Issue No.

52 Autumn-Winter 2019

Rudolf Steiner’s Planetary Seals: Highlighting Their

Metamorphosis by Correcting Their Orientation
by Brian Gray
Preface in their corrected sequence are included.
y background in architecture led me to study of the First
M Goetheanum and, for the past 35 years, to teach the draw-
ing of Rudolf Steiner’s Seven Planetary Seals. I teach Planetary
These illustrations also appear on the website of Wise Cosmos
Educational Initiative at WiseCosmos.com, and brief videos on
Evolution and am very familiar with Steiner’s remarkable work this theme may be found on the Wise Cosmos YouTube channel.
on this theme. The Seven Planetary Seals designed by Rudolf Steiner are very
important to help us artisti-
Over 35 years ago I discovered cally awaken to the spiritual
that the orientation of the five world and the stages of cosmic
planetary seals displayed in and human evolution.
the program for the 1907
Munich Congress – with the Introduction
planetary glyphs written into While serving as General Sec-
the top of each seal – are retary of the German Section
not consistent with their true of the Theosophical Society,
metamorphic relationships as Rudolf Steiner introduced
they are displayed. Their ori- new artistic impulses into the
entations do not agree with the 1907 Congress of the Federa-
way Carl Kemper constructed tion of the European Sections
them in his book Der Bau, nor of the Theosophical Society.
do they agree with the orienta- He hosted this Congress in
tion of the column capitals in Munich, and his focus on re-
the First Goetheanum. This uniting the arts with spiritual
“mistaken” orientation of life was a significant departure
the seals prevents one from from previous gatherings. In
discovering their laws of meta- Steiner’s words, at the 1907
morphosis and from entering Munich Congress he and Ma-
into their living unfoldment. rie von Sievers led the way in
This is clearly not what Rudolf providing “an artistic element
Steiner intended. Displays of directed toward the purpose
the seven planetary seals need of not leaving the spiritual life
to be corrected. This article henceforth void of art within
attempts to make that clear. Brian Gray, Metamorphosis of Rudolf Steiner’s Saturn + Sun + Moon + Mars + the Society” (from Chapter
Images in this article show Mercury +Jupiter into VENUS Planetary Seals, colored chalks on blackboard 38 of The Story of My Life by
how one finds the “corrected” Rudolf Steiner).
proper sequence and orientation of the seven planetary seals.
Color photographs displaying the seals overlaying one another Rudolf Steiner artistically created metamorphic Planetary Seals
as an expression of cosmic and human development. The first I reveal all seven Planetary Seals in their correct orientation,
five (of seven) Planetary Seals were printed in the program of the opening a way for us to work with them consciously to enter
Munich Congress. However, the second through fifth Planetary into and understand the dynamics of metamorphosis. These are
Seals as printed in the program were incorrectly oriented – they not seven different forms; they are seven stages of one unfolding
were “rotated” out of their lawful relationship to the first Seal. living organism.
Because this fact has been forgotten, the dynamic metamorphic
principles expressed in the sequence of Planetary Seals have be- Drawing of Four Planetary Seals by Rudolf Steiner
come obscured for viewers. In 1911 Rudolf Steiner spoke about
what he intended: In Rudolf Steiner’s orignal sketch (see illustration previous col-
umn) the consistent orientation of the first four seals to each other
“When we rest our physical eyes upon any one of these figures, it shows the validity of the “corrected” alignment I am proposing.1
is not the physical eye alone but the whole organism and, above
all, the streams of the ether-body which are set into a special kind Drawing of Seven Seals by Carl Kemper in Der Bau
of motion by the course of these lines and by the form of these
figures, so that the ether-body moves differently according to
which of these figures one is contemplating….

“These figures are the means by which we are instigated to create

in ourselves the thought-forms, that is, the movement-forms in
our ether-body… in a rhythmic sequence, so they form a com-
plete whole, the sort of whole which corresponds to a particular
stream of development in the outer etheric world…. The sequence
of forms, which accord with the perfecting of our ether-body, is
shown in the sequence of these figures, one after the other.

“When we place before us such symbolic figures and are able to

look more deeply into them, they can be a help in attaining those
goals toward which we are striving in our own spiritual develop-
ment. And when, by means of such a correct sequence we create
appropriate thought-forms, we can then deepen our understanding
of the rhythms that hold sway among the seven parts of the hu-
man organism. We have not placed these figures here merely as
decoration, but because they are intimately connected with those
goals toward which we are here to strive.” (From a lecture given
by Rudolf Steiner on October 15, 1911; trans. Virginia Brett.)

On the following pages (and in the short video introduction at

WiseCosmos.com and on the Wise Cosmos YouTube channel),

Carl Kemper’s construction of the seven planetary seals (above)

orients each of the seals consistently with one another, in agree-
ment with the column capital alignments. Kemper’s consistent
pattern of constructing the planetary seals on this drawing con-
firms that their orientation needs to be “corrected” from the way
the planetary seals are typically displayed.2

Original Program of the Theosophical Congress of Whitsun Held

in Munich 1907

This program contains the earliest printing of Rudolf Steiner’s

first five planetary seals. Unfortunately, only the first seal (Sat-
urn) was printed in the correct orientation; the other four were
“rotated” relative to Saturn. On page 4 the program cover and
other pages are shown.3
Rudolf Steiner, Sketch of Four Planetary Seals
2
Issue 52 Autumn-Winter 2019
This issue was produced in the USA by David Adams. Send articles and corrrespondence for Issue 53
(Spring-Summer 2020) to David Adams at the address below. Selected back issues are also available.
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Contents of This Issue

Rudolf Steiner’s Planetary Seals 1 Visual Arts Not Visualizing? Two Conference Reports 19
Report from the Art Section in Great Britain 10 Book Review: M.C. Richards: Art + Life 23
The Launching of Lightforms: art + spirit 11 Fundamental Thoughts of Art from a Mystery Culture 25
Michael Howard’s Talk at the Opening of Lightforms 17 Creative Art History 27
Crystal Heart and Tourmaline by Leszek Forczek 18

3
Original Program of the Theosophi-
cal Congress of Whitsun held in
Munich 1907

This program (cover to right) contains

the earliest printing of Rudolf Steiner’s
first five planetary seals. Only the first
seal (Saturn) was printed in the correct
“upright” orientation shown here; the
other four seals were “rotated” in rela-
tion to the Saturn seal.

The illustration below shows the Sat-

urn Seal and the Saturday Congress
program text in German.4

This Congress program contains the earliest printing of Rudolf

Steiner’s first five planetary seals. The Sun seal shown below The Mars seal from the program (shown above) must be ‘rotated’
must be ‘rotated’ relative to the Saturn seal to view the metamor- relative to the Saturn seal in order to view the metamorphic se-
phic sequence properly. Below is shown the Saturday program quence properly. The illustration shows the Monday program in
in English and the Sun Seal for the Sunday program.5 English and the Mars Seal for the Tuesday program.7

Unfortunately, in the Congress program only the first seal (Sat-

urn) was printed in the correct orientation. The Mercury seal
shown below must be “rotated” relative to the Saturn seal in order
to view the metamorphic sequence properly. The illustration

In the Congress program the Moon seal shown above right must
be ‘rotated’ relative to the Saturn seal in order to view the meta-
morphic sequence properly. The illustration shows the Moon
Seal and the Monday program in German.6 4
Figure 1.
Original
Planetary
Seals with
Glyphs

shows the Mercury Seal and the program end notes in German.8 the exact center of the large cupola, each column capital maintains
a consistent orientation to the others, revealing their metamorphic
relationships.10
Figure 1 above shows the original Planetary Seals with glyphs
from the 1907 Munich Congress brochure. Note the vertical The Seven Planetary Seals and First Goetheanum Column
orientation of middle five seals relative to first (Saturn) and Capitals
seventh (Venus) seals.

