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“The Small Dome – the Unknown Being”: a Report by Christian Thal-Jantzen and Johanna Berger

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“The Small Dome – the Unknown Being”: a Report by Christian Thal-Jantzen and Johanna Berger Issue No. 49 Spring-Summer 2018 “The Small Dome – The Unknown Being”: A Report by Christian Thal-Jantzen and Johanna Berger “The Small Dome – The Unknown Being” – Part One continues to be used as the default! One would have thought that School of Spiritual Science Conference of the Art Section in a world where well over 50% speak English that the Goethea- from 17 to 19 November 2017 held at the Goetheanum, Dor- num would not continue to use German, a minority language, as nach, Switzerland. the default language. I still look forward to the day he current cycle of when English is the con- Tinternational Art Sec- ference language and there tion conferences follows is translation into German a rhythmical sequence. for those who have not The May conference has learnt English! On this been exploring aspects of occasion there were four contemporary art with a of us requiring translation focus on painting, sculp- into English. It was my im- ture, digital media, and ar- pression from the plenum chitecture coming up this discussions that the major- year. Marianne Schubert, ity of those present could our Section Leader, has understand English. I must in her first three years congratulate the Goethea- chosen to give the No- num on having a very vember Meeting of the Art user-friendly electronic Section a distinctly inner, system for conveying the research-oriented focus by instantaneous translation. looking at the creation of Some may recall the time the original Goetheanum when the interpreter was by Rudolf Steiner and whispering in English at the artists and architects the back of the hall with around him, also with the English speakers! Now the arts in connection to we can sit anywhere in the anthroposophy in general. room with a simple gadget It is also in the Novem- hooked over one ear. The ber meeting that we have structure of the individual worked intensively with sessions of this confer- one of the First Class Les- Rudolf Steiner First Goetheanum, Dornach, Switzerland 1913-1922 auditorum interior, rear; ence allowed a significant sons in both English and black-and-white photograph colored by John Fletcher number of questions and German. Again this year contributions from the our November meeting has included work on a lesson of the First floor, some of which we will also include in our report. Class both in English and German; this year it was Lesson 9. On the last day Marianne had organised a gathering of partici- The question of language continued to challenge us. We are at pants reporting on Art Section activities in individual countries what claims to be a World Centre, and yet the German language around the world. It is interesting that this meeting was conducted in English, not German! It can be done! Rudolf Steiner Small Cupola Paintings (Egyptian and Greek Initiates), First Goetheanum, Dornach 1918-1919 of six columns in the small dome. The floor slopes from the back towards the front of the stage. Douglas Cardinal speaking in the architecture “pre-conference” in the studio of Henning Schulze-Schilddorf in Dornach; Marianne Schubert to far right, Peter van der Ree to her left During the conference we were lead into the world of the small dome in a series of illustrated talks by Alexander Schaumann Also on the two days before this conference the Art Section had and one by Elke Dominik that focused on the two sets of six invited the Canadian architect Douglas Cardinal to speak about thrones. Alexander began by inviting perspectives and ques- his ground-breaking organic architecture. This event was also tions living amongst the audience concerning this small dome. conducted in English with translation into German. That is how it should be done at a world centre! During this event we were also treated to a lecture by Peter van der Ree on his new architecture exhibition currently showing in Manilla, The Philippines, under the auspices of Architecture Steiner, an Art Section outreach activity based in England (exhibition titled “Living Architecture – Balancing Nature, Culture and Technology,” see p. 25). Carl Kemper Cross-Section Drawing of First Goetheanum, from Der Bau )(1984), p. 191; continues the curves of the domes to make two complete cicles with small dome circle hovering above floor Douglas Cardinal National Museum of the American Indian, Washing- These included a number of observations highlighting the spe- ton, D.C. 1993-1998 cial quality of the experience of the small dome as compared to the large dome – for example, that the larger dome seemed Report on the Alexander Schaumann lectures on the “The to have “landed” compared to the smaller, which had a strong, Small Dome – The Unknown Being” soaring verticality, as if “taking off,” as it were. It was also mentioned that