Böcker i Collected Works of Rudolf Steiner-serien

9 lectures in various cities, April 1915-June 1920 (CW 288)"As rigidified in the aesthetic formulas of the École des Beaux-Arts and nineteenth-century academic architecture, these proportions, orders, and geometrical types were no longer suited to a living architectural expression, and modernism was obliged to abandon them. One attempt to recapture this connection was made by Le Corbusier with the use of his 'Modular' figures based on human bodily proportion as units of architectural measurement. Another effort was made from the organic functionalist side by Steiner, who proposed that in the architectural art everything 'points to, and proceeds from, the human form.' His architectural approach tried to find a renewed way to attune his buildings holistically to their human users by employing patterns of the life forces or formative forces within the human constitution." -- David J. Adams (introduction)The planning, construction, and execution of the functional work of art that was the First Goetheanum was an endeavor that occupied Rudolf Steiner for the better part of seven years. Every detail, from the seemingly small--such as the shape and feel of the door handles--to the grand motifs of the paintings on the ceilings of the cupolas and the building's intended sculptural centerpiece, was lovingly designed to meet and inspire the individual human beings who would some day encounter it, not with didactic symbolism, but with the transparent reality of the spiritual foundation of humanity and the world, and the open possibility to both know this spiritual foundation and to work with it practically and artistically for the good of all.The lectures in this volume--accompanied by reproductions of more than a hundred slides--were heard by various audiences as the building neared completion and before it was destroyed by fire. The text is complemented with a foreword by the esteemed architect Douglas J. Cardinal, as well as an important and revelatory Introductory essay by David Adams: "The Form-Function Relationship in Architecture and Nature: Organic and Inorganic Functionalism."This volume of The Collected Works of Rudolf Steiner is essential reading for anyone who wants to gain a deeper understanding of the artistic motivation of Rudolf Steiner as an artist and architect, while also clearing up many of the misunderstandings that the building and its sculptural and painted components have inevitably given rise to, both then and now. This book is a translation from the German edition Architektur, Plastik und Malerei des ersten Goetheanum: Neun Vorträge, gehalten an verschiedenen Orten zwischen dem 10. April 1915 und dem 12. Juni 1920, herausgegeben aufgrund von stenographischen, teilweise von Rudolf Steiner korrigierten Nachschriften (GA 288).

An Author's Summary, 1888Four Essays Written between 1890 and 1898Eight 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).

"volume 323 in the Collected Works (CW) of Rudolf Steiner."

13 slide presentations, Dornach, Oct. 8, 1916 - Oct. 29, 1917 (CW 292)"I am going to show you a series of reproductions, of slides, from a period in art history to which the human mind will probably always return to contemplate and consider; for, if we consider history as a reflection of inner spiritual impulses, it is precisely in this evolutionary moment that we see certain human circumstances, ones that are among the deepest and most decisive for the outer course of human history, expressed through a relationship to art." --Rudolf SteinerRudolf 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, Dürer 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. Art History as a Reflection of Inner Spiritual Impulses is a translation from German of Kunstgeschichte als Abbild innerer geistiger Impulse (GA 292, Rudolf Steiner Verlag, 2000).

"Translation of Das Faust-Problem: Die romantische und die klassische Walpurgisnacht Geisteswissenschaftlich Erlèauterungen zu Goethes "Faust" Band II, published by Rudolf Steiner Verlag, Dornach, Switzerland, 1981"--Title page verso.

7 lectures, Dornach, September 10-16, 1915 (CW 253)Occasioned by a "scandal" precipitated by Rudolf Steiner's marriage to Marie von Sivers in 1915, the lectures that constitute part one contain Steiner's strongest statements on the issue of human relationships in a spiritual community. Using emphatic language Steiner makes it clear that becoming part of a spiritual community entails responsibilities and, indeed, a new way of being, and that members must become actively interested and engaged in the concerns of the group rather than simply wanting or expecting personal benefit from it. Above all, he asserts that it is essential for members to realize that a spiritual community is a living entity that needs the care and respect of its creators.Because the crisis had been provoked by individuals under the influence of Freudian psychoanalysis, Steiner assesses Freud's work, and psychoanalysis as a whole, illumined by an anthroposophic understanding of the human being. Steiner also speaks on sexuality and modern clairvoyance, relating them to Freudian psychoanalysis, as well as to the seer Emanuel Swedenborg as an example of the difficulties of entering the spiritual world. Then, starting from a historical perspective, Steiner poses a question: How old is love? He goes on to examine our modern idea of love in the context of mysticism.Part two includes documentation of the Dornach crisis, along with two addresses by Rudolf Steiner to the members there, as well as Marie Steiner's address to the Women's Meeting on the particular tasks and challenges of women, both as members of the women's movement of the time and in a spiritual community.Sexuality, Inner Development, and Community Life is a translation from German of the book Probleme des Zusammenlebens in der Anthroposophischen Gesellschaft. Zur Dornacher Krise vom Jahre 1915 Mit Streiflichtern auf Swedenborgs Hellsehergabe, Anschauungen der Freudschen Psychoanalyse und den Begriff der Liebe im Verhältnis zur Mystik (GA 253).

"Five lectures given in Dornach, Switzerland, October 10-25, 1914."

An introductory lecture with slides, Bern, Switzerland, June 29, 1921 (CW 290)Rudolf Steiner gave thousands of lectures in his lifetime, usually without notes, and, with very few exceptions, with nothing more than chalk and a blackboard if he chose to accompany his speech with some kind of visual illustration. A notable exception is the presentation that constitutes the main part of this book. Given in June 1921, in Bern just eighteen months before its tragic destruction by fire, this lecture and slide show (consisting of a hundred slides) is both the closest thing we have to a guided tour of the original Goetheanum by its architect and a profound statement of artistic purpose.In addition to the lecture and slide show that comprise the main content of this volume, the introduction by John Kettle serves to place Steiner's artistic contribution to architecture in the context of early twentieth-century Expressionism and Organicism. Frederick Amrine's thorough bibliographic essay highlights the most important secondary literature on Steiner's architecture and provides a sound entry to further exploration and study.This book is translated from the 3rd revised German edition, Das Goetheanum als Gesamtkunstwerk: Rudolf Steiner, Der Baugedanke des Goetheanum: Einleitender Vortrag mit Erklärungen zu den Lichtbildern des Goetheanum-Baues gehalten in Bern am 29. Juni 1921, Verlag am Goetheanum, 1986.

"The translation is based on the 2nd edition (1980) of volume 277, Eurythmie: Die Offenbarung der sprechenden Seele, of the German-language Gesamtausgabe ... published by Rudolf Steiner-Nachlassverwaltung, Dornach. Additional materials from other volumes ... have been included as indicated in the Notes and Introduction"--Title page verso.

In 1921 the Association for Anthroposophic College Studies was founded, and courses and conferences began to be given in Dornach and a number of large cities throughout Europe. This Berlin Course drew more than a thousand participants. The goal was 'to give an impression of the possible incentives anthroposophy could offer various scientific fields.' Each day began with a lecture by Steiner, followed by presentations from other lecturers, artistic events, panel discussions, and more. The lectures included Anthroposophy and Natural Science; The Organizations of Humans and of Animals; Anthroposophy and Philosophy; Anthroposophy and Education; Anthroposophy and Social Science; Anthroposophy and Theology; and Anthroposophy and Theory of Language.

Volume 338 in The Collected works of Rudolf Steiner. Translation of: Wie wirkt man fèur den Impuls der Dreigliederung des sozialen Organismus? Dornach, Switzerland: Rudolf Steiner Verlag, 1986.