Searching Rudolf Steiner Lectures by GA number (GA0286)
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- Title: Lecture: And The Temple Becomes Man
- pain and suffering are inseparable from Theosophy, in that it brings
- Title: Ways/Architecture: Lecture I: The Acanthus Leaf
- 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
- 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
- with colour and the art of painting.
- Title: Ways/Architecture: Lecture IV: True Aesthetic Laws of Form
- 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
- 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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