if one were to project a sphere in the large dome The main theme and focus of this conference was the relatively that is determined by the hemisphere of its dome, one would little-known small dome of the old Goetheanum, which was the find that the sphere just rests on the floor of that space. Do the building’s stage. Its painted ceiling was the part of that building same in the small dome, and the projected sphere “hovers” that was best photographed – in fact, Rudolf Steiner would not about 2 meters off the floor! (see drawing above) It was also allow the ceiling of the large dome to be photographed, as he noted that the width-to-height proportions of the columns in did not consider the execution of the painting satisfactory. So the large dome are 1:7, whereas those in the small dome are we only have a good photographic record of the small dome. As 1:10. This has the effect of further emphasising the contrasting with the large dome, the auditorium, we have a good record of qualities of verticality already mentioned. the architrave, the capitals, and the bases. In the case of the small dome the column bases are seats or thrones. There are two sets 2 Issue 49 Spring-Summer 2018 This issue was produced in the USA by David Adams. Send articles and corrrespondence for Issue 50 (Fall-Winter 2018) to David Adams at the address below. Some back issues are also available. International Art Section Website: http://internationalartsection.bing.com Site of the Visual Arts Section in North America: www.northamericanartsection.blogspot.com Art Section Contacts Goetheanum International Art Section New Zealand Roger & Gertrud Leitch CH-4143 Dornach, Switzerland 11 Woodford Road, Mt. Eden 1003 Tel: +41 61 706 4137/Fax 706 44 01 Tel: +64 09 6315907 Email: [email protected] Email: [email protected] Australia Brigitta Gallaher Sweden Berit Frøseth 28 Rembrandt Dr., Middle Cove 2068 Skillebybacke 3, 15391 Järna Tel. 02 9882 62 99 Tel: 46 8 55174927 Email: [email protected] Email:[email protected] Canada Bert Chase, 865 Roche Point Drive U.K. Christian Thal-Jantzen North Vancouver, BC V7H 2W6 1 Crescent View, Magdalen Ave., Bath, Tel: +1 604 988-6458/Fax 988-6451 Somerset; Tel: 07802962303 Email: [email protected] Email: [email protected] Holland Rik ten Cate USA Michael Howard, Living Forms Studio Bekensteinselaan 44, 3817 AL Amersfoort 528 Pine Street, Tel: +31 0033 4616432 Amherst, MA 01002-3074 Email: [email protected] Tel: 001 413-549-5954 Email: [email protected] Italy Doris Harpers Via Venzia 30 Van James, 1096-F Wainiha Street, Oriago di Mira, Venice 30034 Honolulu, Hawaii 96825 Tel. 0039 041472881 Tel: +1 808 395 1268 Email: [email protected] Email: [email protected] Subscriptions Annual Subscriptions (2 issues) Print Version UK £15.50 US $20.00 CHF 19.50 (Note: Print subscribers also receive the pdf version Euro 17.00 NZD 29.00 AUD 26.50 if we have your email address. PDF Version UK £4.00 US $5.00 CHF 5.00 Euro 4.50 NZD 7.00 AUD 6.50 Make checks payable to “Art Section” and send to: Europe North America Australia New Zealand Please send payments to David David Adams Mark Baxter Roger Leitch Adams (right). Email him for wiring 14487 Burlington Parkway Level 2, 37-39 The Corso 11 Woodford Road, Mt. Eden or pay-by-Paypal instructions. There Penn Valley, California 95946 Manly, NSW 1095 Auckland 1024 is an extra $15 fee for wired pay- Tel: 001 530 432 8712 Tel: (02) 9977 7648 Tel: 09 6315907 ments & for cash or checks not in [email protected] [email protected]; www.bja.net.au Email: [email protected] U.S dollars. No fee for checks in US dollars or PayPal (credit card) payments. To pay in Euros, you can use the PayPal buttons at www.northamericanartsection.blogspot.com Contents of This Issue The Small Dome – The Unknown Being 1 Announcing the ART/capital Residency 22 Visual-Musical Metamorphosis in Future-Oriented Art 9 Three Short Book Reviews 24 The Evolutionary Role of Art for a Humane Future 12 ARTKITEKTURA Festival of Architecture and the Arts 25 In Memoriam: John Salter 19 Short-Term Art Classes Near and Far 29 Theo Jansen’s Walking Animal-Sculptures 20 We Stand Behind the Sky: Richard Heys Exhibition Report 30 3 We know that each of the seven carved capitals in the large dome one contributor mentioned that the themes of the paintings in the has a relationship to the seven past, present, and future planetary large dome are all about the creation of the world and the colours incarnations of the earth and to the seven days of the week. But used are all those of the daytime rainbow, whereas in the small dome the theme has to do with spiritual beings, is essentially what of the six carved capitals of the small dome? We were re- Rudolf Steiner Scale Model of First Goetheanum Interior minded that Rudolf Steiner gave a clue in answer to this when responding to a visitor asking this very question (at the time other-worldly, and the basic colours used are what is called the Steiner was giving a guided tour around the first Goetheanum).
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