An Author's Summary, 1888 Four Essays Written between 1890 and 1898 Eight Lectures between 1909 and 1921 (CW 271) "The challenge of saying something about art was personal for Rudolf Steiner. He experienced it as deeply connected with his biography. It is not for nothing that, in the last lecture of this volume, he points to his repeated attempts to develop a new approach and new forms of expression for speaking about art. We find at least three forms of this attempted approach in this book." --Zvi Szir (from the introduction) The subject, practice, and vital importance of art was a thread that ran through Rudolf Steiner's life, from his early work as a scholar of Goethe, through his time as an editor of a literary and arts journal in Berlin in the 1890s, and to his two and a half decades as a spiritual researcher and teacher. Understanding and articulating the significance of art was a perennial challenge for Rudolf Steiner. This volume of Steiner's Collected Works is unique in that it showcases a survey of both early written works and later lectures to anthroposophic audiences, and in doing so presents a picture of a lifetime of intensive effort to convey something essential about the arts. Beginning with his early philosophical work and literary criticism at the end of the nineteenth century and on into his later lectures, this volume follows Steiner's endeavor to reveal in words the mystery obscured by the vague concept of what "art" is. Viewed as a whole, this volume forms one of the most provocative collections of the twentieth century on the subject of art. It offers a unique analysis of the origin, foundation, and method of the creative process. This book is a translation of Kunst und Kunsterkenntnis: Grundlagen einer neuen Ästhetik, 3rd edition, published by Rudolf Steiner Verlag, Dornach, Switzerland, 2010 (GA 271).

Rudolf Steiner understood that the history of art is a field in which the evolution of consciousness is symptomatically and transparently revealed. This informal sequence of thirteen lectures was given during the darkest hours of World War I. It was a moment when the negative consequences of what he called the age of the consciousness soul, which began around 1417, were made most terribly apparent. In these lectures he sought to provide an antidote to pessimism. After describing the movement of consciousness from Greece into Rome, coupled with influences from the Orthodox East, he showed how these influences transformed as the Middle Ages became the Renaissance. The process that begins with Cimabue and Giotto develops, deepens, and becomes more conscious in the great Renaissance masters Leonardo, Michelangelo, and Raphael. Then this movement continues with the Northern masters, D rer and Holbein, as well as the German tradition. One entire lecture is devoted to Rembrandt, followed by one on Dutch and Flemish paintings. Themes are woven together to show how past epochs of consciousness and art live again in our consciousness-soul period. Replete with interesting information and more than 600 color and black-and-white images, these lectures are rich and dense with ideas, enabling us to understand both the art of the Renaissance and the transformation of consciousness it announced. These lectures demonstrate (to paraphrase Shelley) that artists truly are the unacknowledged legislators of the age.

Steiner's idea of art included the renewal of society in general and more particularly certain human endeavors such as science, economy, and religion. He was convinced that his approach would in turn lead to a fundamental renewal of contemporary art. In his introduction, Mattke writes "to the extent that we humans adopt a modern mindset, the more we will be divided from the reality that surrounds us." In response to this profoundly challenging situation, Steiner recommends that we do not assume a New Age paradigm, or a "back-to-nature" attitude such as Rousseau advocated. Rather, according to Steiner and anthroposophy, contemporary humanity needs to develop and practice new ways of thinking, feeling, and willing in order to reconnect to the spiritual character of human life and of the cosmos in a conscious way. Steiner's conception of art is one of the ways to effect this reconnection. Today's art calls for an individual encounter from ego to ego, for conscious work to meet the artist's intentions and foremost for intense work on one's own habitual thought systems and so called "normal" feelings. Losing the crutches of trained intellectual conclusions as well as the comfortable wellness of one's familiar feelings is surely an intense learning process, a real threshold experience. Art & Anthroposophy includes articles ranging from a very personal account of conversations between Margarita Woloschin and Rudolf Steiner; the significance of the First Goetheanum; an article by David Adams on Joseph Beuys; and a tribute to Beppe Assenza by Arthur Zajonc.

