Searching Rudolf Steiner Lectures by GA number (GA0169)
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- Title: Toward Imagination: Lecture 1: The Immortality of the I
- 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
- 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
- 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
- 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
- painting in the Sistine Chapel. The author of the words I have just
- Title: Toward Imagination: Lecture 6: The Feeling For Truth
- 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
- 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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