Searching Rudolf Steiner Lectures by GA number (GA0289)
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- Title: The Building at Dornach (Bn/GA 289): Lecture I: The Goetheanum
- artistic forms and figures. Once again, I should like to repeat what
- own, some architect or other, and some artist or other would have been
- styles of architecture; just as when they wish to make anything artistic
- succeeded in creating artistic forms. All that has been achieved is
- the establishment relationship with the inartistic element of the present
- of artistic representation, but never identifies itself with them. Indeed,
- artistically had an actual fear of every kind of philosophy, for it
- saying in a symbolical sense; take it in an artistic sense and you will
- and allows himself to be carried into a really organic-artistic, a feeling
- of Art, but that his opinions are inartistic. If the forms in the Building
- persons of artistic natures who happened to come among us were often
- a cross with seven roses, far higher than a really artistic motive.
- in order to see only the artistic. When this form was about to be made,
- consider it from an artistic point of view, but merely an imitative
- artistic forms is growing out of the Anthroposophical conception, we
- Title: The Building at Dornach (Bn/GA 289): Lecture II: Bau Lecture II
- to abide by such nomenclature would of course be most inartistic. The
- in an artistic manner out of its own nature that when the most complicated
- with the imagination of the artist. This is the thing that you must
- precisely through its artistic side had to make certain claims. Men
- - in its inner artistic mobility when as we enter it we allow ourselves
- Title: The Building at Dornach (Bn/GA 289): Lecture III: Lecture 3
- been made in accordance with that artistic point of view referred to,
- conception must be sought; another principle, another way of artistic
- artistic feeling certainly will only be admitted by him who has a presentiment
- pitiful to see how those who are possessed of artistic feeling truly
- the human soul as force of inspiration through the whole artistic structure
- purposed in the painting in the domes. We get as it were inartistic
- ideas, effects of what is intended to he artistic. But of course that
- in him who has artistic perception. Hence I do not think it quite superfluous
- you must give up asking inartistic questions. When an artist paints
- a question as: What does this or that mean? The inartistic man will
- artist; it is the question which he who paints it will least of all
- which must possess the artistic soul. (I will explain more clearly in
- the artist will turn away from everything naturalistic, from all copying,
- minutely, but seek what is essential in the artistic perception.
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