“Seth material” search engine (Jane Roberts)

(There is little available on Rembrandt’s correspondence—a few letters; inventories attached to his bankruptcy in later life, etc. Italy is not mentioned as far as I know. Rembrandt did do business with a wealthy art collector in Sicily, selling him some very famous works—Aristotle Contemplating the Bust of Homer, etc., and a series of etchings late in life. Don Ruffo. Historians generally say, for want of any other facts, that these business transactions were done by mail, etc.

(Perhaps I carried out some of my experiments with painting the outdoor sculpture in Denmark, where winter weather must be considered, after visiting Italy. While I discussed the Florence, Italy, data with Jane after the session, Seth returned very briefly re Rembrandt:That is why he went to Florence—to see the sculpture there. Perhaps after my return to Denmark from Italy I did some experimenting re painting sculptures, and then passed this information on to Rembrandt?

(Several years later Jane gave me another gift—a book on the artist Rembrandt van Rijn. This hasn’t been published—but will be in the later volumes of The Personal Sessions. I’ll explain the circumstances of her producing Rembrandt when presenting the first passages of the book.)

(“For the last couple of years I’ve been wondering about my strong interest in the painting of Rembrandt van Rijn. When I was a young man in New York City I even saw some of it in the museums, but I don’t recall being that affected by it then. I might vaguely recall some of it, but that’s all.”

(A Note added later: Sessions between the one above and the one below contain no Seth Material, but are instead sessions in which Jane received book-length and world-view material on the artist Rembrandt. Her Rembrandt is her great and most welcome gift to me, and leaves me humbled indeed. [...]

(I added that Seth’s remark about using the same energy for healing that she’d used to produce Rembrandt was another excellent example of obvious insights—once one was aware of it. “It could be that your healing began way back on June 9, when you started Rembrandt,” I said. [...]

Now: Very briefly, I want to congratulate Ruburt on the Rembrandt book, and to reassure him that that same creative energy is healing his body as surely as it has written books. [...]

2. Seth referred to a question I periodically ask Jane, but seldom discuss with others simply because they don’t seem to be interested: What’s happened to all of the Rembrandts? Why isn’t there at least one artist in all of the world painting today whose ability equals Rembrandt’s, and who uses that great gift to evoke the depths of compassion for the human condition as Rembrandt did? [...] My choices are personally arbitrary, of course—yet why don’t we have a Rembrandt contributing to our current reality? [...]

(One of the first thoughts that came to mind after I realized what was happening was Jane’s book on Rembrandt. [...]

You were able to sense for yourself some of the material spoken about in the Rembrandt book, so that the information does not just remain academic: it becomes alive and vital through your own experience. [...]

[...] Like Rembrandt had, I was painting portraits and full-figure compositions on very large canvases—even over ten feet square, say. [...] At least some of the portraits reminded me of Rembrandt’s work, in the dream. [...]

[...] A Rembrandt living today would be an entirely different Rembrandt, granted that he used his gifts fully.

[...] Just like with Rembrandt. [...]

(Jane wondered about getting Sue Watkins to type the Rembrandt book, without any notes at all. [...]

[...] She seemed to agree with all of this, adding that already we had Rembrandt and the new Seven in the works. [...]

[...] She suggested an insert about the Rembrandt book, which I added. [...]

[...] My wife’s later deleted material even contains a complete and unpublished book that she delivered just for me, about the artist Rembrandt van Rijn. [...]

(Not long after these sessions began, several years ago, Seth told Jane and me that the three of us had experienced lives in Denmark in the 1600’s. Ever since then I’ve thought my interest in the art of Western Europe for that same period, embracing the work of Rembrandt and Vermeer, Van Dyke, and Rubens, et al., more than coincidental. [...]

[...] Later volumes of The Personal Sessions will also include a whole book that Jane delivered for me on the great l7th-Century Dutch artist Rembrandt Harmensz van Rijn. [...] When we get to the Rembrandt material in this series I’ll offer my interpretation of Jane’s very interesting world-view material.