Figure 2.
“Corrected
Version” of
Planetary
Seals

Figure 2 above shows a “corrected version” of the seven Plan-

etary Seals In it the middle five seals are “rotated” to align with
first and seventh seal. The corrected version reveals the true
metamorphic sequence between the seven planetary seals and
agrees with orientation of the seven planetary column capitals
in the First Goetheanum.9

First Goetheanum Ground Plan as Designed by Rudolf

Steiner

Since each of the seven column capitals was axially centered on

SaturnSeal and Goetheanum Column

In the comparative illustration above, the “upright” Saturn seal
corresponds with the Saturn capital in the first Goetheanum, which
was axially oriented to the exact center of the large cupola.11

Sun Seal and Goetheanum Column

In the illustration below, the “inverted” Sun seal corresponds
with the Sun capital in the first Goetheanum, which was axially
oriented to the exact center of the large cupola.12

5
Moon Seal and Goetheanum Column
Jupiter Seal and Goetheanum Column
In the illustration above, the “inverted” Moon seal corresponds
In the illustration above the “inverted” Jupiter seal corresponds
with the Moon capital in the first Goethanum, which was axially
with the Jupiter capital in the first Goetheanum, which was axially
oriented to the exact center of the large cupola.13
oriented to the exact center of the large cupola.16

Mars Seal and Goetheanum Column

Venus Seal and Goetheanum Column
In the illustration above the “inverted” Mars seal corresponds
In the illustration above the “upright” Venus seal corresponds
with the Mars capital in the first Goethanum, which was axially
with the Venus capital in the first Goetheanum, which was axially
oriented to the exact center of the large cupola.14
oriented to the exact center of the large cupola.17

Rudolf Steiner’s Saturn Seal

Mercury Seal and Goetheanum Column

In the illustration above the “inverted” Mercury seal corresponds
with Mercury capital in the first Goethanum, which was axially
oriented to the exact center of the large cupola.15

SATURN18
6
Rudolf Steiner’s Sun Seal Rudolf Steiner’s Mars Seal

SUN19 MARS21
Rudolf Steiner’s Moon Seal Rudolf Steiner’s Mercury Seal

MOON20 MERCURY22

7
Rudolf Steiner’s Saturn Seal

SATURN23 Rudolf Steiner’s Moon Seal: Metamorphosis of Saturn + Sun

into MOON
The Metamorphosis of the Seals
Drawing in colored chalks, I will now indicate, by overlapping
two or more successive seals in different colors, how each seal
metamorphoses into the form of the succeeding seal(s).

Rudolf Steiner’s Sun Seal: Metamorphosis of Saturn into Rudolf Steiner’s Mars Seal: Metamorphosis of Saturn + Sun
SUN + Moon into MARS
8
Rudolf Steiner’s Mercury Seal: Metamorphosis of Saturn Rudolf Steiner’s Venus Seal: Metamorphosis of Saturn + Sun
+ Sun + Moon + Mars into MERCURY + Moon + Mars + Mercury +Jupiter into VENUS

The author is very grateful for the following resources, as well

as the generous contributions of many wise helpers, including
Lelan Harris, Jeff Cleveland, John Cleveland, Leslie Loy, and
Molly Toral. Without these and many others, this presentation
would not be possible.

Steiner, Rudolf. Sieben Kapitelle aus dem grossen Kuppelraum

vom ersten Goetheanum als Offenbarer von Stützkräften:
Einführung und Zeichnungen ; Rudolf Steiners Text von 1907
in fünfzehn Sprachen ; Daten, Motive als Silhouetten und Um-
risse auf losen Folien. Edited by Rex Raab. Dornach: Verlag am
Goetheanum, 1995. Print. ISBN 3723507069, 9783723507063.

Steiner, Rudolf. Rosicrucianism Renewed: The Unity of Art,

Science & Religion:The Theosophical Congress of Whitsun
1907 (CW 284). Ed. Joan DeRis Allen. Trans. Marsha Post.
London: SteinerBooks, 2007. ISBN-10: 0880106115, ISBN-13:
978-0880106115.

Kemper, Carl. Der Bau: Studien zur Architektur und Plastik

des Ersten Goetheanum. Herausgegeben von Hilde Raske unter
Mitarbeit von Albert von Baravalle, Friedrich Häusler, Heinrich
Kern und Georg Unger. Stuttgart: Verlag Freies Geistesleben,
1966. ISBN-10: 3772505341, ISBN-13: 978-3772505348.

Friedrich Kempter. Rudolf Steiner’s Seven Signs of Planetary

Evolution. Ed. Paul M. Allen; Trans. Virginia Brett. Spring Val-
Rudolf Steiner’s Jupiter Seal: Metamorphosis of Saturn + ley, NY: St. George Publications, 1980.
Sun + Moon + Mars + Mercury into JUPITER 9
Entire article and illustrations copyright © 2015 • Brian Gray
& Wise Cosmos Educational Initiative. For article and video A Report from the Art Section in
resources, please visit us at WiseCosmos.org and the Wise Cos-
mos YouTube channel.
Great Britain
by Christian Thal-Jantzen
Brian Gray is the former Director of the Foundation Program in
Summer Conference 2020
Anthroposophy at Rudolf Steiner College, Fair Oaks, California,
9th – 12th August at Tobias School of Art, East Grinstead
USA. For more information about these or other educational
The Art Section in Great Britain (GB) is planning a conference
materials, contact Lelan Harris, Executive Director, Wise Cos-
in August 2020 to be held over four days for members of the
mos Educational Initiative atLelan@wisecosmos.org. OR Brian
School of Spiritual Science that are or intend to be active in the
Gray: BGrayStar@sbcglobal.net
Art Section. We will be meeting at Tobias School of Art in Sus-
sex with catering and accommodation at Peredur Centre for the
Endnotes (Sources of Images)
Arts. We will follow on from our fruitful conference last August
1
Carl Kemper, Der Bau: Studien zur Architektur und Plastik
when we built each day on a freely rendered First Class Lesson,
des Ersten Goetheanum. Edited by Hilde Raske with contribu-
followed by artistic work both individually and in groups, and
tions by Albert von Baravalle, Friedrich Häusler, Heinrich Kern
rounding off with group reflection and sharing our experience.
and Georg Unger. Stuttgart: Verlag Freies Geistesleben, 1966.
If you are interested, please let us have your email address and
ISBN-10: 3772505341, ISBN-13: 978-3772505348. Page 138.
we will keep you informed.
2
Ibid.
3
Rudolf Steiner, Rosicrucianism Renewed: The Unity of Art,
Section Coordinator
Science & Religion: The Theosophical Congress of Whitsun
The Art Section in GB is still without a Coordinator to liaise with
1907 (CW 284). Edited by Joan DeRis Allen. Translated
the Goetheanum and the College of Section Coordinators in GB.
by Marsha Post. London: SteinerBooks, 2007. ISBN-10:
The Coordinator seeks to be in touch with all artists active in the
0880106115, ISBN-13: 978-0880106115. Plates section at
Society and Section and to chair the Section Carrying Group. At
end.
present Liri Filippini has agreed to be the Section contact person
4
Ibid.
and will be attending the College of Section Coordinators meet-
5
Ibid.
ings with the Council of the Art Section in GB.
6
Ibid.
7
Ibid.
Exhibition Space and Archive
8
Ibid.
One of our current concerns is how to store and display a growing
9
Figure 1 shows the original planetary seals and glyphs by Ru-
archive. We recently took possession of a number of pieces of
dolf Steiner. Figure 2, the “Corrected Version,” is based upon
sculpture made by John Salter including a magnificent series of
the research of Brian Gray.
seven metamorphoses. At the present time we have an archive
10
Kemper, Der Bau, p. 189.
space with Novalis Trust in Stroud, for which we are very grate-
11`
Rudolf Steiner, Sieben Kapitelle aus dem grossen Kuppel-
ful. But we need much more space both for storage and to exhibit
raum vom ersten Goetheanum als Offenbarer von Stützkräften:
work. There are currently discussions with Aonghus Gordon of
Einführung und Zeichnungen ; Rudolf Steiners Text von 1907 in
Ruskin Mill Trust. Any other offers of help would be appreciated.
fünfzehn Sprachen ; Daten, Motive als Silhouetten und Umrisse
auf losen Folien. Edited by Rex Raab. Dornach: Verlag am
Art Association
Goetheanum, 1995. Print. ISBN 3723507069, 9783723507063.
The Art Association is a Group of the Art Section in GB; it is the
12
Ibid.
membership body that you can join if you wish to support, follow,
13
Ibid.
and be active in the Art Section. The Art Section as part of the
14
Ibid.
School of Spiritual Science is not a membership body and cannot
15
Ibid.
take on financial and legal responsibilities. If you wish to join, you
16
Drawn by Brian Gray in pastel.
can go to www.artsection.org The annual contribution is £35.00.
17
Ibid.
18
Ibid.
E: christianthaljantzen@outlook.com
19
Ibid.
Art Section interim contact person: Liri Filippini.
20
Ibid.
E: liri.filippini13@gmail.com
21
Ibid.