This book introduces a new way for thinking about, creating, and viewing art. Rudolf Steiner saw his task as the renewal of the lost unity of science, the arts, and religion; thus, he created a new, cognitive scientific and religious art in anthroposophy. The implications of his act --recognized by such diverse artists as Wassily Kandinsky and Joseph Beuys --are only now coming fully to light. In his thorough introduction of more than a hundred pages, Michael Howard takes readers through these thought-provoking chapters: Is Art Dead? To Muse or Amuse Artistic Activity As Spiritual Activity The Representative of Humanity Beauty, Creativity, and Metamorphosis New Directions in Art Lectures include: The Aesthetics of Goethe's Worldview The Spiritual Being of Art Buildings Will Speak The Sense Organs and Aesthetic Experience The Two Sources of Art The Building at Dornach The Supersensible Origin of the Arts Truth, Beauty, and Goodness Christ, Ahriman, and Lucifer Plus a bibliography and index

A Life with Colour is the first complete survey of Gerard Wagner’s biography and his artistic intentions, featuring dozens of illustrations and more than 120 colour plates. The life and work of Gerard Wagner (1906-1999) were closely aligned to the artistic-spiritual stream connected with the Goetheanum in Dornach, Switzerland. He first heard of the Goetheanum – and of its destruction by fire at New Year 1922/23 – whilst still a youth. In 1926, he made his first visit to Dornach, but his intended stay of a week turned into a lifelong sojourn of over 73 years. He found there an active, striving community with which he felt intimately connected. From the start, Gerard Wagner immersed himself in the various artistic impulses that Rudolf Steiner had instigated. This, together with an intensive study of anthroposophy, formed the basis upon which he forged his own approach to painting. The many years he spent in colour experimentation led him to discover objective principles within the language of colour and form that are an inspiration to many today. His paintings, first shown at the Goetheanum in the early 1940s, were exhibited internationally, most notably at the Menshikov Palace, Hermitage Museum, St Petersburg, Russia, in 1997. ‘[Wagner’s] whole being bowed before the mystery of colour in a loving, joyful yet serious way, full of devotion and dignity. His life and work itself became a living metaphor of the creative power of colour.’ – Christian Hitsch ‘ Caroline Chanter has not only accomplished a great and seminal study that illuminates the life and work of Gerard Wagner, but has done a great service also to the Goetheanum and its School of Spiritual Science.’ – Peter Selg ‘[Gerard Wagner was] a soul which on earth was devoted so selflessly and in such purity to the beings that are revealed… in forms and colours. He helped them to utterance and manifestation in this world of ours.’ – Sergei O. Prokofieff

3 selected lectures by Rudolf Steiner This is one of those books that can change your life. Radical, thought-provoking, and indeed mind-boggling, it leads to a completely new way of looking at what it means to be human--a spiritual being in a universe that itself is not just physical, but psychic and spiritual as well. These three previously untranslated lectures are a masterly introduction to what Rudolf Steiner means by "Anthroposophy." They explain why Steiner describes this path--which means literally "the wisdom of the human being"--as one that "unites what is spiritual in the human being with what is spiritual in the universe." Steiner begins by describing what happens when we die. He shows the relationship between our physical life on Earth and the etheric, astral, and spiritual life of the cosmos. He also explains how physical lives are completely interwoven with cosmic existence, and how the "miss-ing links" in evolution are spiritual in nature. Steiner then demonstrates what he calls the "dilettantism" and "soullessness" of mainstream psychology. He points out that, since the second half of the nineteenth century, the idea of the soul has been lost and that, consequently, understanding of our inner lives is without a sure foundation. A very different view emerges, however, from a truly spiritual perspective. In the third lec-ture, Steiner takes as his guide our three states of being--waking, dreaming, and sleeping. He describes in detail what happens in these three states and how each is bound up with our lives as physical, psychic, and spiritual beings. With the profound insights in this book, the world becomes a much larger, richer, and more exciting place to live.

