“Seth material” search engine (Jane Roberts)

[...] In a sense, however (underlined), a creative product, say, helps complete an artist, while of course the artist can never be completed. [...]

[...] Part of your artistic impetus does come from this inhibited emotion, but fresh impetus is received when the emotion is allowed to go outward toward Ruburt; and through Ruburt, acting as a symbol to you, to the world at large.

[...] (Smile.) Without your feeling toward Ruburt and the resulting urge to emotionally actualize yourself to another personality, your background could have prevented even artistic development. [...]

(We have been recently planning that I am to leave my job at Artistic at the end of January, and take at least a year to paint, etc., after a month’s trip to Florida in February. [...]

He wants you to leave Artistic and paint full time, to make up to you what you have suffered on his account, and also because he now believes that is the correct course to follow. [...]

(I still intend to leave Artistic at the end of January, though some of my ideas have changed. [...]

[...] (To me:) Your “sportsman self”* was never endowed with the same kind of force as that of your artistic or writing self. [...]

Had it been given extra force through your environment, circumstances, or your own intent, then either your artistic self would have become subservient or complementary; or, if the energy selves were of nearly equal intensity, then one of them would have become an offshoot, propelled by its own need for fulfillment into a probable reality. [...]

[...] Sportsmen make good money, so for this and other reasons you early turned to commercial art — a field in which artistic ability would be well paid for.

Your original purpose was the purpose of the creative artist or of the mystic, and that kind of purpose automatically brings you in rebellion against official authority. [...]

[...] The tapes are not artistically produced. [...]

[...] That failure was also meant to take your mind away from what he believed you believed was your own failure as an artist.

He was afraid during the tour that you would feel put in second place, rather than as an artist being the star of your own show.

Now: such physicians, in their field, are like the mental physicists and dream artists (described in The “Unknown” Reality). [...]

Of course, it could be much trickier for the artist to paint a past-life portrait of the client who poses with that result in mind. [...] Can the artist relax enough to let a pertinent image of the sitter come to him or her? [...] Well, to start the sitter could always tell the artist about his or her own dreams and hunches, and help the poor guy out that way. That is, while taking it for granted that the artist believed in reincarnational possibilities....

I do admit that in recent years I’ve wondered more and more why artists don’t deal with at least their own past-life images. [...] Surely the artist could have, would have, insights into such existences but for a number of reasons—fear of ridicule, for example—choose not to investigate them. [...] Yet artists are supposed to be uninhibited to express their feelings and knowledge. [...]

[...] 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. [...]

[...] She came to Elmira with me after I’d begun working for the greeting-card company, Artistic, to look for a place for us so we could move from Sayre and save the time and expense of commuting 30 miles a day, five days a week. [...]

[...] Some artists with great ability may shut out intellectual maturity, utilizing native emotional qualities to such an extent and with such intensity that the mental reasoning faculties are largely shunted aside. (Pause.) Without rational illumination, the emotional elements may be so unwieldy that the artist, for all of his spontaneous expression, cannot relate in any kind of permanent situation of an intimate nature. [...]

[...] Being an artist is a natural way of life with you. [...]

[...] This is your artistic prescription, and half doses will not do a full job.

[...] Carried to extremes, such a would-be artist or writer would never complete a painting or a book—not because of any lack of ability but because of lack of confidence and poor mental attitudes.

In the face of the belief that the painting or the book would be miserable if produced, each good sentence or artistic stroke would be the opportunity not for rejoicing but for dismay: “Aha, what a fine stroke to be wasted, for the painting will surely go astray.” [...]

[...] This included my painting, my job at Artistic, my attitudes about money, classes—in short everything I could think of, I guess. [...] I strongly suspected my days at Artistic were numbered; especially so since we now planned a long trip early next year, after taking care of checking the copyreading Prentice-Hall is now doing on Seth Speaks; we are due to get the script back in January.

[...] This work can be followed by one utilizing sessions concerned with art mainly but covering some other artistic areas as well, such as the nature and origin of inspirations.

(“Would it be okay for me to work part-time for Artistic, for instance?”)

[...] For a surface I chose a cardboard canvas-covered panel made by one of the well-known artist’s manufacturers. [...]

In this line of feeling, the distortions, artistic distortions represent those points where you feel that the irrational could enter in, or untruth. [...]

[...] The object was a black and white Polaroid photo, taken of myself by a coworker in September 1960, at my desk at the Artistic Card Co. [...]

(“A connection with four people,” I felt to be a vague reference to others I worked with at Artistic Card Co., when the photo was taken in 1960. [...]

[...] The art room at Artistic, where the envelope photo was taken, is located on the second floor. [...]

[...] You do not approve of yourself because you think you should be a better artist, or a better writer—but in any case, you do not let yourself appreciate the self that you are. [...]

These beliefs are centered around artists, writers, poets, musicians, actors and actresses, or others who seem unusually gifted in the arts or in various other methods of self-expression. [...]

You expect yourself to be a great artist, lost in the intricacies of what you think of as an artistic emotional reality, innocent of any interfering intellectuality. [...]

When your portrait of the artist was done your own psychic abilities had grown as much as your artistic knowledge. [...]