NOTICE FROM THE EDITOR:

I apologize for the unusual lateness of this issue of the News-

letter. Over the last few months I have been involved virtual-
ly full-time in helping launch the Lightforms: art + spirit art
center initiative in Hudson, New York (see following article)
The next issue of the Newsletter (#53) should follow soon af-
ter this oneto get us backon schedule. Part 2 of our article on
Marie Krösche from issue #51 will appear in the next issue.
Brian Gray Drawing Composite Venus Seal on Blackboard David Adams
10
 The Launching of LIGHTFORMS: art + spirit
by David Adams

B acked by the promise of newly inherited funds from two

donors, a group of American anthroposophical artist friends
from several states began discussing by email at the beginning
Camphill Villages in the surrounding area.

Such a unique anthroposophical visual arts center organization

of 2017 and then in person at a first meeting in June in Philmont, reflected ideas that had been periodically proposed by Michael
New York, ideas for starting a multi-purpose visual arts center Howard since the early 1980s and discussed among myself and
as a new kind of public outreach activity of the anthroposophi- other artists as well as a picture from a vivid dream I had shared
cal movement. First, a search took place for where in the United with my fellow members of the Visual Arts Section Council in
States such a center North American a
could best be located. few years previously
We looked for a site (but which went no-
that met three crite- where at the time).
ria: 1) Nearness to a One motivating idea
major urban artworld was to provide a
center with whom the needed collection
new initiative could and archive space
interact to some ex- for preserving the
tent, and perhaps have artworks and papers
some influence; 2) A of anthroposophi-
location where many cal artists who have
visual artists and ar- died. Several persons
tistic initiatives were from several states
already present; and present at that first
3) A location where meeting in June 2017
many anthroposo- or at a second meet-
phists, including an- ing in August did not
throposophical visual continue with the
artists, were living project, but contrib-
and could potentially uted helpful ideas
help support the proj- and expertise (e.g.,
The Lightforms building in Hudson, NY, showing textured and polshed-steel relfective sign-lettering
ect in various ways. Katie Schwerin, Mi-
chael Howard, Kris-
After considering several sites from coast to coast, only one tin Powers, Patrick Doyle, Nathaniel Williams, Brendan Paholak).
seemed to meet all criteria: the small touristy historic-preservation During and after that, an intensive search began for a suitable and
town of Hudson, New York, about two hours drive upstate from affordable building in downtown Hudson for the project (whether
New York City along the Hudson river and the last stop on the to lease or purchase). Over the next two years at least a dozen sites
Amtrak train from the City. Regularly visited by many people from were actively considered and explored with realtors and landlords
Manhattan and Brooklyn, its eight-block-long main street is lined in the competitive real estate climate of downtown Hudson – with
with popular antique shops, art/craft galleries, and restaurants. At each likely possibility falling through for one reason or another,
that time famous performance artist Marina Abramovic (who lives often due to being too highly priced (commercial buildings in
in the area) had recently downtown Hudson are
purchased a large historic typically priced at million
classical-style building in dollars or more), being ac-
downtown Hudson with quired before us by other
plans to turn it into a world parties, or requiring too
performance-art center and much renovation work.
training (a project which
eventually apparently has During this approximately
had to be abandoned due two-year period several
to asbestos contamination additional meetings took
of the building). There was place in the area and much email discussion continued as well,
also a history of local anthroposophical artists operating small art as the group tried to work through their varying conceptions of
galleries and hosting international art conferences there. And the the art center, as interested members somewhat came and went,
only urban Camphill Village for young people in America was as future employees were determined, and as tentative budgets
located in Hudson with a crafts gallery and workshop (called were formed, as well as the ongoing visiting and evaluation of
“Solaris”) on the main street and three other large, more rural various real estate possibilities (a much longer and more frustrat-
11
 Mission Statement for Lightforms: Art + Spirit:

Lightforms: Art + Spirit” is a center for cultural renewal that

brings creative artists and their artwork into the public domain
in innovative ways that stimulate dialogue around the inner and
outer challenges of our time and attempts to serve the spiritual
needs of human beings in their daily lives.

Drawing upon the spiritual-scientific worldview of Rudolf Steiner

(called anthroposophy), the artists of Lightforms strive to create
works of art, as well as new cultural and social forms, that allow
the spiritual in art to serve the ongoing progressive evolution of
the world, human society, and each individual.

Above:Lightforms Building as Purchased. Below: When Renovated Lightforms intends to realize its mission through public presenta-
tions, exhibitions, installations, workshops, lectures, conferences,
and performances; an artist-in-residence program; a research
center for the further development and understanding of the
spiritual foundations of the visual arts; a possible artists grants
program; a permanent collection/archive; publications; and a
small gift shop.

early 2017. Owned by a graduate of the nearby Hawthorne Valley

Waldorf School, the approximately 9,000 square-foot two-story
historical commercial building at 743-745 Columbia Steet was
purchased in January-February 2019 (see photos), and then the
focus shifted to completing extensive renovation design and work
on the building, which had once served as a car dealership (and
part of which was already rented to an upholstery shop).

ing process than any of us ever imagined). A Mission Statement

was written and approved (see sidebar) and the name “LIGHT-
FORMS: art + spirit” was adopted for the project (also known as
Lightforms Art Center). The tax-exempt organization, the Center
for Architectural and Design Research (a small non-profit that
I started in 1983 in Spring Valley for different but somewhat
related purposes) offered to serve as a tax-exempt “shelter” for
the new venture until it could obtain its own federal and state
tax-exempt status.

Finally, by the end of 2018 the choice of a building had been

narrowed down to two possibilities (both originating from the
19th century), and the one that survived further scrutiny turned
out to be the very first building ever visited by the group back in
Unremodeled rear gallery (workshop) when bulding was purchased

In August 2018 the planning group hosted a public “pre-event”

in a large meeting room at the Camphill store Solaris in Hudson,
featuring a multi-media presentation of his “land-art” and sculp-
tural work by artist Axel Ewald from Israel (with an accompany-
ing publication on Axel’s work reprinted from this Newsletter).
About 60 people attended. Another successful “pre-event” took
place during 2018: an explorative, collaborative artist-in-residence
program with nearby Free Columbia, which supported work by
artists Jason Healy from Boston, Martina Angela Muller from Gh-
ent, NY, and painter/teacher Zoltan Döbröntei and his wife Maria
from Hungary (see the report on these “ART-capital Residencies”
in the Autumn-Winter issue of this Newsletter (#50).
Renovation of original front gallery just beginning 12
Later in 2018 an initial “Coordinating Committee” (later re- and regulations governing almost everything we wanted to do. To
named the “Core Group”) for Lightforms was formed consisting give one small example, permission had to be obtained from the
of Martina Muller, Laura Summer, David Adams, and Helena City of Hudson Historical Preservation Commission to repaint in
Zay. An additional “planning committee” expanded in 2019 to specific new colors and install signage that did not deviate from
beome a larger local “Support Group” to offer volunteer support historical precedents on our building façade – only approved for
to the project., consisting of the Core Group members along with us once we were lucky enough to be able to photodocument the
Tim Paholak, Patrick Stolfo, Jason Healy, Martin Summer, and building’s historical appearance in the 1940s/50s. Along the way
Richard Neal – with a membership that has continued to expand we also managed to purchase some sculpture stands and other
and evolve, most recently adding Peter Stewart and Kai Hillel. equipment from area art galleries that were clsoing.
A fundraising campaign raised well over fifteen thousand dollars
that helped us to manage the practical preparations. Also, as a result of a suggestion by Laura Summer during that
April 2019 meeting, we began to pursue the possibility of bor-
A follow- rowing for exhibition some artworks from Dornach, Switzerland
ing series by Swedish painter and recent artworld sensation Hilma af Klint.
of meet- After much negotiation (especially by Martina Muller, who
ings by speaks fluent German), we discovered this would be possible,
both Light- but the artworks were mostly on exhibition at a museum in
f o r m s Iceland until January 2020. Feeling like we needed to gain the
groups practical experience of administrating, mounting, and promoting
in April exhibitions in our newly created spaces before attempting that
2019 (one high-profile project, we decided to open with a large show on the
including theme of “Metamorphosis and the Living Forces of Nature.” We
the con- also decided for financial reasons to indefinitely postpone our
tractor and hoped-for plans for an artist-in-residence program.
architect),
tried to fi- A still unrenovated second floor space Over the last half of 2019 this large opening exhibition was
nalize the gradually assembled with more than thirty artists from the
remaining renovation tasks, confirmed the difficult decision to U.S. and Europe. The planning and practical preparation for
scale back the renovation work plans (and some of Lightforms’ this exhibition, as well as the guiding of the completion of the
intended functions) to just the approximately 3,000 square feet renovation work and equipping of the building, was largely
of the first floor of the building (mostly due to second-floor undertaken over many long hours by our two devoted onsite
structural and building-code problems diagnosed by a structural artistic directors, Martina Muller and Helena Zay, who began a
engineer that there was not enough funding to fully repair), ac- regular work schedule on May 1 in a temporary office room on
cepted proposed budgets for 2019 and 2020, agreed on a website the second floor, with volunteer assistance as possible from a few
address, and brainstormed a series of future exhibitions and of the rest of us. But it proved difficult to adequately motivate
events at the art center. A Lightforms “logo” was designed by and coordinate the numerous contractors involved in the project
Martina Muller, with assistance from Ella Lapointe. Original (roofers, plumbers, electricians, painters, floor installers, general
plans to open Lightforms in June and then September of that year contractors, sign-makers and hangers, security system techs, etc.)
had to continually be postponed as the building renovation work to complete their work as soon as we would have liked (as well
took longer and longer (and cost more and more) to complete. We as to arrange and install various all-wired utilities services to the
also found ourselves continually having to navigate numerous, building). The first floor was renovated to create two large gallery
often complex , time-consuming New York State and local laws spaces, front and rear, with associated closets, bathrooms, etc.

