“Seth material” search engine (Jane Roberts)

[...] You will compare your own life and work often in a critical fashion to artists who were obsessed with one art from the beginning of their lives, or who pursued what is really a kind of straight and undeviating course—a brave courageous one, perhaps, and highly focused, but one that must be in certain respects (underlined) limited in scope and complexity, not crossing any barriers except those that seem to occur strictly within painting’s realm itself (all intently. [...]

[...] At times you expect from yourself a kind of accomplishment that the first kind of artist might produce, without any due regard for the fact that you are your own person, that you possessed a love of words as well, that you had excellent critical capacities. [...]

[...] 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.

(This morning I mailed the first three Cézanne books, of the 25 we have on hand to send out to artists, reviewers, etc.

[...] Rather importantly, however, your own view of the art world is changing for the better as you hear from individual artists in connection with our work, and those more positive feelings will definitely help now, where sometime earlier your feelings would have been somewhat detrimental.

You were a commercial artist to make your mother happy, and to take your father’s place as breadwinner.

Your artistic abilities, because of their power, demand other abilities for their fulfillment, and you are now just becoming free enough to develop these other abilities. [...]

The father does not negate the reality of, say, the artist. The father does not rob the artist of free will, nor does the entity rob the personality of free will. [...]

[...] One personality may not be but one personality in your terms, as I have mentioned a man being one personality may be seen in terms of a father, a teacher, an artist, a community member and so forth.

[...] You considered yourselves a writer and an artist. [...]

[...] When you are tense you impede mental, psychic, and artistic spontaneity, when you relax you are open to intuitive events.

7. As an artist, my intuitive reaction to Seth’s remark that an atom can move in more than one direction at once was to associate that ability with his notions of simultaneous time and probabilities. The artist, since he isn’t any kind of a scientist (even though he might be interested in science in general), attempts to grapple with the statement as best he can, in light of the feeling he has for what Seth is trying to say. At the same time he realizes that from his artistic viewpoint he may not be able to understand the paradox of “contradictory” motions.

[...] It’s further said that our attempts to describe or visualize such nonphysical qualities inevitably cause us to misinterpret them; so the artist wonders whether the atom’s movement in more than one direction at once may not be perfectly “natural” in its own environment — some sort of ability quite separate from any play we may indulge in with words while trying to consciously comprehend it.

[...] But in the lifetime of many artists it must compete with personal vibrations, if you’ll forgive the word, of the artist himself.

He is indeed much like you, but without your artistic talent and without your overly developed protective mechanism. His liking for the planning of houses will grow, and will compensate him for your artistic talents, which he has always envied.

[...] It may seem, or it did seem, unreasonable to you that personality had much to do with so-called advancement in the artistic world. [...]

[...] I had a letter half done for Jeanne Miles, my well-known artist friend who lives in New York City. [...]

[...] Early artists drew pictures to share the images they saw in their dreams. [...]

(11:19.) Such communities have few poets, few artists, and fewer mediums. [...]

[...] (Louder:) The Protestants have always thought that artists were decadent, that contemplation was dangerous, and that leisure was a crime. [...]

(Long pause.) In the past eras of history, as you know, artists had patrons, but your society has not learned to deal with its creative people. [...]

[...] We believe the grave data was to refer to Ezra, who worked at Artistic before he died, and that this in turn was to lead Jane to identify Artistic as the source of the envelope object.

[...] Ezra had worked at my place of employment, Artistic Card Co., for many years.)

[...] The body is an artistic creation, and in certain terms you create many bodies, each one perfectly mirroring your beliefs. [...]

[...] In the light of those concepts, artistic expression has been channeled, focused, directed along certain lines. [...]

[...] It was precisely in the area of artistic expression, of course, that the inspirations might quickest leap through the applied dogmatic framework. [...]

[...] He thought, as you did, that artistic abilities were like alien flowers in an unfriendly land, that had to be force-fed and protected at all costs.

This artistic sense of responsibility was given a thicker coat by what seemed to be psychic responsibility: it seemed to Ruburt that he should use his abilities primarily to help others, or to help solve the world’s problems, or to cast some light into man’s condition. [...]

[...] First of all, the artist in whatever medium loves the activity for itself, and everything else is basically (underlined) secondary. [...]

[...] That art may add to the richness of society, to culture—but art always possesses its own secretive inner nature, and with that nature each artist of whatever kind must always relate. [...]

(10:28.) He is proud of that translation of private creative experience into the artistic public act of publication. [...]

[...] That is, you obviously were an artist in order to make a living. [...]

His beliefs about poets were contaminated by ideas that said that the poet was too sensitive, too vulnerable to life’s experiences — that this sensitivity brought weakness instead of strength, and that true artists or true poets came to a tragic end for that reason.

[...] (Long pause, eyes closed.) Your paintings are your own, and I am no artist. [...]

(The idea had come to me intuitively while I was at work at Artistic. [...]

[...] Many natural artists in any field normally express love through such creative endeavors, rather than through sexual actions.

A great artist in any field or in any time instinctively feels a private personhood that is greater than the particular sexual identity. [...]

He leaped, however, from the framework of the church into another framework, one in which mysticism was experienced secondhand, under the guise of artistic production. [...]

[...] In this world the artistic abilities were put first, but the mystical nature was given greater chances to expand and develop. [...]

[...] He knew intuitively that you also used artistic creation as a buffer between yourself and mystical expression.

[...] In part his loyalty to you was connected, and his responsibility as he saw it to keep you focused as an artist, and to let nothing distract you. [...]