The Sources of Artistic Imagination and Supersensible Knowledge II

Supernatural insight experiences painting in a peculiar way. It stands alone for supernatural insight. And because the seer — to use a trivial comparison — is obliged, as the geometrician is obliged to use lines and a compass, to visualize what he could have in mere conception, to make the conception tangible, the seer is also obliged to translate the experience of the spiritual world, what he experiences without form, into a formed, dense world. This happens when he experiences what he experiences in this way in such a way that he transforms it into inner vision, into imagination, and fills it, if I may say so, with soul-material. He does this in such a way that, so to speak, he creates the counterpart to painting in the inner, creative, visionary state. The painter forms his imagination by applying the inner creative powers to sensual perception, which he experiences as he needs them. He comes in from the outside until he transforms what lives in space in such a way that it works in lines, forms, colors. He brings this to the surface of the painterly perception. The seer comes from the opposite direction. He condenses what is in his visionary activity to the point of emotional coloring; he imbues what is otherwise colorless, as if illustrating inwardly with colors, he develops imaginations. One must only imagine in the right way that what the painter brings from one side comes from the opposite side in what the seer creates from within.