Renovation work and exhibiton hanging continue side by side the day
Renovation work underway in the rear gallery: covering brick walls of the Lightforms Opening
13
Finally, the much-postponed date of the grand opening was set
for December 20, complicated negotiations with and shipments
from artists were completed just in time, as was the hanging and
labeling of the many art pieces as well as Christmas lights and
other décor; Helena created an initial website; needed equipment
and furniture was purchased; and the contractors finished the
majority of their work and cleaning up just a few hours before the
time of the evening opening. Despite promises from the suppliers,

A view of the front gallery (and front display window) ready for the Opening
beauty of our first-floor, high-ceilinged gallery spaces, and a
successful launch of Lightforms was under way. Just as Martina

A Refreshment Table Is Ready below Artwork by Marion Vinot and

Peter Wolf and with Help from Organic Tables by Martin Summer

the 60 stacking chairs we had orderd did not arrive in time, so

other, fewer chairs were borrowed from the Hawthorne Valley
Waldorf School. We had tried to widely publicize the opening
reception (by print and online media, radio, and posters), but we
had no idea what kind of response to expect. It was very hearten-
ing when about 300 visitors showed up for the opening, which
also featured refreshments and three musicians (Eric Muller on
koto and handpan, Stuart Quimby on flute, and Julian Muller on
Martina Muller speaking to the crowd
cello) (see photos).

Michael Howard speaking to the crowd;Photos by Leif Garbisch behind

finished her welcome talk, a visitor from the Hudson community,

A View through the Rear Gallery just before the Opening; Table by
Jonathan, who operates an art gallery in town, spoke from the
Martin Summer
audience and said, “I want to congratulate you on doing such a
Short opening talks were given by Martina Muller (on the history, superb job. I have been associated with galleries in Hudson for
purposes, ideals, and future activities of Lightforms, including twenty years and, walking in here and seeing what you did with
about the work of renovating the building and thanking the many this extraordinary structure – the professionalism, the beauty
persons involved) and Michael Howard (see the text of Michael’s of how you set the show off, is absolutely superb. On behalf of
talk at end), many people remarked on the spaciousness and everyone here, I want to say, ‘Thank you!’ (sustained general
14
Musicians and visitors in rear gallery Viewing the “Revelations” Series by Laura Summer
applause) As Michael Howard wrote me a couple of days later, Over the next two months several of the artworks in the show
“Overnight Lightforms went from a long and difficult pregnancy were sold (we leave it up to artists to decide if they want their
to a healthy and lively birth. So you have every reason to feel works to be for sale or not, since our primary purpose is to
proud parents. Of course, the birth is just the beginning of the encourage the public to engage in a contemplative, deepened

Visitors gather in the front gallery by the reception counter

experience of them rather than to support the commodification

Corner of rear gallery, showing photographs and related paintings by of art), subcontractors finished several remaining set-up and
Richard Neal, paintings by Gerard Wagner and Hans Schumm, and scale renovation tasks, and we were able to postpone the start of the
model of First Goetheanum exterior by Albert Baravalle Hilma af Klint show to the beginning of March. Each artist on
display (mainly paintings, sculptures, photography, and furniture)
journey of parenthood, But for now, you have reason to revel in included a wall-mounted text about the creative process and inten-
the magic and mystery of your newborn child.” tions behind their work to help visitors appreciate and understand

View of front gallery, showing sculptures by Antje Roitzche, William

Bloomfield, and, at rear, sculptures and paintngs by Martina Muller Sculpture by Michael Thomas;sculptures and drawings by Patrick Stolfo

15
 community theater project by local group Diata Diata.”

The Opening crowd listening to Martina Muller’s talk

what they were viewing, and we displayed the book Metamor-
phosis edited by Gertraud Goodwin (who also had artwork in
the show) at our glass reception counter for those who wanted
to dig deeper. January 24 we scheduled a well-attended evening

Sculpture by William Bloomfield; paintings by Martina Muller

Equally complex preparations soon began to follow as we started

M.C. Richards Emerging Form early 1970s 7-piece glazed fired ceramic getting ready for the Hilma af Klint show (also including several
artists showing related work) as well as supporting events, set to
event with three of the artists (Patrick Stolfo, Martina Muller, and open March 6, 2020. This successful second exhibition and open-
Laura Summer) showing slides and videos and discussing their ing will be covered in an article in the next issue of this Newslet-
ter. Lightforms is gradually beginning to attract the attention of
some art critics and curators from the surrounding area and even
New York City, as well as art and art history teachers at area col-
leges. Like all of the events at Lightforms, the above exhibitions
and related events were presented to the general public free of
charge, and we have depended primarily on free donations for
the operation and continued survival of this project. For more
artist information and photographs related to the above, see the
Lightforms website: www.lightformsartcenter.com.

Sculptures by Peter Barrett and William Bloomfield; Drawings by Mi-

chael Howard
work in the exhibition and their creative
processes and inspirations. On February
22, Lightforms hosted one of the “art
dispersal” events by Laura Summer
and Free Columbia, “an experiment in
our ongoing attempts to de-commodify
art,” which was also a partial benefit for
both Lightforms and Free Columbia as Musicians Eric Muller and
well as for “Firedance,” an annual, free Stuart Quimby. Drawings by Gathering by the popular refreshment table
Dorothea Kuth, 7 Planets 16
 Talk by Michael Howard at the Grand Opening of Lightforms
It is my pleasure to welcome you this evening to celebrate the founding of Lightforms Art Center. I have been asked to say a
few words about the theme of metamorphosis. I will approach this by saying a few words about how the name “Lightforms”
relates to its purpose. This is not a lecture but simply a few thoughts that we hope will enhance your experience of the artwork
and provide a fuller appreciation for the intentions behind Lightforms.

When David Adams and the carrying group settled on the name Lightforms, they had no idea it would open on December 20,
2019 – they had, in fact, hoped to open at least 6 months earlier. Even if it was not originally planned, it seems significant
that Lightforms is opening on the eve of the Winter Solstice, a couple of days before the beginning of Hanukkah, and five
days before Christmas.

We have gathered this evening to celebrate the birth of Lightforms as we enter the longest night of the year, the period of
greatest darkness. The Winter Solstice, Hanukkah, and Christmas are each festivals of Light. But we must not overlook the
presence of the darkness. With these festivals we celebrate the rebirth and renewal of the light in overcoming the darkness.