For nearly a century, the worldwide anthroposophical movement has been a catalyst for environmental activism, helping to bring to life many modern ecological practices such as organic farming, community-supported agriculture, and green banking. Yet the spiritual practice of anthroposophy remains unknown to most environmentalists. A historical and ethnographic study of the environmental movement, Eco-Alchemy uncovers for the first time the profound influences of anthroposophy and its founder, Rudolf Steiner, whose holistic worldview, rooted in esoteric spirituality, inspired the movement. Dan McKanan shows that environmentalism is itself a complex ecosystem and that it would not be as diverse or transformative without the contributions of anthroposophy.

Ever since the Rudolf Steiner's panel drawings were first exhibited in a contemporary art context in the summer of 1992 at the Galerie Monika Sprüth in Cologne, they went on tour as the transmitter of an 'anthroposophy for the future' through the best known museums in the world. In addition to his paintings, drawings and sculptures, these panel pictures are clearly located at the junction between art and science, programmatically pointing to the key interrelationship between mankind and the cosmos. It was always Steiner's extraordinary way of seeing objects and non-objects that led to sustainable reform projects in such fields as agriculture, education and medicine. This book examines for the first time Anthroposophist thought as reflected in contemporary art and to what extent its integral concepts and aesthetic ideas are realized in the visual arts. This exhibition 'homage' to Rudolf Steiner features artworks by Joseph Beuys, Anish Kapoor, Tony Cragg, Olafur Eliasson among many others. Published on the occasion of the exhibition Rudolf Steiner and Contemporary Art at Kunstmuseum Wolfsburg, May - October 2010, and Kunstmuseum Stuttgart, February - May 2011. English text.

For many centuries, the teaching of Mani was hidden behind the distorted picture that had been created by the adversaries of Manichaeism in East and West. In the course of the twentieth century, new light was shed on Manichaeism by the discovery of several Manichaean scriptures. These have shown that Manichaeism was a true, distinct world religion that, in the question of good and evil, for instance, offers insights that complement and deepen Christianity. Also in the twentieth century, Rudolf Steiner brought Anthro­posophy, Spiritual Science, which is a continuation of a stream of esoteric Christianity that has run through human history ever since the resurrection of Christ. Anthroposophy is centered on a new, deepened idea of Christianity that, as indicated by Rudolf Steiner, is so great and all-encompassing that it can be understood in its full depth only gradually. In this book, Christine Gruwez explores the essence of Mani’s revelation and then shows what Rudolf Steiner has communicated regarding Mani and his teaching. This generates an image of two spiritual streams that, each from its own beginning, are moving toward a future when a Christianity of the deed shall become reality.

Four of Rudolf Steiner's best-loved lectures are collected in this book. They are some of the most accessible presentations of the anthroposophic approach to life available in English. Included are: Practical Training in Thought Overcoming Nervousness Facing Karma The Four Temperaments The first lecture concerns the fundamental human activity of thinking. Everything we do, we do through thinking. The first task, then, is to realize the reality of thinking. To help us do this, Steiner gives exercises that will allow us to experience the cognitive, even clairvoyant, power of thinking. In "Overcoming Nervousness," Steiner shows us how exercises in thinking also give us the calm centered sense needed to lead purposeful, healthy lives. "Facing Karma" takes us to the heart of life, where we experience suffering and happiness. The law of karma that determines life's experiences and encounters also helps us develop the self-knowledge required for self-transformation. Finally, "The Four Temperaments" show us how the union of hereditary factors and our own inner spiritual nature shape our psychology. The guide here is the ancient classifications of sanguine, choleric, phlegmatic, and melancholic. Renewed understanding of these allows us to develop a truly modern spiritual psychology, which is the basis of all real inner development. With its many practical exercises, mantras, and meditations, this book is a fundamental introduction for anyone beginning or needing encouragement along the path of inner development.