“Seth material” search engine (Jane Roberts)

(The painter, 14th-century Belgian artist Van Elver, a survival personality whose portrait I have painted. [...]

He will make an artist’s helper out of me yet. [...]

[...] Now, my dear friend Joseph, it is partially because of this that some paintings, you see, generate strong emotional response, and outlast the artist.

That, plus the need for money when you left Artistic, and the release from the fear, the belief, that welfare would take what he made. [...]

[...] To some degree Ruburt believed that artists and writers, pioneers, or revolutionary thinkers, were somehow punished—despised even—for their genius; ostracized. [...]

[...] There are many variations on the same thing that the artist, the revolutionary thinker, the genius, would be punished by his fellow men, or even be betrayed by his own abilities. [...]

[...] To some extent now, you applied discipline in your work and lives to protect yourself against response to a world that you felt was insane, in direct conflict with artistic pursuits, and in which you felt quite alien —both of you, that is, as a unit.

[...] Some people do not understand artists, or any creative endeavor. [...]

Now: An artist does the same thing in different terms, when he or she imagines the probable versions that a painting, or a book or a sculpture, for example, might take. (Pause.) The artist does not usually understand, however, that those probable art productions do literally exist; he perceives only the final, physically chosen work. [...]

[...] For weeks after her admittance in April, I didn’t know if Jane would ever do any “psychic” work again, but three months later she surprised me by beginning a series of dialogues similar to the “world-view” material she’d produced for her books on the psychologist and philosopher William James, and the artist Paul Cézanne. [...]

Now: you had built-in status in Ruburt’s eyes, simply because you were an artist. [...]

(“Is that why I am an artist now?”)

[...] I had a much younger assistant who reminded me of Tom Lantini, an artist friend who had been a year behind me in Sayre High, our hometown school in Sayre, Pennsylvania. [...] I knew the character type well because in the early 1940s, in ‘real’ life, I’d been one of the artists who had drawn the very popular comic-book hero, Captain Marvel. [...]

[...] I’m not sure of the connection unless it means that at the time he knew Tom, as youthful artists both Rob and Tom believed in the magical aspects of life — which now come to Rob’s aid, assisting him by drawing the character’s head.”

[...] I told Jane I also felt that Jean was somehow dissatisfied in life, perhaps confused, perhaps caught between her artistic leanings and her upbringing to lead the more conventional life — working at the hospital, and so forth. [...]

[...] These people, he felt, were not the romantic artists he had dreamed of, but sometimes very calculating, and would blemish an artistic product with what he believed to be moral incompetence.

[...] As in the Introductory Notes, I want to stress Jane’s role as the creative artist, disseminating her personal view of a larger inner reality, and her intuitive and conscious comprehension of at least some aspects of that reality; for such understanding can easily elude our Western-oriented, materialistic, technological outlook.

(Since Jane began delivering the Seth material, I’ve become more and more interested in questions about the origins of creative [meaning artistic] endeavors. [...]

[...] You have always seen family life yourself as a threat to artistic production, and the first thing you would do if you had a house would be to build a studio outside of it. [...]

(The following reference to a portrait concerns an egg-tempera portrait I entered into the annual Chemung County Artists’ Exhibition. [...]

The man Ruburt thinks of with the funny eyes is a fairly good portrait of the artist I told you of. [...]

[...] Seth then gave the artist’s name as Van Elver, saying he was from Norway or Denmark and that he was giving Seth painting data to be passed along to me.)

[...] Seth told me I would become a very well-known painter; Ruburt, he said, knew nothing about artists’ agents or their locations in New York City, he said for the record, adding that there is an agent on 62nd street who can be of great help to me. [...]

[...] With a more painful heart I yearned for my wife to walk to me, hips innocently and joyfully swaying, as she used to do years ago, when she’d meet me every day as I left the printing company where I worked as a commercial artist. [...]

[...] I had not left my full-time job at Artistic then, but was close to doing so, and at the time I had not been feeling well. [...] As best I can remember, I did not tell Jane of the sensation I experienced at Artistic a year ago.

[...] It happened on my job at Artistic Card Co., at noon. [...]

(Since I left Artistic last February, in other words. [...]

[...] While you were at Artistic you both used that as an excuse. [...]