Although we have reason to welcome the shift from growing darkness to growing daylight, we know all too well that the
long dark and cold nights of January and February still lie before us. The Winter Solstice, Hanukkah, and Christmas celebrate
the outer light overcoming outer darkness. But they also remind us that light and dark are within us. At this time of year our
experience of inner light and darkness is as real as night and day. The struggle between light and dark within us is often ex-
istential. We have reason to be confident about the outer light overcoming the outer darkness, but we have no such guarantee
when it comes to the light within us overcoming the darkness in our self and the world.

It is natural for us to welcome having light and warmth bestowed upon us by others. However, the festivals at this time of
year become most meaningful when they inspire us to awaken light and warmth from within ourselves. Instead of focusing
on receiving light and warmth, we can be moved to strengthen light and warmth in ourselves so that they ray out from us into
the dark and cold of the world.

I mention the outer light and darkness of the season and its relationship to overcoming inner darkness with inner light be-
cause it sheds light on the name and purpose of Lightforms as a center for the arts. The “Light” in Lightforms reminds us that
works of art are sources of spiritual light and warmth. And one purpose of Lightforms is to place works of art into the world
in a way that allows their spiritual light to spark the creative spirit of others and illuminate the inner darkness we encounter
especially in human society.

And what are we to make of the word “Form” in Lightforms? If light and darkness are opposite, we can ask: What is the
opposite of Form? All living organisms need form. Likewise, human life needs form--not formless chaos, but also, not fixed
forms that constrict us. Human life needs living forms that are dynamic and mobile, that can adapt to the evolving needs of
individuals and human community.

As soon as we mention living form, we enter the realm of metamorphosis. The meaning of metamorphosis can be elusive,
but most commonly, it is used to describe the changes in form that occur in plants, animals, and human beings as they pass
through the stages of their development. Plants, for example, grow through small incremental changes in form, such as from
leaf to leaf, but they can also make more dramatic changes, such as from leaf to flower. In the realm of insects, we find the
classical example of metamorphosis when a caterpillar becomes a butterfly.

You will find some of the paintings and sculptures in this exhibition exemplify this kind of metamorphosis. But there is a
further meaning of metamorphosis that touches on another purpose of Lightforms.

As we have just seen, metamorphosis refers to organic change in contrast to inorganic change. But we need the
word “metamorphosis” also when we wish to distinguish between outer physical change and inner transforma-
tion, particularly within the human being. For example, when we speak about someone having a change of heart
we are referencing an inner transformation in the way someone thinks and feels. Especially when such an in-
ner transformation is self-initiated, we can speak about self-metamorphosis. We make outer changes all the time,
but true and lasting change in ourselves and in the world depends on inner transformation, on self-metamorphosis.

With this meaning of metamorphosis in mind, there is no more appropriate way for Lightforms to launch its work as an artistic
and cultural center than to create an exhibition focused on metamorphosis.

When as artists, but also as viewers of art, we inwardly engage with the qualities of color and form, they cease to be only
physical objects that we like or dislike; they become fields of forces and dynamic qualities that we can enter into. Works of art
17
 Talk by Michael Howard at the Grand Opening of Lightforms – Continued
become worlds where light is darkened and darkness is lightened, where cold is warmed and warmth is cooled. In sculptures
we encounter living forces where weight is lightened up and lightness is weighed down.

When we engage with works of art in this way, we are surely transformed by them. For both artists and viewers, inwardly
engaging with art becomes a path of self-metamorphosis. And self-metamorphosis is the sure foundation for social and world-
metamorphosis.

With these thoughts in mind this evening, we dedicate Lightform Art Center as a place:

i) Where the spiritual light of each work of art can be placed into the world to illuminate and counter the darkness of our time;
ii) And where the living forms of art support the self-metamorphosis of individuals that, in turn, serve the social and world-
metamorphosis that is so direly needed today.

Beginning this evening, we dedicate Lightforms as a space where individuals can find joyful meaning in works of art, and
where lively and heartfelt conversations around our deepest human concerns and questions can arise.

Crystal Heart and Tourmaline: On a Series of Paintings by Leszek Forczek

by Casse Waldman Forczek
ourmaline is one in a group of nine paintings the late Leszek
T Forczek did for an exhibition at the Lahina Galleries in San
Francisco, California
through these paintings how the evolution of love requires the
physical world to evolve. His belief was that love and that little
word “I” are insepa-
The general theme rable. That little word
of this painting was “I” is all that there
about the relationship is! Simplistically
of love (spiritual con- speaking, this Crystal
sideration) with the Heart series indicates
earthly, represented that love is not just
by gems and crystals. an ideal, an option, a
In this painting is seen game, or a psychologi-
the Tourmaline -- a cal puzzle, but is the
symbol of balance – essence of life that
and the heart, a symbol will eventually pen-
of love. etrate to the deepest
depths of the earth,
Gems have always making the world into
been the most rare and a luminous star that
precious aspect of the is filled with the light
world, however, with- and warmth of love.
out love – an invisible
and intangible com-
ponent – the material
dimension lacks mean-
ing and merit. Leszek
was trying to show

Early Comments by Rudolf Steiner on Artistic Creation and Love

“True love is always productive. For this reason, in this present time, as harsh as it sounds, it is almost only artists who have any sense of
love while they devote themselves completely to a work they are creating. Thus the gods created our Earth out of love . . . “

“Every enjoyment of art also strengthens the organs of clairvoyance. For example, when we look at a statue it is good to feel the forms and
lines in thought. That strengthens the creative capacities.”

June 14, 1908, Munich, in Esoteric Lessons 1904-1909 , trans. James H. Hindes (Great Barrington: Steiner Books, 2007); GA 266/1), pp.
335 and 337.
18
 “Visual Arts Not Visualizing? The Reinvention of Religious
Art.” Two Reports on the November Conference in Dornach
by Angela Lord and Liri Filippini
A Report on the November Conference of the Visual Arts Section Work on the tenth Class Lesson (in three sessions) guided by
by Angela Lord Helga Hödosï supported and deepened these themes.

he annual November Conference of the Visual Arts Section Practical artistic workshops on the theme “The Path to Imagina-
T took place in Dornach from Nov 29 to Dec. 1, 2019 with the
theme Visual Arts Not Visualizing? The Reinvention of Religious
tion” allowed participants to experience the contrasting polarities
of light and darkness, conveyed through a free choice of colour,
Art.” Between 60 and 65 people attended this significant meet- using chalk-pastels on large papers. Then the task was given to
ing, which was guided by the Hungarian artist and founder of the bring these two polarities into a motif – the light of a temple
Naput Painting School, Zoltán Döbröntei, with further contribu-
tions from László Gyuricza and Helga Hödosï.

The themes covered included “The History of Visualisation in

Art,” “The Source of Visualising from a Cosmological Aspect,”
“Ahrimanic and Luciferic Tendencies in Contemporary Art,”
“Visualisation Using Subhuman Forces,” “The Necessity of
Reinventing Art Institutions,” and “The Importance of a Morally
Supported Cosmic View in the Light of Social Development.”

