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  • Title: Colour: Part One: Colour-Experience (Erlebnis)
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    • although the psychologist may, admittedly, have something to say about
    • the first place, Art is not allowed to decide anything at all about
    • whereas in the world outside, objective colour presents nothing but
    • explanations such as these is able to make nothing of the concept that
    • in mind, and seek for something objective. They then wander away from
    • out, there is really nothing further from the content of our real
    • Let us try for a while to sink ourselves into something which can be
    • penetrate into the nature of colour, we must experience something in
    • easily seen, but we will proceed at once to the essential thing.
    • experience something in green as such, something which we need not
    • same thing when gazing on the green plant-covering of the earth; we
    • everything else offered by the plants, as we only wish to look at the
    • If we wish to express such a thing as this, we must try to
    • We are not copying Nature in this experiment, but placing something
    • they produce something in the meadow which it is really impossible to
    • ourselves with something which finds its most beautiful and
    • Now this makes it possible to see something in the world of colour
    • itself, as such. There is something in that world which we shall have
    • our idea is that greenness belongs to them, that it is something
    • really as though we simply made an image of something; in the
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  • Title: Colour: Part One: The Luminous and Pictorial Nature of Colours
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    • world with the character of pictures; but we saw also that something
    • essential proceeded from something else giving rise to the pictorial
    • shine through the moving white and black. You will also see something
    • organism — in which there was always motion. Everything is in
    • I have here pointed out to you from the nature of things a certain
    • of colour if we consider another thing.
    • Because a game is a limited pedantic activity, something very
    • surface of yellow is something disagreeable; it is ultimately
    • imagine it, but it has something super-human. When Fra Angelico paints
    • equal blue surfaces, he summons, as it were, something
    • paint an equal blue when he brings super-terrestrial things into the
    • modifies the whole thing. I'll make circles here for you which I fill
    • cannot do anything with it, we are powerless against it. Nor can it
    • That is the nature and the difference in coloured things. Black, white,
    • something; in yellow, blue and red there is an inherent luster.
    • Yellow, blue, red are external to something essential. The others are
    • always projected pictures, always something shadowy. We can call them
    • something luminous, not with shadow, but with that by which the nature
    • lustrous. The things shine, they throw off colour in a way; and
    • You will observe, we come here upon things which upset Physics
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  • Title: Colour: Part One: The Phenomenon of Colour in Material Nature
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    • something volatile and fleeting, either as image or luster, to solid
    • impression of something painted. So, if we want to raise the study of
    • the rest of life, you see what interesting things result. He pursued
    • state, for there existed nothing solid then. We can speak of colour
    • attached to anything, or at the most, to the surface. Only on the
    • colour-matter, and with something that is really a fluid element. And
    • that something was formed in vegetation which made it definite, and not
    • see in it nothing else but a copy of what you perceive in the Cosmos.
    • things cannot be understood with the clumsy ideas of Physics. They
    • nature of colours. It is, you see, something peculiar. If you go back
    • turned everything in the nature of colours into image, then you cannot
    • glow, something yellowish-white, that is luminous. Because the
    • painting, all sorts of things have cropped up in order to comprehend
    • canvas, or any other surface, something that gives you the impression
    • to paint in something that floods it as the expression of the shining
    • If you obey this law, you will also realize that everything painting
    • form what is there. But if something refuses to be fixed in pictorial
    • sensibility, and now I ask you to reflect if there is anything in the
    • painting, something inorganic, i.e. walls or some other inanimate
    • something whereby the inorganic, the inanimate is to result, which at
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  • Title: Colour: Part Two: Thought and Will as Light and Darkness
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    • the heading either of thought of will appears to be something
    • limbs we now have, with everything belonging to them, will be
    • view, criticize these things, one sees at once how little the present
    • penetrate into such things. Your thought and whole soul-life will
    • the most mature thing in us, the result of former lives on earth; what
    • look at the other side of human things, at the beginnings. It is the
    • clairvoyance? Yes: if we do this, we also get something which we can
    • interior. For it is nothing less than a diving down into matter. If
    • there falls something which however has the power of further
    • on everything he wanted to see and feel in the world. For instance he
    • to the past, where the ripening force is, which brings things to
    • ought really to draw the whole thing so that one says: You have the
    • The essential thing for us today is that the world, including man, is
  • Title: Colour: Part Two: The Connection of the Natural with the Moral-Psychical. Living in Light and Weight.
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    • times, he says to himself: Everything surrounding me has come out of
    • the past, out of some nebular condition, and thus out of something
    • things, to which one must come if one acknowledges honestly the modern
    • materialistic, seeing physical events as the only thing in the world,
    • the thought: Surely everything moral that arises in the human soul
    • must have its compensation in the world; there must be something which
    • people who believe everything the purely natural scientific view has
    • everything in favour of a final cindery, slaggy condition of our
    • of things — that good works somehow find their reward, and
    • light-phenomena, that we therefore see in the outer world everything
    • you how dying world-thoughts are to be seen in everything that
    • intelligent things will be found, but we do not stand face to face
    • moral organization. All moral things are therefore destined to emerge
    • into physical things. Does the man who looks at Nature spiritually
    • something else: as in sleep we were receptive of light, so in
    • nothing of weight; he learns to recognize this only inwardly, above
    • instance, is something which transfers the weight to the soul within.
