“In old days the plastic arts, music, and poesy were so germane to man in his totality that his Transcendence plainly manifest in them. … What is to-day obvious to all is a decay in the essence of art. … the opposition to man's true nature as man.”

Considerations by the Way
1860s, The Conduct of Life (1860)

Source: The Strength To Dream (1961), p. 214
Context: Art is naturally concerned with man in his existential aspect, not in his scientific aspect. For the scientist, questions about man's stature and significance, suffering and power, are not really scientific questions; consequently he is inclined to regard art as an inferior recreation. Unfortunately, the artist has come to accept the scientist's view of himself. The result, I contend, is that art in the twentieth century — literary art in particular — has ceased to take itself seriously as the primary instrument of existential philosophy. It has ceased to regard itself as an instrument for probing questions of human significance. Art is the science of human destiny. Science is the attempt to discern the order that underlies the chaos of nature; art is the attempt to discern the order that underlies the chaos of man. At its best, it evokes unifying emotions; it makes the reader see the world momentarily as a unity.

c. 1910; as quoted in: Der Blick auf Fränzi und Marcella: Zwei Modelle der Brücke-Künstler Heckel, Kirchner und Pechstein, Norbert Nobis; Sprengel Museum Hannover und Stiftung Moritzburg, 2011, p 17
1905 - 1915

Source: 1970s, Take Today : The Executive as Dropout (1972), p. 11

Proem
Festus (1839)

In a letter to Rudolph Steiner, c. 1921-23; as quoted in Abstract Painting, Michel Seuphor, Dell Publishing Co., 1964, p. 85
1920's

[2007, Spiritual Perspectives and Human Facts, World Wisdom, 28, 978-1-933316-42-0]
Spiritual life, Sacred art