“Seth material” search engine (Jane Roberts)

(Yesterday a friend from our Sayre days visited us. We had not seen Sonja for several years. She is a nurse, has married a doctor from Turkey, and is spending a few months in this country before joining him in Turkey. Sonja has always been attached to a portrait I had painted before Jane and I were married, and at various times had urged me to sell it to her. Yesterday she asked me again to sell her the painting, and I did even though it had sentimental value for Jane and I.

(The portrait is one of my “people” that I had painted without a model, which is my favorite way of doing people. Seth has said that I paint these portraits of unknowns because I have received telepathic data on them. At one time I had decided never to sell the portrait, but gradually changed my view on this in the light of my own feelings, along with Seth’s statements concerning my using my work to influence others. Yesterday I thought I had more understanding why Sonja wanted the painting, and so decided to sell it. I felt it might possibly remind her of a past life, or a past-life location. The painting was rather abstract, but hinted at a Middle East background, and the head was in a turban of sorts.

(I did not know it at the time, but Jane would have preferred that I keep the painting. Truth to tell, we both missed it after Sonja left. However I have photographs of it and will now do another one similar to it. The results should be better since I am a better artist now.

I also miss the painting that hung there upon the wall; and while I will not take up much of this session with this material, I will nevertheless make here a few comments concerning the person to whom the painting was sold.

No coincidence here either, the difficulty of establishing definite sexual role. The painting always struck the personality deeply, reminding him, because of the face portrait and the background, of the bare and ancient land from which he had once come, and to which he returned.

In your paintings, Joseph, you attempt to show the inwardness behind the completed physical construction, to hint at the endless nature of the inwardness which is imprisoned briefly in the outwardness.

When Ruburt attempts his paintings he tries to catch the inwardness before its moment of construction, with the form not yet fully in appearance, but between. It is for this reason that he has so much difficulty with his perspective.

He is concerned with inwardness just before it materializes within your perspective. You, Joseph, look through the outward in its physical completion and perfection, through to the inwardness which fills your paintings of physical objects, as it fills physical objects themselves.

He hints at the object, looking from the inside out. You do not see here a sort of partnership that applies to your relationship in general, the reason also for his technical inability in painting, and his technical ability in writing.

I will have more to say also about your paintings, Joseph.

(Monday night, November 23, 12 PM: Upon retiring I experienced with good duration many sightings of painted trees, brush, etc. in fall colors. Had been working on such a landscape today.

(November 24, Tuesday, 12:00 PM: Again a very vivid experience. First upon retiring I had a recurrence of seeing the painted trees, for some little time. I then switched to receiving other vague scenes which I quickly lost track of.