    • in weight. This means something which is now carried over into the
    • Newton, really things very materialistically; or he imagines some sort
    • of demon or something sitting in the middle of the earth and pulling
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  • Title: Colour: Part Two: Dimension, Number and Weight
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    • observe anything that is not obvious, prevents them from seeing in the
    • etheric bodies and is among those things which are outer world. During
    • sleep we share the fate of outer things. As tables and benches, trees
    • something happens.
    • recognizing such physical things as belonging certainly to the outer
    • We reckon with the calculations which apply to earthly things, we
    • of scales. But those things like colours, and sounds, the feeling even
    • themselves about the things that are heavy, and measurable and
    • colour, sound and so on he says: Well, something occurs from outside
    • or tail of all these things — sound, colour, warmth and cold. He
    • regards them just as properties of something which can be ascertained
    • things of dimension, number and weight are not there at all, at any
    • sleep there are no things around us which can be weighed, however odd
    • it appears, nor are there things around us which can be counted or
    • If we wish to draw the thing diagrammatically, we could do it like
    • this. We could say: Here on earth we have solid weighable things (red)
    • other words, what the senses perceive in these things. When we sleep,
    • When we go about in our physical world and see something or other, we
    • pick it up; only then is it really a thing, otherwise it might be an
    • weight, we are apt to consider something that appears in the physical,
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  • Title: Colour: Part Three: The Creative World of Colour
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    • necessity. There is, however, something much more striking than the
    • something close at hand, I should like to refer to one of the many
    • people who turn this sort of thing into a reproach are also capable of
    • there streamed something towards the creations of these artists. When
    • his matter and material from something that in a way echoed in every
    • flowed from things that touched the very inmost hearts of men. In the
    • modern city. Well, my dear friends, he is not faced with something
    • that moves his soul, something that echoes inwardly, but he is faced
    • something else. We are confronted with a lot of individual problems or
    • tasks. And — this is the significant thing — while one thinks
    • philosophy or something of the sort, which simply does not come into
    • onlooker also, because the “How” is something which makes
    • the artist creative, whereas the substance is merely something that
    • historical interpretation and so on; the essential thing about the
    • transcends the abstract-mathematical, or anything that is similar to
    • anything but forget completely to pay any attention to this living
    • something aggressive towards ourselves, something that attacks us. Red
    • clothes. Blue, on the contrary, has something in it which goes away
    • can be seen from something I have already pointed out: in the case of
    • colour is on the surface, and there is nothing else but surface-colour,
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  • Title: Colour: Part Three: Artistic and Moral Experience
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    • appeal to something that affects the artist from outside. The need to
    • everything else round us and concentrating entirely on experiencing
    • something that works upon us, but as something wherein we ourselves
    • when the reaction comes, when something rises in our soul one can only
    • something of the Spirits of Form, who as spirits are the Elohim. And
    • understand a little of how the colour-surface becomes something we have
    • these Mystery Plays to present something of this sort really
    • artistically, how something appears before our soul when it attempts
    • Let us assume something else, that we do what we did with the red
    • us here, though having something of the seriousness of wrath in a
    • modified form, is yet desirous of imparting something to us, instead
    • is shattering us. So that orange gives us something strengthening, and
    • We feel then the longing to understand the inner side of things and to
    • inner nature of things. And if it is a yellow surface, and we do the
    • same thing, we feel ourselves transferred to the beginning of our
    • stimulated again by the inner forces of things.
  • Title: Colour: Part Three: Colours as Revelations of the Psychic in the World
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    • we cannot regard the green colour as something subjective and see
    • thinking with the head, so we lose now the idea of space. Everything
    • Of course in treating of things artistic, I must refer not to the
    • four colours always contain something of shadow. White is the lightest
    • to the surface something of a shadowy nature.
    • And, above all, there was present something else. In the painting
    • before all things have a feeling for his material. For instance, if he
    • I am, of course, not saying anything against spatial perspective; it
    • and indeed added something powerful to the old aesthetics of painting.
    • But the important thing is that after passing through materialism
    • the medium of Art itself and the thing that can be of service to us in
  • Title: Colour: Part Three: The Hierarchies and the Nature of the Rainbow
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    • that thought becomes directly light, and illumines everything; and the
    • beings. The warmth is nothing in itself, it is only the evidence that
    • he is interested in the warmth the other sheds, but that nothing but
    • is there only when the person is there. In itself it is nothing. The
    • something of this kind in the Cosmos. And only by reason of the fact
    • precisely the thing that can appear through the sons of the Second
    • that a watch is made of glass and silver — whereby nothing whatever
    • is said about the watch. Similarly nothing whatever is said about the
    • acquire something, our longing to have something.
    • Observe, you have here something as it were historically documented to
    • nothing but the unfortunate Newtonian theory of Colour, over which the
    • We cannot understand such things today, simply because anyone who does
    • things, but even at the end of the eighteenth century the learned knew
    • Surely Red is something which attacks one. I have often discussed it.
    • darker. Everything lives in colours. They are a world of their own, and
    • of the spiritual. It reveals in fact something like a spiritual waltz.
    • twelfth and thirteenth centuries, one must understand such things in
    • spiritual things were a reality to him and then only will you
    • something they first possessed, and preserved, and did not themselves
    • You will ask — But didn't things live before this? The answer you
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