“Seth material” search engine (Jane Roberts)

[...] You have done this with your art; and began, in your terms, as a child of your parents with the teachings of that culture. [...]

[...] Here, in that area excellent achievements have been made, and old beliefs overrode, that were important, concerning both art, society, and finances. [...]

The art and the symbols are closely related, and I do not mean by this that the art is necessarily stylized, as for example the symbols necessarily were. [...]

[...] I expect that you will play some strong part here on your own, if you want to; this having to do with the reception of Sumari art. [...]

[...] I haven’t discussed it with Jane, though, just considering it a technical problem involved in the art, as I would suppose she would work at writing a paragraph, etc.

[...] 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. [...]

[...] Such individuals may be highly motivated, on the other hand, to become accomplished in some art or profession or other field of activity. [...]

[...] Such individuals may try “to get ahead” on the one hand, in society or business or in the arts or sciences, only to find themselves taking two steps backward for every step they take forward. [...]

The art of the Old Masters escaped such connotations, largely because it involved so much physical labor—the making of colors, canvases, and so forth. That work, providing the artist’s preparation, now belongs to the male-world manufacturer, you see, so the artist as a male in your society is often left with what he thinks of as art’s feminine basis, where it must be confronted, of course.

[...] You would not take your art to the marketplace after you left commercial work, because then, in a manner of speaking now, understand, you considered that the act of a prostitute, for your “feminine feelings” that you felt produced the painting would then be sold for the sake of “the male’s role as provider and bringer of power.”

The art of the old masters escaped such connotations, largely because it involved so much physical labor — the making of colors, canvases, and so forth. That work, providing the artist’s preparation, now belongs to the male-world manufacturer, you see, so as a male in your society the artist is often left with what he thinks of as art’s feminine basis, where it must be confronted, of course.

[...] You would not take your art to the marketplace after you left commercial work, because then, in a manner of speaking, now, understand, you considered that the act of a prostitute — for your “feminine feelings” that you felt produced the paintings would then be sold for the sake of “the male’s role as provider and bringer of power.”

We’re going to have the most spectacular art gallery

First of all, the various kinds of organizations used by the psyche can be compared at one level, at least, with different arts. Music is not better than the visual arts, for example. [...] You have simply specialized in one of the many arts of consciousness, and that one can be vastly enriched by knowledge and practice of the others.

[...] When you understand how your own associations work, then you will be in a much better position to interpret your own dreams, for example, and finally to make an art of them.

[...] The poetic creation, itself art, also serves to free the personal subconscious and to transform personal material into art. [...]

The poetry allows for fullest possible creative expression in the full meaning of the word, art. [...]

The uniqueness of your art will also weaken it, for your art could not ever be produced by your father. Your art is indeed an excellent defense, used in this manner, for it is an anthem of individuality, and a statement of uniqueness.

[...] The last on time is connected, incidentally, with what we have been speaking of, for it can lead to an insistence upon outer realities, and result in a lack of inner intuitional development, which alone is the fountainhead of true art.

(To Art O.): Now, my dear scientific friend over there: Atoms and molecules, minute as they may appear to you, also carry their burden of consciousness and responsibility. [...]

(Art O.: “Is the whole entity involved in this dispersion of consciousness, or just the portion of it we know now?”)

(To Art O.): Even our African god over there can remember his past lives if he will only allow himself to do so.

(Art O.: “Is that life the reason why I like African music now?”)

[...] It’s going to influence science, the arts, everything. [...]

[...] The book would include Jane’s simplistically beautiful and brilliantly colored art; also my own quite different art—especially those drawings and paintings of and from my dreams that began to blossom as Seth discussed his dream material. [...] In all modesty, I think that my art and its subject matter are unique; that for each one of us dreams are an original and unending source of inspiration and knowledge.

[...] Now in a creative individual, some of these could be expressed symbolically in a painting or other work of art, but the ego could not consider them as actual.

The excellent work of art recreates for the observer inner experience of his own also, of which he has perhaps never been aware. [...]

The spacious present is always present (smile)—my pun—in any work of art. [...]

(Mr. Clauss is an instructor in art at Elmira College. It was to his class that Jane spoke on censorship in art and writing—and also ran into “a Frank Watts in poet’s clothing,” as Seth called him, in the form of another guest speaker.

[...] Now for your own sake and for the sake of the art that you follow, you must allow yourself more inner freedom. [...]

[...] This is the key to physical problems that have arisen, and if you recall they bothered you in different form in different places from the time, and even before the time, that you took art up seriously.

[...] There would be no harm either in going to the art gallery at your local college and getting acquainted with Clauss and others there. [...]

[...] (In my art.) Ruburt should be open about the symptoms (etc.).

[...] Many music or art teachers belong in that category, where the arts are taught with a love of excellence, a stress upon technique — into which the artist, who is often a Sumari (although not always, by any means) can put his or her creativity. [...]

[...] They are behind art schools, for instance, though they may not be artists themselves. [...]

(Long pause at 11:01.) Members of this (Zuli) family can often serve as models for the artist or the writer, but generally speaking they themselves transmit their energy through physical “arts” and performance. [...]

[...] If the psychic developments that represented your greatest fulfillment, with all their ramifications in your art and life, had not occurred, then you would have had two children, and continued a reincarnational cycle. [...]

[...] You also identified your creativity with female characteristics or abilities, symbolically speaking, and this has something to do with your distrust of making money with your art.

[...] She was unpredictable, and so you felt you could not depend upon your art, nor count upon it as a man. [...]

[...] It was not fine art but directed outward in obvious fashions in an aggressive sort of thrust, with a particular market in mind, and therefore to you had a masculine quality. [...]

[...] Yourself as mankind—this is the answer (pointing to me)—not to the original question but to the identification in art.

I do not know art, but I understand the nature of perception within your system, and I understand what you are trying to do and such hints as I can give you can also be applied to other areas. [...]

And your interest in art has aroused my own curiosity—

[...] Love finds expression through the arts, religion, play, and helpful actions toward others. [...]

Love can be expressed quite legitimately through the arts. [...]

[...] It means that the thrust of their love is, overall, expressed through the production of art, through which it seeks a statement that speaks in other than corporal terms.

[...] Your high-school art teacher, Miss Bowman, lent you the money to study art in New York City.

The comics acquainted you with what I will call a kind of surface art, and also in a way acquainted you with caricatures of social reality. [...]