VI. Teaching Eurythmy, Music, Drawing, and Language

GA 301/1920-04-28/p018 ·1920-04-28 · English MediumMedium alignmentSome paragraph re-numbering between this translation and the German original — the locus may slip by a paragraph or two.
Record: unknown. How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.

You can certainly pursue such drawings, and there is also much such material collected in pedagogical references. What is important here, however, is that we learn to understand such drawings from the perspective of the entire nature of a human being. Today that is extremely difficult because we have no comprehensive view of art. This in turn is because we do not properly comprehend the process of how people create art. Our view of art has been influenced by the way artistic creation has developed in modern times. In the most recent years there has often developed a very insufficient opposition to what has developed. I am expressly using the term insufficient. Fundamentally, our entire artistic creation is connected in some way with a model, that is, with an external perspective.

Read this passage in another edition
DEoriginalENEnglish
Raw JSON: /v1/steiner/en/ga/301/1920-04-28/p018.json
Cite: GA 301/1920-04-28/p018 · edition English