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    Query was: artist
  

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  • Title: Colour: Part One: Colour-Experience (Erlebnis)
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    • Steiner's insights into the nature of color, painting and artistic
    • more than all these, if must interest the artist, the painter. In a
    • what the artist has to say about the world of colour must be bound up
  • Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
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    • Steiner's insights into the nature of color, painting and artistic
    • with our artistic sense. Peach-colour can be represented really only as
    • intolerable for someone with artistic feeling. The soul cannot bear a
    • Just think what this means to Art. The artist knows if he is dealing
    • form the psychic into the artistic. And if you so understand the
  • Title: Colour: Part One: The Phenomenon of Colour in Material Nature
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    • Steiner's insights into the nature of color, painting and artistic
    • artistic considerations from its study. So that actually the artist
    • from this world of feeling by means of an artistic appreciation of the
    • that the old artists did not make this distinction in their painting.
    • of furniture painted blue — if you have any artistic feeling, you
    • generally speaking an inartistic element has been introduced into
    • symbolically, that one must unfold the quite inartistic; this colour
    • One hears very often, after all, that artists have a proper fear of
    • artists to put to practical proof the laws as laid down.
    • that artists rightly have such a fear of theory. This theory is
    • theoretical to the artistic. Then you produce a method of studying
  • Title: Colour: Part Two: Thought and Will as Light and Darkness
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    • Steiner's insights into the nature of color, painting and artistic
  • Title: Colour: Part Two: The Connection of the Natural with the Moral-Psychical. Living in Light and Weight.
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    • Steiner's insights into the nature of color, painting and artistic
  • Title: Colour: Part Two: Dimension, Number and Weight
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    • Steiner's insights into the nature of color, painting and artistic
    • object. And the more physical people become, the more inartistic they
    • such a manner that the artist takes no more heed of the physicist.
    • with weight, which Giotto began in an aesthetic-artistic way and
    • one must be able to proceed consciously, even with artistic
    • If that succeeds, then, as against the inartistic physical
  • Title: Colour: Part Three: The Creative World of Colour
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    • Steiner's insights into the nature of color, painting and artistic
    • pulling together of spiritual life will result in artistic form. We
    • I want to draw your spiritual attention to an artist of the eighteenth
    • look into his soul, and at an artistic longing there, we can in a way
    • there streamed something towards the creations of these artists. When
    • human soul. One might say these artists had some substance in their
    • nineteenth century the time began when the artist had to look for the
    • artist became a kind of cultural hermit who was really dependent only
    • studied the special attitude of this or that artist to Nature or to
    • one is solving artistic problems, one is solving really for the most
    • part problems that are not artistic ones but psychological. The way in
    • which this or that artist regards Nature today is an exercise in
    • the contrary there enter these real artistic questions, for the
    • the artist creative, whereas the substance is merely something that
    • surrounds him, in which he is steeped. We may say that our artists are
    • not artists at all any more, they are world observers from a
    • artistic view of “How” has disappeared almost completely
    • from our time. The heart is often lacking for such artistic
    • pursuits of modern science and the artist's conception of the world is
    • makes of the world is in itself inartistic, and makes an effort to be
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  • Title: Colour: Part Three: Artistic and Moral Experience
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    • Artistic and Moral Experience
    • Steiner's insights into the nature of color, painting and artistic
    • Artistic and Moral Experience
    • revolution in artistic creation and enjoyment. The forces which we
    • artistic forms. We would see a time, before us, if we examine closely
    • has been in the past, when the means of artistic creation will be
    • the soul, and when in the creations of the artists we shall meet the
    • In essentials the attitude of artistic creation and artistic
    • appeal to something that affects the artist from outside. The need to
    • artistically, how something appears before our soul when it attempts
    • as artists will go, will mean a moral experience in colour of this
    • kind; when the experience preparatory to artistic creation will be
    • the souls of men and instigate them to artistic production. The
  • Title: Colour: Part Three: Colours as Revelations of the Psychic in the World
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    • Steiner's insights into the nature of color, painting and artistic
    • becomes a real, artistic experience of the astral element in the
    • And if one has this artistic experience, death, life, soul and spirit
    • Of course in treating of things artistic, I must refer not to the
    • abstract understanding, but to artistic feeling. What is artistic must
    • be understood artistically. Therefore I cannot here point out to you
    • With these we have not the desire, if we rely on our purely artistic
    • expressed artistically in colour, then the soul will withdraw itself
    • materials of a painter, for he works upon it. But an artist must
    • see with his artist's eye and hollow out. The wood-sculptor hollows
    • artistically for a time, as expressed in space-perspective, we can
    • talking about Art must be artistic sensibility. One cannot speak about
    • Mathematics or Mechanics or Physics from artistic sensibility, but
  • Title: Colour: Part Three: The Hierarchies and the Nature of the Rainbow
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    • Steiner's insights into the nature of color, painting and artistic



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