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Searching Rudolf Steiner Lectures by GA number (GA0286)
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    Query was: artist
  

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: Lecture: And The Temple Becomes Man
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    • soul. The human body is then revealed to us as a work of artistic
    • our work, I have come across artists in many different domains who
    • very understandable — that an artist recoils from such
    • repulsion that an artist must feel when he finds one of his own works
    • dreadful thought for the artist who is present, somewhere, in all of
    • all over Europe. It is a remarkable story, beautiful and artistically
    • our contemporaries. But what of our artistic sense? I do not know
  • Title: Ways/Architecture: Lecture I: The Acanthus Leaf
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    • which a spiritual transformation of artistic style must come
    • may be levelled at our idea of artistic creation, if we
    • much closer to primordial forces of artistic endeavour which
    • “true artistic conception.” It need not therefore
    • which our aims are in harmony with the artistic endeavours of
    • an artist who in the seventies and eighties of the last
    • century was the leading influence in artistic appreciation
    • the one side, and of the way to artistic creation on the
    • artistic back to external technique. The standpoint had
    • really become one of ultilitarianism and the artistic element
    • common acanthus plant? Now anyone with true artistic feelings
    • learned compiler of the artistic traditions of antiquity,
    • artistic creation has gradually been lost. And if this inner
    • all artistic creation is a consciousness that comes to a
    • was a true conception of artistic aim, the mere sight of a
    • lines and forms which passed over into artistic creation. It
    • that gave birth to artistic form. Such lines are nowhere to
    • of having to invent some other device. Artistic creation was
    • of nature. The artistic representation of the elements of
    • the sun forces. Thus has all true artistic creation arisen,
    • Maximum number of matches per file exceeded.
  • Title: Ways/Architecture: Lecture II: The House of Speech
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    • create the first beginnings of an artistic vesture for
    • this with artistic feeling we realise that here is something
    • certain eminent artist of modern times has spoken a great
    • meanings to myths and artistic forms. ‘Here you sit and
  • Title: Ways/Architecture: Lecture III: The New Conception of Architecture
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  • Title: Ways/Architecture: Lecture IV: True Aesthetic Laws of Form
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    • delight in forms that are truly artistic? We are passing out
    • who is an exceedingly good artist and who has written an
    • ingenious book on the subject of artistic forms. We read
    • Every artistic impulse lived originally in the moving being
    • imitative art to a new form of artistic creation, when there
    • artistic feeling, artistic activity and experience of the
  • Title: Ways/Architecture: Lecture V: The Creative World of Colour
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    • your attention to Carstens, an artist who made his mark in
    • Carstens we find a certain artistic longing, but we can also
    • in response to the creations of this great artist. When Dante
    • artists possessed in their own souls the substance of the
    • the idea was a living thing within their souls. Thus artistic
    • century’ it began to be necessary for artists to seek
    • soon find that the artist becomes a kind of ‘cultural
    • relationship of this or that artist to nature, or to other
    • that artist look on nature — are problems of philosophy
    • for the artist but for the contemplator of the works of art,
    • are truly artistic, truly aesthetic ones. For it is the
    • manner that really concerns the creative artists, while the
    • it thus: our artists are no longer artists. They are
    • by the artist is not only fraught with difficulty, but with
    • regard to the universe are inartistic in their very nature
    • Hildebrand, an excellent artist, who expressly states that a
    • that this is not perceived, even by an artist like
    • artistically of course, this form, which in itself is at
    • artist of the Madonna. Only when we succeed in bringing into
    • our forms in a purely artistic sense, without symbolism or



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