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Searching Rudolf Steiner Lectures by GA number (GA0289)

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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: The Building at Dornach (Bn/GA 289): Lecture I: The Goetheanum
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    • 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
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    • 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
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    • 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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