The History of Art

Steiner's 1898 thesis that acting is a productive art in its own right: the actor transforms drama as the playwright transforms nature.

In Steiner's art lectures, the Florentine painter who carries the soul-stream of painting into longing, naturalizing devotion through the very line.

The Florentine master in whom Steiner saw the old visionary painting reach its last height, just before Giotto turned art toward the earth.

The dramaturgical journal Steiner co-directed from 1898 as a supplement of the Magazin für Literatur and authorized organ of the Deutsche Bühnenverein.

The Florentine friar-painter Steiner read as the master of devotion, in whom the soul itself reaches into the figure and colour is offered as prayer.

Gerhart Hauptmann was the German naturalist dramatist whose plays Rudolf Steiner reviewed in Berlin, defending his truth-faithful realism against the 1900 slogan Los von Hauptmann.

The Florentine painter (1266 to 1337) in whom Steiner saw a new artistic world-conception arise: the first master to give a human face the weight of a soul standing on Earth.

The medieval cathedral style Steiner read as two soul-impulses meeting: a Southern mystical longing that strives upward, married to Northern craftsmanship.

The art in which the Greek carved the human body from an inner feeling of the etheric, raising the figure to the threshold of the Divine.

Steiner's reading of Hans Holbein the Younger as the seeing eye of Northern art, the realist who paints a person whole out of the time they live in.

Steiner's 1898 name for Ibsen's analytic method: a microscopic slice of life on stage from which the whole undepicted drama, lying before the play begins, is divined.

In Steiner's reading, the seeker of the Renaissance: the first painter to chase by outward vision the knowledge of Nature that earlier ages once felt from within.

Leonardo's Milan fresco of 1495 to 1498, read by Steiner as the painted moment of betrayal turned into a study of twelve individual souls.

The Belgian symbolist dramatist whom Steiner presented in 1898 as a religious nature rather than an artist, a prophet of the soul's coming awakening.

In Steiner's reading of art history, the Renaissance master in whom the human will presses directly into stone and fresco, carrying the soul of Florence into Rome.

The 1890s stage movement Steiner credited with ending stock-type acting while judging its faith in the imitation of nature a superstition that deadens art.

In Steiner's spiritual art history, the painter of harmony, whose Madonnas and Vatican Stanze hold the Renaissance in balance.

In Steiner's reading, the painter who turned art inward, making light and shadow carry the soul rather than the sacred type.

Steiner reported that Hamlet and Macbeth, carried across the threshold by exact clairvoyance, keep acting in the spiritual world while naturalistic characters freeze into wooden dolls.

Steiner's name for complete self-renunciation on stage: the actor stops being himself and lets the role, built from the whole play, speak through him.

Steiner's dramaturgical law that some material tolerates only novelistic treatment: drama needs characteristic moments closing into a whole, and poets who ignore the boundary produce dramatized novellas.

A catchword, for Steiner, is a word that has lost its meaning and therefore works suggestively, letting crowds speak significantly while thinking nothing at all.

The Renaissance discovery of pictorial space, which Steiner read as art's record of the consciousness soul placing the observer at the centre of the seen world.

Steiner's reading of Western painting as a slow passage from the sacred type toward the individual human soul, peaking when Rembrandt paints the lone observer.

The mother-and-child motif read by Steiner as the changing image of the human-divine, moving from the Byzantine icon down toward Raphael's earthly tenderness.

In Steiner's reading, the calling of true art is to make the invisible spiritual world perceptible to the senses, turning a picture into a threshold rather than a copy.

Steiner traced Greek drama to the ancient mystery centres: Aeschylus and Sophocles lifted the artistic side out of initiation rites, and Aristotle's catharsis echoes that origin.

Steiner's reading of European painting as two currents: a Southern art of form and composition, and a Northern art of line and inward soul.

Raphael's Dresden altarpiece, which Steiner read as the supreme Madonna of the West, its greatness resting on a vast cosmic world-conception.

Steiner's reading of Western art as the soul's own evolution made visible, where each epoch of painting records a stage in how humanity learned to see.

Steiner's principle that the office of art is to make the supersensible visible to the senses, reading the Western masters as stations in the soul's descent.

Steiner's 1898 argument that modern consciousness no longer demands guilt behind suffering: drama now runs on cause and effect, so tragic guilt becomes tragic innocence.