“Seth material” search engine (Jane Roberts)

[...] These artists will be welcome to arrange for one-and-two-man showings. [...] Interested area artists can contact Mr. Macdonnel between 1:00 and 3:00PM on Saturdays and Sundays at the gallery.

[...] Jane, Bill and I were eventually left alone, and since Bill is also an artist, the three of us joined a rather animated discussion of Jane’s latest work. [...]

(Elmira artist opens gallery to promote abstract and expressionistic art in the Elmira-Corning-Binghamton, New York area.

(The Grand Opening exhibition will consist of a two-man show of sculpture by Harold Spaulding and Walter Buhr, two well-known Binghamton-area artists. [...]

As with a landscape there is often an attempt, my dear Joseph, to steal, so to speak, those elements of life with which the artist is pleased, and transpose them or transfix them, in such a manner that they will attain an invulnerability to other elements with which the artist is dissatisfied.

They are expressed yet they are repressed from, or they are kept from, active complete physical construction by the very act of artistic creation. [...]

[...] Again, while a certain time is required for any activity as far as artistic inspiration is concerned, there is little correlation, for artistic inspiration is independent of time.

[...] He had seen your family’s reaction to you as an artist. [...]

[...] At the same time artistic work had other connotations. [...]

[...] You have made as vital a leap, and it is freeing you artistically.

(“The pendulum repeated my insight of a couple of days ago—one that may be very important: that all of my upsets over the years, the stomach, the side, the groin, the shoulder—the whole bunch—stem from my consistent feeling that I’m a failure in life, that I don’t contribute enough, that I don’t help Jane enough, that I haven’t really made it as an artist or as a writer.

(“The pendulum also says I can make it as an artist and writer, and that I’m too hard on myself. [...]

[...] Thinking in terms of the conventional world, however, you feel sometimes at a loss, for you want to say, “What am I?” in those terms (underlined)—an artist, or a writer, or a combination of the two? [...]

If you were just a writer or just an artist, or if Ruburt were just a writer or just a psychic, then neither of you would be involved in this endeavor, which is even in your terms, of such a creative nature that it defies definitions. [...]

The Sumari often provide a cultural, spiritual, or artistic heritage for the species. [...]

An artist expects his paintings to be good — or, if you will forgive a jingle: at least he should. [...]

As mentioned much earlier, the real estate couple who showed you the first house, in Sayre (see Note 11), have definite artistic leanings. [...]

[...] She paints as a hobby.¹² You did not consciously pick out real estate people who had artistic connections, but you were led to them and they to you. [...]

[...] The creative artist is always involved in the expression of the ideal, and his work expresses that ideal as best he can.

[...] Now that is true and not true, as you know—for ideally, how marvelous it would be if each person could indeed understand those balances and artistic lacks of balances when they appear.

[...] You felt that the lack of taste, and often of artistic integrity, was so blatant that it blighted the words themselves, marred the message. [...]

[...] You were interested not only in a painting, and the painting’s origin, but in your origin as an artist, and in all of those relationships that are involved between the perceiver and the object, that then is turned into the artist’s model. [...]

[...] In a way (underlined), you were too contemplative (pause), even perhaps too intellectually inclined, perhaps even too solitary, to be an artist alone. [...]

[...] Joseph is an artist. [...]

This does not mean that any person, spontaneously, with no instruction, can suddenly become a great artist or writer or scientist. [...]

[...] Specifically, though, this is what happened: Quite suddenly in the predawn hours of December 11 she began to write an automatic script that purported to come from the artist Paul Cézanne, who lived from 1839 to 1906. [...]

[...] With a single look the artist has an immediate grasp of the entire work before him; he (or she) can tell what he’s done and has to do, what he may have to change or “fix up,” even if he fails at it. Not so the writer, who while reading must pass up the artist’s simultaneous perception for his own linear cognition as he makes a multitude of decisions involving sentence structure, what to use or eliminate, and so forth.

Sometimes the artist in me visually comes to the aid of the writer by laying out pages of material and notes side by side upon a table or two. [...] This method also helps greatly in counteracting that initial impatience the artist part of me strongly feels when my writer self comes upon a complex situation.

I’m well aware of current scientific theories about the supposed separate functions of the two hemispheres of the brain: The left half is said to control logical activities like writing, while the right half is responsible for the intuitive artistic abilities. [...]

[...] You also wanted some reassurance that you could operate as an artist as long as you chose in this life. [...]

(Note: I certainly do want to function as an artist into advanced old age....)

(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. [...]

[...] You however, being the male breadwinner as well as artist, feel most threatened by sex when you are working, because pregnancy could threaten the artist. [...]

[...] You both become panicky therefore in two main areas—both that would affect your primary directives, to devote yourselves to artistic and psychic work.

[...] I work all day Friday at Artistic.)

[...] When you were working full time some years ago at Artistic your fears that Ruburt would become pregnant became an obsession. [...]

[...] You used your artistic abilities. [...]

For a while your beliefs, ideas, and artistic ability merged at one level. [...]

Many novelists, say, of some considerable ability in writing, flesh out those same stories with characters only a bit more mature, and are considered quite serious artists. [...]

[...] In terms of mental, philosophic, esthetic, and artistic terms, however, you each decided to go ahead even if it meant leaving your times behind.

(“But it hasn’t come out as the artist and the writer in these past lives?”)

Ruburt, at one point was an artist as a male. [...]

[...] Someday you may even inspire other artists still within this field. [...]

[...] They possess a great curiosity about artists, writers, or others who have chosen a different route, and achieved in that fashion. [...]

[...] You are also presented, whether you know it or not, with certain artistic challenges that the landscape itself will provide, and that you have chosen.

The hill property represents a certain kind of security, then — financial, spiritual, and artistic — but an open security, in which there is relative privacy without an overemphasis upon secrecy, which is something different.

[...] People who are not writers or artists, or poets or musicians, often suddenly find themselves almost transformed for a brief period of time — suddenly struck by a poem or a song or a snatch of music, or by a sketch — that seems to come from nowhere, that seems to emerge outside of the context of usual thought patterns, and that brings with it an understanding, a joy, a compassion, or an artistic bent that seemingly did not exist a moment earlier. [...]

(9:48.) Dream dramas are highly complicated, artistic productions. [...]

[...] For many well-intentioned artists, with the best of intentions, produce at times shoddy works of art, all the more disappointing and deplorable to them because of the initial goodness of their intent.

[...] I do not personally know why anyone would collect the worst works of any artist, and get pleasure in ripping them apart. [...]

To identify man with his poorest works is to purposefully seek out the mars, the mistakes, of a fine artist, and then to condemn him. [...]

[...] His works are flawed — but they are the flawed apprentice works of a genius artist in the making, whose failures are indeed momentous and grotesque only in the light of his sensed genius, which ever leads him and directs him onward.

[...] Then I was working for Jake Ruppenthal, my old boss at Artistic Card Company, when he was art director. I had left Artistic in 1972, to concentrate upon helping Jane with the Seth material. [...]

[...] He’s an artist I work with at Artistic Card Co.)