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Searching Rudolf Steiner Lectures by GA number (GA0271)

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    Query was: colour

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: The Physical-Superphysical: Its Realisation Through Art
    Matching lines:
    • complain that in the very colour of his room the man has been
    • Strictly speaking no colour, no line, appear in nature
    • he said the green leaf passes over into the colourful
    • attempted in order to study the various colours, to study the
    • ultimately, every effect of light, every shade of colour,
    • out of each single shade of colour — just as human speech
    • what the colour feels, what the colour is saying, and what is
    • panting. If we discover the secret of colour this perception
    • for all colours because the colours say very different
    • things. Whereas the bright colours, the reds and the yellows,
    • attack us and tell us a great deal, the blue colours take the
    • feeling for colour, yet in a deeper sense people are only
    • colours which take the picture right out of the realm of the
    • the side of the other colours, one can produce a wonderfully
    • recognise that a design might be called the work of colour
    • use of colour so that, in a mysterious way, the design
    • follows the guidance of the colour, he will notice that this
    • setting the blue colour into movement. For every time we pass
    • from the realm of painting, of working in colour, to that of
    • essentially superphysical. Passing from the bright colours
    • Maximum number of matches per file exceeded.
  • Title: The Sources of Artistic Imagination and the Sources of Supersensible Knowledge
    Matching lines:
    • senses. All impressions of colours, sounds and the like are
    • forms, colours. The seer starts from the opposite side. He
    • densifies the content of his seership to colours, as they are
    • in the life of the soul; he permeates what is colourless with
    • colour, he develops imaginations. It is important, however,
    • Theory of Colours about the material-moral effects
    • of colours, where he says that every colour sets free a mood
    • or condition of soul. With this mood the seer imbues colour
    • into what would otherwise be colourless and formless. When
    • the seer speaks of the aura and of colours in what he sees,
    • we should understand that he is colouring what he is
    • connection with the colour red; the experience is the same as
    • problem for every thoughtful mind, namely, peach-colour, the
    • colour of human flesh, which to sincere students has both
    • Nature and of Spirit. The seer experiences flesh-colour in a
    • face and its other lines, its colour, the shape of the eyes;
    • form and colouring, this is a kind of perception similar in
    • character to the perception of the colour and shape of the
    • crystal. Colour, form and surface in a crystal present
    • colouring in the human dissolve, as it were become
    • Maximum number of matches per file exceeded.
  • Title: Goethe As Founder of a New Science of Aesthetics: Steiner's First Lecture
    Matching lines:
    • objective as the colours and the forms of things, but they are
    • regulated for this purpose; just as colours and forms are only

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