Zoltán Döbröntei traced the development of Christian art, from

the icons to Rudolf Steiner’s images. He expressed his concern

Zoltan and Helga (seated) guiding a painting exercise in chalk-pastels

within the darkness of the earth. It was a challenge to bring

such a motif, allowing it to arise out of processes, relationships,
transitions, contrasts, polarities, and movements – and not out of
concepts or pre-conceived thought forms and associations. We
all experienced an inner threshold during the only two, but very
intensive sessions, raising a number of questions:
• How do we as visual artists convey an esoteric theme without
recourse to “illustrating”?
• How do we penetrate colours and contrasts, allowing them to
speak, to convey, to create?
• How does light become a structure, i.e., the temple?
Zoltán Döbröntei lecturing with slides on development of Christian art
The changes which took place from one session to the next were
that artists wishing to convey contemporary Christian and spiritu- readily observable. In our second image, deeper, freer, more
ally inspired paintings should not be working with abstraction,
but rather should strive to develop figurative images in order
to convey a humanly based motif. He cited Rudolf Steiner’s
own examples for artists that were not abstract, but indicated
future possibilities for imaginative forms and figures that were
recognizable as figures – both physical-human and spiritual-
hierarchical-angelic. In this way it would be possible to cross
the threshold safely with artistic forms and images relating
intimately to the human being and to human experiences, with
forms that are known and which are reflections connected to the
Divine Archetypes. Only then, he said, are we able to penetrate
and reflect Anthroposophia, which is the divine wisdom of the
human being. He saw this as an essential step towards developing
true imaginations and our image-building capacities. László Gyuricza and Mózes Foris Lecturing with Chalkboard
19
livingly creative processes were developed., which touched the The closing ad-
soul in a profound way, where we could perceive and experience dress was given
a deeper truth. as a beautiful
and touching
prayer, an in-
vocation that
art would, in its
deepest heal-
ing capacity,
renew and re-
strengthen the
soul of Europe.
Zoltán voiced
an earnest plea
that beautiful,
comforting, il-
luminating,
hope-inspiring
works of art
could be placed
in offices, pris-
ons, schools,
Helga Hódosi, Zoltán Döbröntei, László Gyuricza, and Mózes Foris universities,
banks, and
Throughout his talks, Zoltán movingly spoke of the need to
public spaces
heal, to restore, to harmonise and nourish an increasingly soul-
throughout Eu-
spiritually impoverished world. He and his colleague, Professor
rope (and, I add,
László Gyuricza, implored visual artists to access and to deepen
the West) – art
their inner imaginative capacities, to go further in their search for
to change soci-
figurative images which convey heart-warming, heart-inspired,
ety, to raise us
deeply humanitarian moods. They stressed that it is not given
above the forces
that Europe and the West will survive as places and sources of
of materialism,
Christian worship, art, and culture. Ahrimanic influences are Zoltan Döbröntei Uriel 2018 oil on canvas art which will
palpably powerful and increasingly so.
heal and safeguard
world evolution.
Artists have an enormously meaningful and significant task to
renew our decadently materialistic culture.

Zoltan speaking with Mozes and chalkboard Zoltan Döbröntei Hermes 2019. oil on canvas
20
I had the impression that he could perceive and hear the agoniz- International Art Section Conference at the Goetheanum
ing cry at the abyss. As he spoke and prayed out loud, I noticed by Liri Filippini
that my cheeks were wet with tears, and that I was not alone.
We were all thus moved.
H ow to create in a way that the heart and the angels guide and
oversee the process? How to create in a way that the artist and
its art are at the service of their own and humanity’s evolution?
Zoltan Dobrotei, founder and leader of Naput Art Academy
(http://naputasok.hu) in Budapest, Hungary, and his colleagues
Helga Hodosi and Lazlo Gyuricza were invited to the Goethea-
num to offer lectures and painting workshops that share their
own spiritual-artistic research into the subject. How is an image
being formed? What happens in the creation process? This is
not just a matter of technical abilities and skills, but it’s about
the inner process of the artist as he or she transform themselves
to become receptors, clear instruments for the spiritual world to
work through them and with them. We artists are being asked to
surrender our own limitations and develop new ways to perceive
and connect with the images that come to us from the spiritual
world. These images can heal, bring truth, and support the creation
of a new world – helping to evolve humanity’s consciousness in
order to take the next step forward into the future

Through inner work and development artists have the task to

awaken their imagination, thus connecting the creative process to
spiritual realities. In this way something eternal can shine through
their artwork. Nonetheless the question is, how to create pictures
.Z. Döbröntei Angel of Resurrection -
that are healing and transformational? Where do we find healing
Helga Hódosi Angel of Resur-
Saturn 2018 oil on canvas forms? Between abstraction and realism, between Luciferic and
rection - Mars 2018 oil, canvas
Ahrimanic tendencies, are the forces of Christ. Bringing together
in a sacred way something of the sense world and something of
At the conference we were privileged to see three exhibitions: the spiritual world, through the
1. Works from Zoltán Döbröntei; Christ impulse, true pictures
2. Works from twelve Georgian artists from Tbilisi, whom become available, pictures that
Marianne Schubert had visited and whose work was displayed are deeply connected to both
for three months in the Goetheanum; cosmic formative forces and
3. An extensive display of work in the Schreinerei titled “180 the healing forces of the human
Works of Art by 80 Artists from the 3 Countries Bordering Ba- heart. Here, in the human heart,
sel.” This included paintings, drawings, sculptures, and jewelry we can find living, creative
and was superbly curated by Marianne, who gave brief, succinct forces, as well as images that
insights into each artist’s biography and work. have the power to bring about
a new reality and help us on our
As a conclusion of the conference, our final session saw the evolutionary journey.
“handing over” of the Art Section leadership from Marianne
Schubert to Christiane Haid, who also leads the Humanities and The two practical sessions led
Literary Arts Section, and is an accomplished painter. by Zoltan and Helga were, in
my own experience, deeply
Marianne gave an overview of her time as Art Section leader, spiritual and transformational,
her many travels, many meetings with artists, and her organizing concretely putting into practice
of many Dornach exhibitions. Her social capacities, openness, what had been spoken in the
and warmth will be very much missed, and I am sure that we lectures. Conference partici-
all extend our good wishes to her, and for her future work re- pants were invited to work with
searching Rudolf Steiner’s landscape designs in the Goetheanum pastels on a large (A1) size pa-
surroundings. per and create a rich darkness,
leaving two areas of light that
We also extend a very warm welcome to Christiana Haid, as she Z. Döbröntei Jesus Child 2018 oil on canvas would be filled with a light
takes on the leadership of the Art Section, and we look forward colour, like yellow. After this
to working together with her. first step, we all had to move on from our own piece and continue
to paint on our neighbour’s paper, taking what they had started
and developing it further into a "Sun temple” within the earth.
The same process was repeated in the second painting session.
21
My first painting turned out to be a rather frustrating experience. I am very grateful
Perhaps this was in part due to some of the content and instruc- to Zoltan, Helga,
tions being lost in the translation from Hungarian to German to and Laszlo for their
English. But when looking back and contemplating the whole sincere endeavour
experience, what was happening with the first painting was a to serve humanity’s
clearing process of the limiting mind-structures that hinder and evolution through
prevent us from accessing true creativity and imagination: self- the development of
doubts, fears, judgements, insecurities, expectations, etc – all that the arts.
we as human beings at large need to overcome when embarking
in any kind of creative endeavour.

Paying off for doing the inner work, the second painting was
literally heavenly. A graceful shift took place in my inner being,
doors opened to the heart, and something much greater than fear
took over the painting process. It also helped to have understood
better what the actual artistic task required: letting the image of
the Sun temple arise out of the movement of the colours and
light, shining through and illuminating the underground world
– an image that, as human beings, we are all asked to do. With
courage we can consciously meet our own darkness. With love,

Zoltán Döbröntei Protection of the Folk Spirit

2015 oil on canvas

A Sun Temple Painting in Pastels

kindness and understanding the darkness can be illuminated and

transformed, thus finding that place of truth and power out of
which we become co-creators of a new earth. Our imagination
and creative work, be it artistic or simply in the way we approach
matters in everyday life, can powerfully contribute to the earth’s
evolution on her journey to become a star. As the new world
does not abide by the same rules of the old one, we are required
to have courage and faith, stepping into unknown territories and
trusting the subtle voice of our heart more than we listen to the
voice of fear, doubt, and limitation.

