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Searching Rudolf Steiner Lectures by GA number (GA0169)

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    Query was: paint

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  • Title: Toward Imagination: Lecture 1: The Immortality of the I
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    • do without thinking. He shows this by painting a strange picture of
    • been an impressionist in all he did. When he discussed paintings —
    • and many of his essays are about painting — he did so from the
    • standpoint of impressionism. When he wrote about painting, he wanted
    • However, in painting and in poetry pure impressionism is quite possible.
    • own soul was to be excluded. Thus, the impressionist painters tried
    • anything against an impressionist painting was of course a narrow-minded,
    • expressionist, cubist, or futurist paintings. Most people when they
    • that one can form ideas and paint them without looking at nature shows
  • Title: Toward Imagination: Lecture 2: Blood and Nerves
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    • sciences think is real. It means believing when we paint a portrait,
    • the subject of the painting can then walk around. In my book I have
  • Title: Toward Imagination: Lecture 3: The Twelve Human Senses
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    • to the theoso- phists. And so in art he went to the painters, the etchers,
  • Title: Toward Imagination: Lecture 4: The Human Organism Through the Incarnations
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    • do other people. Now, Botticelli has painted a most beautiful and wonderful
    • body painted in such a way that we cannot help thinking it is based
    • this painting. Some of them admire the figure of this Venus precisely
    • Others say these features are the result of Botticelli having painted
    • everything in a materialistic way. Probably Botticelli really did paint
    • for him to paint a person whose physical body was being depleted by
    • this reproduction of the painting although it is not good, but I don't
    • a painting or a sculpture.
    • from a painting. Now the strange thing is, when you look at a Japanese
    • drawings of people, because Japanese artists, more so than others, paint
    • European painting and sculpture, you will find the difference between
    • to this sense for reality. When I look at a painting of a figure taken
    • to see the whole picture. If someone now objected that this painting
    • is the result of earlier paintings by the same and other painters, and
  • Title: Toward Imagination: Lecture 5: Balance in Life
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    • painting in the Sistine Chapel. The author of the words I have just
  • Title: Toward Imagination: Lecture 6: The Feeling For Truth
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    • Well, a painter, and apparently a good one
    • at that, as the court records show, had painted pictures and signed
    • He had painted many such pictures and sold them to people who wanted to
    • buy a Menzel, a Lenbach, a Böcklin. However, the painter's name was
    • Lehmann was a good painter, and so his paintings were bought as genuine
    • be the greater because he was such a good painter and had been able
    • to do so well that his paintings were indistinguishable from those painted
    • paintings by Wiertz are exhibited.
    • by Wiertz. They are indeed different from any other paintings; they are
    • in any case some of the paintings are very deeply moving.
    • that he wanted to become a painter greater even than Rubens, a successor
    • and could go to Rome and study Italian painting. And then he painted
    • of the Louvre in Paris. The committee accepted it, but hung the painting
    • then even though the painting is on exhibit, it's as good as not really
    • painted and signed with his name. The other he had come by in a different
    • significant Rubens painting. Wiertz at once scratched out the name Rubens
    • two paintings by Wiertz and said, nothing doing; both are not suited
    • are what people buy. Names are bought! If somebody were to paint a picture
    • good painting — it goes without saying people would buy Leonardo's
    • but not the other person's painting.
    • Maximum number of matches per file exceeded.
  • Title: Toward Imagination: Lecture 7: Toward Imagination
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    • beautiful picture had been painted. Of course, just looking at the rolled
    • up paper, we wouldn't see the paintings on the inside of the rolls.
    • And yet, the paintings are there! And they must have been painted before
    • nobody can imagine it. But let's suppose because the pictures are painted
    • We can compare the paintings on the rolls with all that happened during
    • about the paintings inside the rolls. If the structure is rather artful
    • however, it will not contain a word about the paintings inside the rolls.
    • the paintings on the inside of each roll. Now, you may wonder if a description
    • make the same mistake as we would if we claimed we could paint a portrait,
    • of the rolls, not what lives as paintings on the inside of each roll.
    • the picture I have tried to paint in this winter of our souls and to

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