“Seth material” search engine (Jane Roberts)

[...] He wants to know where he stands, and he wants to fit a neat category, so that he can say to the world: “If you are a shoemaker, I am something as definite; or if you are a professor, I am a writer or an artist, or a —?” He wants his contemplation to pay off, and he is very anxious about where his money goes.

[...] Even without the psychic endeavor, you both would have been bothered if, say, Ruburt succeeded as a writer of his own books, with no help from you of any kind, unless you succeeded as an artist. [...]

That dislike, as much as anything, made you unwilling to do what is required to be a selling artist. [...]

[...] Your abilities as an artist, for example, were not those relished by mothers in their male offspring. [...]

[...] For you, the artist was not connected with any ideas of homemaking, though outside of that context you wanted to own your own piece of land, however small. [...]

He kept it to protect himself and to protect you, artistically and economically, so that for example you would not have a child to support or to turn you from your lone purpose. [...]

[...] The book (Psycho-Cybernetics) will help you as an artist. [...] I am also getting advice before I hold these sessions, from someone who is much more of an artist than me.

Your development as an artist however, given your particular abilities and personality, was not possible in your early years. [...]

Now, that disappointment with your relationship is even more pertinent than your individual and joint feelings about Artistic, and your life in that regard. [...]

[...] The basic disappointment with each other colors your perspective when you consider the Artistic Card aspect.

[...] Ruburt’s health, your work, the Artistic Card aspect and all others will fall into line.

[...] By all means (to me) be easy with Dialogues, for you are making intuitive and artistic breakthroughs. [...]

[...] The title page of Louis Pomerantz’s book shows that it was published by A Chicago Chapter Artists Equity Publication, 332 South Michigan Avenue, Chicago 4, Illinois. Artists Equity Association is dealt with in the book’s forward also.

[...] We believe it refers to the book by Louis Pomerantz; the author himself; Paula Gerard, the illustrator; and the Artists Equity Association, discussed in the book’s forward.

(Below this the Artists Equity Association is listed, with the president’s address as the University of Minnesota. [...]

[...] The great artists, for example, did not emerge out of a particular time simply because they were born into it, or (because) the conditions were favorable.

The play itself was concerned with the actualization of intuitive truth into what you would call artistic form, with a creativity of such vast and sweeping results that it would serve to awaken latent abilities within each actor and to serve as a model of behavior.

Periods of renaissance — spiritual, artistic, or psychic — occur because the intense inner focus of those involved in the drama are directed toward those ends. [...]

[...] An artist will be tolerated — only if his work sells well, for example, in which case it will be thought that the artist is simply trickier than most in discovering a way of making money.

[...] This wasn’t a symbolic or artistic sensation — this was sudden known fact!

[...] implements for nourishment rather than the elegant more artistic connections of sterling silver—which is itself beautiful while also serving a function.... [...]

[...] The notation mentioned your name, along with other names of artists whose works were under consideration by that woman to be placed in business offices.

[...] And also that you have made a good decision as far as Artistic is concerned, particularly in that you requested more money. [...]

Joking aside, you will no longer feel put upon at Artistic, and perhaps you can see now that it would have been perfectly acceptable to have made your demand for more money at a much earlier date, since the demand was certainly justified for value received.

(For three years I worked full time for Artistic Card Co. [...]

[...] You can say “Why did my artistic talent not mature when I was young?” Yet the dimensions of personality are such that basically the question is shallow. You could have been in those terms a successful, well-known artist. The dimensions of your being, however, demanded that you seek out questions beyond those of any known perspective, and to be the kind of artist you really wanted to be lifts you into a realm beyond the usually known.

[...] This is one of the main reasons that he suffers from strong feelings of disloyalty whenever he allows himself to wish that you were more successful in your work, artistically or financially.

[...] Being an artist and being successful were opposites for your inner self. [...]

I should make this more clear: being a fine artist and a success were opposites.

The fact that you even sent books to artists and art institutions shows that you have changed your attitudes in Framework 1, thereby opening resources in Framework 2 that did not exist, practically speaking, earlier. Many artists have strong psychic leanings, whether or not they admit them. The Cézanne book will have more effect on the people that you sent it to than they realize, or may be apparent at this time, because you are uniting two strong forces—the artistic and creative ones. [...]

(Today we received an acknowledgement from the artist, Raphael Soyer, to whom I’d sent a copy of Cézanne a week or so ago. [...]

There is a connection on your part between your own interest in the Jewish past, and your art, and the gentleman (Raphael Soyer) who is an artist and a twin, to whom you sent Cézanne.

[...] Creativity is a kind of psychic play, an exploration of reality, and an individual reinterpretation of it, and of the events of Framework 1. The artist might need to know technique and certain methods, and so forth. He may or may not sell his paintings, but the difference between the artist and other people is his or her way of being—a difference in the style of existence. [...]

The physicians aid by giving precise overall directions to the body consciousness, simply facilitating healing, and directing energy—they are artists in their field. [...]

The artist does not identify with the colors he uses. [...] You would behave instead like a mad artist who says, “My paints are a part of me. [...]

[...] You change the idea as an artist would his palette.

[...] I might be a Milton Avery or a Paul Cézanne type of artist. More and more I’ve come to admire—revere, even—the single-minded, childlike devotion artists like Avery and Cézanne had for their art. [...]

(8:53.) Early artists hoped to understand the very nature of creativity itself as they tried to mimic earth’s forms. [...] The true artist in those terms was always primarily—in your terms again—a psychic or a mystic.

(Pause.) The two of you thought of yourselves specifically as a writer—or rather a poet—and an artist before our sessions began. [...]

You identified, primarily now, as a poet and an artist because those designations, up to that time, seemed most closely to fit your abilities and temperaments. [...]

[...] An impoverished artist as a husband he could take with great pride. Once the part-time job continued and kept continuing however, once you had a job steadily, then he felt that others compared you, not with other artists but with other ordinary men who had jobs. [...]

[...] He wanted you to state your position, and say “I am an artist” to her and to the world, but he deeply feared that you considered that attitude irresponsible, frivolous, not practical; and worse, that you felt it negated the sacrifice you made by keeping the job for so long. [...]

[...] He was afraid you were not an artist after all. [...]

[...] 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.