Artistic practice gives us a platform to develop faith in the un-

folding, as it reveals itself to us moment by moment. But art and
the artistic process very much mirror the process of life itself,
and our engagement with it. In the end, creativity isn’t just about
painting, but making our own lives and our own inner develop-
ment a work of art. Every human being is creative and, like in
the painting exercise, every human being has the task and op-
portunity to let the light penetrate the darkness and illuminate it.
As Zoltan expressed it “there is no place where evil can hide. The
light shines and illuminates the underworld, artistically, morally
and spiritually”. Z. Döbröntei The Middle of the Earth 2005? oil on wood
22
 Book Review: M.C. Richards. Centering: Life + Art
by David Adams
Julia Connor, ed., M.C Richards: Centering: Life + Art – 100 of the University of California, the University of Chicago, and the
Years. Asheville, NC: Black Mountain College Museum + Art City College of New York. Her many books include the classic
Center, 1916. 122 pages. Centering (1964), The Crossing Point (1973), Toward Wholeness
(1980), Imagine Inventing Yellow (1991),
This is a rather delayed review of a still- and Opening Our Moral Eye (1996). In her
available catalog of a 2016 exhibition. later years she joined the Camphill Village
For Christmas my wife Janet gave me community with disabled adults in Kimber-
this interesting, well illustrated (I count ton, Pennsylvaia (“Kimerton Hills”).
106 striking color photographs) catalog
of a “retrospective” 2016 exhibition at the Although I knew M.C. and have read almost
Black Mountain College Museum and Arts all of her books, I was somewhat amazed to
Center of the work of the late M.C. (Mary learn additional details in the catalog about
Caroline) Richards, with some contributions how involved and quietly influential she
by anthroposophical writers (including the was in the development of avant-garde mid-
editor Julia Connor). The exhibition and 20th-century art forms, starting while at
catalog included a lot of artworks borrowed Black Mountain College mostly from 1945
from Camphill Village Kimberton Hills and to 1952. She was an intimately involved
my friend there Grace Ann Peysson as well pioneer of the beginnings of performance
as an essay titled “M.C. + Rudolf Steiner,” art; translator, director, and actor in a variety
collaboratively written by Sherry Wildfeuer of experimental/absurdist/surrealist theater
and Deidra Heitzman. The catalog also productions (one production that also in-
includes many interesting black-and-white cluded Buckminster Fuller, Elaine and Wil-
historical photographs of M.C. and reveals in lem de Kooning, Merce Cunningham, John
an almost casual way her numerous friend- Cage and Arthur Penn) with later influential
ships with major avant-garde artistic figures. connections with Julian Beck’s wild Living
Theater in New York City and inspiring
Prolific potter, poet, painter, essayist, translator, and educator other experimental theater pioneers like the Open Theatre, La
Mary Caroline (M.C.) Richards (1916 – 1999) was born in Mama, and Peter Brook); participated in John Cage’s landmark,
Weiser, Idaho and grew up in Portland, Oregon. She graduated radical “Theater Piece No. 1” (the “first happening” in 1952 along
from Reed College and received her Ph.D. from the University of with Robert Rauschenberg, Charles Olson – the accomplished
California at Berkeley, later receiving an honorary doctorate from poet whom she brought to the College --and experimental music
Kings College, Pennsylvania. In 1945 she joined the faculty at pioneer David Tudor); was the only woman Chairperson of the
the legendary Black Mountain College in North Carolina, where Faculty from 1949 to 1951; was a key participant in the stu-
she taught writing, translated plays, danced, studied pottery and
founded The Black Mountain Review. She was also on the faculty

M.C. with, left to right, Merce Cunningham, John Cage, Jasper Johns, and
M.C. Richards Heart Person Vessel 1976 fired ceramic sculpture 23 Robert Rauschenberg (seated) in New York City 1958
dent-initiated pioneering did M.C. while both lived at the Stony Point farm community),
multi-media performance joined the Anthroposophical Society in 1957, and performed
art group Light Sound more than once at the Goetheanum (where he normally played
Movement Workshop (led more traditional classical music). Was his more experimental and
by later anthroposophical avant-garde music not known about by anthroposophists or were
painter Elizabeth Jenner- they just not interested in it? Tudor was the touring pianist/com-
jahn who studied with Ge- poser for the Merce Cunningham Dance Company for more than
rard Wagner, and including forty years and often incorporated visual and/or performance-art
Dorothea Rockburne), edi- elements into his compositions and unique “sound installations.”
tor of The Black Mountain (collaborating at times with such accomplished visual artists
Review (experimental po- as Robert Rauschenberg, Jasper Johns, Bill Viola, and Marcel
etry); “potter” student of Duchamp), including inventing unorthodox musical instruments
sculptor Peter Voulkos; from whatever objects were available, incorporating audience par-
and a bit later part of the ticipation, and also using recordings of animal and insect sounds
David Tudor at his electronic sound mixer board from nature. For more information on Tudor and anthroposophy,
key 1950s-60s avant-garde see “David Tudor and The Occult Passage of Music” by musician
art scene in New York City and environs (including being a You Nakai at https://www.academia.edu/35233758/David_Tu-
member of the Artists Club), where she not only lived in the dor_and_The_Occult_Passage_of_Music or “David Tudor and
Stony Point avant-garde rural artists community in Rockland the Sound of Anthropos-
County, New York with Cage, Tudor, Cuningham, Karen Karnes, ophy” by Douglas Kahn,
and others, but also hung out in New York City with the likes of a presentation at a 2001
Jasper Johns and Rachel Rosenthal. Getty Research Institute
Symposium, “The Art of
Reading this inspired me to do some further research on just how David Tudor” (abstract
M.C. first became interested in anthroposophy. In her most auto- only): https://www.get-
biographical book, Opening Our Moral Eye, she describes a 1949 ty.edu/research/exhibi-
visit to England (while still at the experimental Black Mountain tions_events/events/da-
College) where she received a brochure about Michael Hall that vid_tudor_symposium/
caught her attention (p. 54). She did nothing to follow up on that pdf/kahn.pdf
then, but later, back at the College, she eventually linked up with
virtuoso pianist David Tudor (1926-1996), whom she married In Opening Our Moral
and was with for ten years. Tudor, she says, was “an exceptional Eye M.C. writes that
pianist” (p.31) whose “abilities were prodigious” (p. 35) and “two sources were feed-
who became the longtime musical collaborator of the famous ex- ing (Steiner) material into
perimental composer John Cage. (I went to an interesting, partly M.C. Richards Fire Flower (Homage to Pele) n.d., my life.” (p. 54) First,
“ambient music”/partly electronic music performance by the two stoneware and acrylic paint
of them in Florida in 1968-69.) Apparently Tudor was nearly the
sometime after she left
only pianist skilled enough then to play some of the early 1960s
Black Mountain College in 1951 to live with Tudor in NY, he
avant-garde experimental music compositions by pioneer com-
gave her “a book of collected lectures of Steiner in translation”
posers such as Cage, Morton Feldman, Earle Brown, Christian
(p. 54) and she also explored further on her own (she is some-
Wolff, Karlheinz Stock-
what unclear about the timelines for this) Waldorf education,
husen, La Monte Young,
especially via visits to Green Meadow Waldorf School and the
Gordon Mumma, etc.
Rudolf Steiner School in New York City (pp. 50-51). She also
More and more, Tudor is
mentions reading Owen Barfield then (p. 72). The second source
today being researched
was visits to conferences and events at the Threefold Center in
and celebrated for his
Spring Valley “ a dozen miles” away, where she also learned about
own experimental (usu-
the Camphill Movement, with its “new social impulse” (p.55),
ally electronic or ambi-
especially by attending several lectures by Karl König (on the
ent) music and compo-
twelve senses and the Word, p. 55).
sitions (beginning in
the 1960s), and it also
She also mentions a particularly trying time of “personal crisis”
is being rediscovered
in her life in 1964-65 right after her most popular book Centering
how he was more or
was published when she had major surgery (as well as surgery “of
less of a “closet anthro-
my emotions”) and was given the book Meditation by Friedrich
posophist,” who went to
Rittlemeyer (she doesn’t say by whom). At this time she also
summer conferences at
discovered the work of Olive Whicher at Emerson College and
nearby Threefold Farm
went there (apparently in 1965) to take a course from her (prob-
in Spring Valley (as
ably on plant growth and projective geometry), during which she
M.C. Richards Grief and the Burning Bush, for also stayed in Whicher’s house (.40).”
John Cage 1992 acrylic on paper 24 (concluded on page 28)
 Fundamental Thoughts of Art Deriving from a Mystery Culture
by Sophia Imme-Atwood.. Translated by Gertraud and Manning Goodwin

