetable object, how it becomes an
- substances, the lifeless objects. In this case particularly it is
- objects: is there any need to understand whatever you are painting
- objects? You must get from the colour what can be painted. And then it
- object. You would have only the image — the colour is already that.
- he paints inanimate objects, he must bear in mind, he must contain in
- inanimate objects, that in a way his surface is transparent and emits
- coloured mineral, or any inanimate coloured object the effect of
- inanimate objects is connected with this departure of the other
- as radiation, colour becomes incorporated in the object. And we follow
- inorganic or lifeless objects This does not mean that one is to paint
- external objective inclination which affects us, our Ego, it is
- effect of an objective on a subjective colour is nonsense; for the Ego,
- Title: Colour: Part Two: Thought and Will as Light and Darkness
- of a human being, but he sees objectively the thinking man which his
- the head. Thus the thought-element (See Diagram 1) viewed objectively, is
- Title: Colour: Part Two: The Connection of the Natural with the Moral-Psychical. Living in Light and Weight.
- were, a certain weight which is the object of man's longing, but also
- Title: Colour: Part Two: Dimension, Number and Weight
- wakefulness. There are the various objects outside us. And the
- of warmth and cold, the real objects of sense-perceptions, these weave
- countable. If we want to define any physical object, what constitutes
- red object. In order to convince ourselves that it is no optical
- object. And the more physical people become, the more inartistic they
- Giotto was the first to begin painting objects so that they have
- Title: Colour: Part Three: The Creative World of Colour
- beings and objects will again be realized.
- with this flowing sea of colour. An animal regards objects with its
- and group-soul. And just as we look at an object which rouses our
- out of his organism up to the brain: outside him the world, the object
- that we regard the beginning as perfect: but the objection is as silly
- as many other objections which the present age makes against our
- originate in a world which cannot have any idea of what is the object
- Title: Colour: Part Three: Colours as Revelations of the Psychic in the World
- our ego. For this we need light between us and other objects. We need
- picture, how it brings the object it represents near to us; while blue
- takes the object it represents into the distance. We paint
- Title: Colour: Part Three: The Hierarchies and the Nature of the Rainbow
- subject and object, who would not say: there are objects outside
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