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Searching Rudolf Steiner Lectures by GA number (GA0286)

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    Query was: pain

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
    Matching lines:
    • pain and suffering are inseparable from Theosophy, in that it brings
  • Title: Ways/Architecture: Lecture I: The Acanthus Leaf
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    • introduced as a painting around the pillar, the Earth-motif
    • imagine that the Doric painting which grew out of the
    • same as an earlier painting. The painting on the Doric column
    • the bearing of a load; what was mere painting in the Doric
    • painted Doric palmette would thus pass over into the
    • Corinthian plastic palmette. If I did not paint the palmette
    • is the result of an urge not to paint the palmette
    • painted. So you see that these artistic forms have proceeded
    • dimensional proportions, forms, designs and paintings.
    • materialism of the second half of last century, painters (not
    • of the painting and also of the outside of the building.
  • Title: Ways/Architecture: Lecture II: The House of Speech
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    • seeking the way back to Paradise. I will speak of painting in
    • speak of the real nature of painting we shall understand the
    • painting with colours if colour were not something quite
  • Title: Ways/Architecture: Lecture III: The New Conception of Architecture
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    • with colour and the art of painting.
  • Title: Ways/Architecture: Lecture IV: True Aesthetic Laws of Form
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    • into Apollonian design and painting. Such is the origin of
    • the Graeco-Latin epoch, and so far as painting was concerned,
    • speak of the new conception of the art of painting. To-day I
  • Title: Ways/Architecture: Lecture V: The Creative World of Colour
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    • designer and painter of decided talent. I do not propose in
    • talent for design, if not for painting. In the soul of
    • embody them in painting, but he was not in the position of
    • surrounded the soul of man. When Raphael painted his Madonnas
    • painting, for instance, the effects of the colours and their
    • the red that is painted on a figure, in contrast to the blue,
    • have a form which we paint, we have, instead of the form
    • rigid form. Something like this must surely once be painted
    • light — all are dead as they are painted to-day; form
    • lived in him that he was able to paint them as he did. The
    • and what arises from hand, chisel and paint brush. To-day the
    • the essence of painting.
    • with a certain sense of pain, because the more our will and
    • A painful
    • out beyond all the disharmony that can only cause him pain.
    • spoken with the living conviction that whatever pain may

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