verything which is created in art, serves a world plan, in so

E far as a loving human consciousness has been creative. If
one wants to serve consciously directions in art which orientate
Creation comes unconsciously out of an often lower astral body,
often out of a dry intellectual soul activity, and rarely out of a
purified attitude of the sentient soul and without conscious forces
themselves to the plan of the good spiritual beings, one has to of differentiation. Of course, there are also artists who are carried
admit to the eternal criteria of truth, beauty, and goodness. This through religious and other esoteric associations.
means to study the laws with great care and to be prepared to
practice and realise them. The anthroposphical artist is expected to work out of the con-
sciousness soul, which enables him or her to prepare and create
Rudolf Steiner has inaugurated an artistic direction which carries of the Manas, Budhi, and Atman substance.
a particular responsibility. He has placed his wood sculpture of
the “Group” with the figures of Christ, Lucifer, and Ahriman on This is in no way meant to be said in an arrogant way, but I have
stage, even though today it is placed in a different room for safety only characterised that in anthroposphical art one has to deal with
reasons. That means that with this art we have taken on to bring a completely different purpose and goal. It is a very difficult task
into reality a specific mystery task. indeed to carry through an art which has emanated out of a mystery
impulse. This mystery impulse is neither antiquated nor modern,
What arises from the fact that Rudolf Steiner has placed this but in its essence beyond time. Out of this comes the result that it
wooden group onto the mystery stage? It means that we are called isn’t appropriate for this art to copy any kind of trend of the time.
on to develop capacities to differentiate.
At this point we can recognise the massive onslaught of Lucifer
We would like to be clear about the fact that the universe exists of on human thinking, which really wants to shroud human forces
these three fundamental beings of force, God, Lucifer and Ahri- of differentiating in a nebulous haze. Lucifer wants the human
man, and the efficacy of their innumerable mixtures. Therefore being to think that there is an “objective” science and “absolute
there is nothing “neutral” or “objective” or “absolute” which freedom” in art, which disengages the human being from acknowl-
exists outside of these forces. edging moral–ethical laws in the world. This leads in science to
crimes against all of God’s creation and in art to arbitrariness,
For example, it is a great error to think that natural science is anarchy, and chaos.
“objective” and beyond any moral responsibility. The same is true
for art. One can not create anything in art which is not made out In contemplating the “Group” sculpture, one will find that the
of these three fundamental forces in content and form. Art can three fundamental powers radiate active forces which can be dif-
never be beyond ethics and morality. To start with, I would like ferentiated clearly in art. The “yardstick” or “eternal norms” and
to characterise how the creation of art can be understood in our the forces to differentiate have been eternally sent out from the
present day and age. As a rule, the majority of artists have the good mystery centres and have influenced the development of art.
following presupposition: atheism, alienation of Christ, material- With a few examples, I want to characterise these fundamental
ism, denial of a real spiritual world, and, above all, the denial of forces. These fundamental forces exist in numerous mixtures.
real artistic criteria and rules. Therefore one should not look at the following list in rigid way, but
look at it as an exercise to school one’s faculties to differentiate.

LUCIFER CHRIST AHRIMAN

Irregularity Sameness Patchy, splitting up
pressed, evil measure

Unharmonious proportion Harmonious commensurate Fractured proportion
proportion

Distorted Symmetry: circle orientated Chaotic composition

right/ left symmetry

Unbalanced Balanced Pressing gravity

Restlessness, hectic Peacefulness Inertia

Hollowed out Harmony between Sharp edges and points

straight and round
25
LUCIFER CHRIST AHRIMAN

Adorned, overladen, convoluted Modest size Shrinking, bluntness

Parts of the figures Complete figure Fractured, torn figures

Colours Light Darkness

Obtusive, garish colours Mild, light colours Dark, blunt, hard colours

Indistinctness, diffuse Clarity, purity Rigid over-forming

Abrupt, rough transitions Organic transitions, Hard next to each other

metamorphosis

Kaleidoscopic combinations, Living, etheric flow Stagnating movements

associations beginning abrupt and breaks off

Dissonance Harmony Rude, hard, reckless against each other

High tension Solution, redemption Paralysing

Exaggeration Resting in itself Drying isolation

Provoking, rattling, whizzing sound Mild, calming, pleasing sound Hard, cold beat

Ebbing echoes, empty repetition Uniqueness Stereotype, hard hammering

Inflated word Selfless, imaginative word Dried up, mutilated word

Pathetic word Healing word Cynical, cold word

Coercion Freedom Imprisonment

Violence Non-violence Extermination

Lust of sensationalism Supporting ethical goals Teaching criminal practices

School of sensuous love School of empathy and love School of hatred

Fractured and wrongly Organically fitting- Punctilious metallic chaos

put together material together material

Material alienated from its Material fitting to the Using health-damaging material,
purpose i.e. nutrients. circumstances dead animals, mutilation

Unformed content Balance between form and content Content suffocated by form

Distortion, caricature Enabling of content Purposeful negativity and

of content and form and form malice of content and form

Rousing of drives and passions Devotional, elevating Demoralising, soul-destroying

High pitched, lacerating Healing, light-filled Destroying radiation

frequencies radiation and frequency and frequency

Dependent on Lucifer Man as serving Christ Victim of Ahriman

26
 Creative Art History
by Jennifer Thomson
he real task of creative art history is to lead each of us into He and Torodd played it together as the audience watched the
T an experience of how the spirit of the times intersects with
the artist’s soul. How did they view the world and the role of
living, deep interchange between these two very different artists
come alive!
art in the world? What influenced their art? How did their work
fit into the evolution of consciousness and of art, throughout the We explore combining text, music, verse, and poetry in an artistic
ages? Diving into their shoes is a challenge, but an interesting flow. I have felt really confirmed in my intuition from many years
one. Viewing their art brings clarity about who that person was, ago that it is so important that we not only talk about art in an
just as learning about the person sheds greater light on their art. intellectualized classroom style, but that everything about how
Every August for 13 years, I’ve given an Art Retreat in Crestone, an art presentation is done should also be artistic in itself! We are
Colorado. During these retreats we offer an art presentation lucky to have the two Bruces to play flute and harp. This creates
evening that centers on a chosen artist’s life and work. Some of a wonderful transition in sound and a release from too much talk.
these artists have been: Marc Chagall, Wassily Kandinsky, Franz Of course, there are slides of the art, too. Practicing is always an
Marc, Georgia O’Keeffe, Emily Carr, Paul Cezanne, Matthias ongoing quest, especially due to life demands, but we give it our
Grunewald, Cy Twombly, Odilon Redon, Winifred Nicholson, best and hope for the best. Sometimes we are pleasantly surprised!
and Beppe Assenza.
There are two of us who work on the researching of the chosen
It began with me giving the presentation alone, somewhat like a artist. As the program develops, we all help to bring the final event
classroom situation. I personally found that too boring. I wanted together. I think it has strengthened our production, with the differ-
to somehow bring the ent voices reading parts or
artist alive for the audi- acting it out. Many par-
ence. I asked my friend ticipants haven’t heard of
and colleague Ammi to these artists or seen their
help me by making the works before.
art presentations more
dynamic. For Georgia I’m glad we can bring
O’Keeffe, Ammi created some awareness of the
a skit between O’Keeffe past and perhaps inspira-
and Alfred Stieglitz, which tions for future work. I
he and I acted (see photo). look forward to future
I’m not an actor, so it was events as we continue to
a new experience to play evolve our work together,
Georgia, to say the least. and find new ways to
Ammi has helped me with participate in the inner
creating these art presenta- soul movements of dif-
tions for the last few years. ferent artists and how
As time passed, others this transforms into the
joined in, Bruce{flutist} movements of color and
form in their art.
Ammi and Jennifer Thomson in a Scene from the Georgia O’Keeffe Skit

and Richard{actor}, even

some of the retreat students. During Franz Marc and the Expres-
sionists, Bruce, the flutist, became Adolf Hitler for a short time,
creating quite a stillness of suspense in the room. He also plays
some of his own music during the presentations. Another memory
is Richard’s performance of an artist’s studio. He created such a
mood that I could see the studio.

Crestone is a small town. So bringing something artistic is

culturally important. In this year’s performance, Bruce, retreat
cook, played his harp in the beginning as the audience walked
in. There are lots of artists living here, and many come to the art
presentations. Noah, environmental artist, joined our performing
group last year. This year a speech and drama artist, Torodd, from
Norway, joined us. It was interesting when Noah put together a
humorous skit between Charles Burchfield and Edward Hopper.
27 Torodd Lien acting on stage in the Charles Burchfield-Edward Hopper skit
 Bruce Panetti playing harp
Richard Collar acting a scene from Edward Hopper’s student days

Bruce Becker playing recorder for a skit

Conclusion of M.C. Richards Book Review:

We are largely still waiting for the anthroposophical movement to

Noalh Baen and Torodd Lien acting in the Burchfield-Hopper skit rediscover and “own” the avant garde artistic history of both Rich-
ards and Tudor. Reading this catalog would be a good first step.
28