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Rudolf
Steiner Blackboard
Drawings 1919 –1924
edited by Walter Kugler with contributions by
Taja Gut, Martina Maria Sam & Wolfgang Zumdick
Rudolf
Steiner
spoke freely during his many lectures, using only minimal notes. But when explaining
conceptually difficult subject matter he frequently resorted to
illustrating what he was saying with coloured chalks on a large
blackboard. After the lecture the drawings were rubbed out and thus
irretrievably lost - but not in every case. From the autumn of 1919
onwards, thick black paper was used to cover the blackboards so that
the drawings could be rolled up and stored.
This
collection of Rudolf Steiner's blackboard drawings comprises 120
colour plates, including for each
illustration, the relevant excerpt from the associated lecture.
There is also a comprehensive history and background to the
illustrations describing their original production and exploring
their continuing power as both artistic and illustrative images of
the spiritual dynamics which Steiner sought to convey to his
audiences.
The
trustees of Steiner's estate at Dornach, Switzerland, possess over
1000 of these drawings which visually document his creative way of
thinking and his view of the world. A selection of the
drawings was first shown to a wider public in 1992, and since then
numerous exhibitions in Europe, America and Japan have generated
much interest in his works.
“Whether it be a
crystal's outline, or a plant's or a beehive's, whether circles and
surfaces are layered one upon another, whether the concepts are
those of sodium and lead, of commodities and labour, of Saturn or
Imagination: each concept, each word, each symbol finds its place
with utmost concentration and exciting accuracy in Steiner's
blackboard drawings. Attention is alerted, lines of interaction
arise between image and observer allowing contacts and involvements
to come into play. The messages emerging from infinite darkness in
lines, spirals and circles or in coloured surfaces that open up or
delineate vast spaces, and also those arising from the ever new
meanings in the networked interplay of words, all these strike deep
into the optic nerve and settle firmly in one's visual memory. At
work here was an archaeologist of thoughts, an encyclopedist of the
unusual phrase, a master of line and colour. Nothing in these
images happens by chance, but neither is anything indispensable.
The things simply exist, they are there occupying one's retina, and
bringing into motion whatever had a moment ago seemed ossified and
congealed: ‘A floating, poetic appreciation of art more than a
little reminiscent of Cy Twombly,’ commented Günter
Metken, astonished and touched at the exhibition of the drawings in
Frankfurt's Portikus.
Now
scattered upon the blackness, now emerging from the dark background,
there appears before the viewer of these thought-pictures the
universe in all its wholeness, the whence and whither of human life
and meaning in ever-changing configurations. A white blob depicts
the fall of Ephesus, a dot and a circle conjure up the ever-present
tension field uniting God and human being. Regiments of numbers
decode the mysteries of human evolution, making visible conditions
created by humanity for itself over long millennia or drawing
attention to calculable and incalculable elements that have been
mutating back and forth between heaven and earth, between 'up there'
and 'down here'.
These
blackboard drawings readjust the globe. Things that have hitherto
been 'scientifically' assured or counted as immutable in everyday
life are given an almighty shove, while others that have been
alarmingly unstable are brought to rest, thus becoming points of
departure for a journey into intimate and unknown depths. Having
passed along the sequence of pictures and left it behind one finds
that everything has changed. No matter whether this is art or
non-art: the images have set something in motion; that is all.”
-Walter Kugler Cosmic Poetry
200pp: paperback 26 X 24.5 cm, with120 colour plates
ISBN: 1 85584 152 5

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