“Seth material” search engine (Jane Roberts)

(Yesterday afternoon, November 28, while working in my studio in the back of our apartment, I had a vision of a painting. I recognized it as mine, or one I will do, of Bill Gallagher. I have been thinking over ways to do portraits of both Bill Gallagher and Bill Macdonnel.

The vision that you saw was of a future painting that you will do.

(Rewritten November/2000: The vision grew out of Seth’s saying in the deleted 382nd session, on November 27/67, that I’d do well-known painting of Bill Gallagher. It will be based upon the conception of my painting of 1954 that I “sold to Sonja.” See session 584 in Seth Speaks, held on May 3/71.)

You are allowing yourself more inner freedom again, and so you permitted yourself to see this. There were some—some (underlined) distortions, simply because the painting was interpreted in the light of your present knowledge. (Jane lay flat on her back on the divan.)

(Smile.) You would have been consciously aware of the painting whether or not you were consciously aware of the vision. It is you who think of the painting in terms of time, and who perceive it in this manner. (Sitting up as she spoke, Jane began to take off her sweater and shoes.) The painting exists and in one reality you have already completed it. In your present framework however you seem to be waiting for the developments to occur.

Now. You are already the self who will paint that portrait. The insights that will lead to it already exist. You could refuse, but the lines of probability so far are against this. The book you are reading puts things simply enough to be immediately practical. You will discover a rather powerful impact upon your lives, both of you, as a result of it.

There is much more here that the author does not understand, but he has hit upon excellent methods, and you can take advantage of them. The paintings that you will paint do exist, because you have in one sense the potential to create them. (Jane again lay down.) They exist in potential form. It is not true however that anyone else could pick them up, so to speak, from cosmic energy. They are attuned to you, and only your particular individuality is equipped to pick them up. Do you understand here?

I am. In not developing your abilities to the point where you can tune in on these paintings, that belong to your whole self, you impede your progress, and to that extent deny portions of creativity.

The paintings already exist however as definite potential forms, already created by your whole self. Only you can give them physical reality however. You can only fail in not giving them physical form, and you can only fail to give them physical form by refusing to open up your inner channels to the intuitions of the whole self.

There are some significant differences here you see, in my knowledge and Maltz’s interpretation as given in his book. To the extent that you fail to materialize your potentials in physical form, you have failed in a given physical existence. The knowledge that the forms and the paintings are there, however, is all-important.

The natural development of your abilities in other words already exists. You must merely be ready, intuitively alive, prepared and assured, and these developments will appear to you. (Pause.) Great artists are those who materialize physically the paintings already created by the whole self in potential form.

Now this whole self is completely unique, yet the energy that composes it is a part of the energy that also is the ground of being, for all other consciousnesses. Therefore when you are true to yourself, when you materialize these paintings clearly, there is also (Jane pointed at me emphatically eyes open wide) within them a ground of knowledge, intuition and being, that is instantly felt by all other individuals.

This is what makes a painting great, the validity of the inner ground of being within them, interpreted in highly individual ways. The individuality itself, if it is intuitively valid, will lead to a universal inner recognition on the part of all who perceive such a painting.

You have a wealth of painting material, of potential forms to draw upon. They are simply yours for the asking. They are paintings that no one else can materialize in physical form but you. Knowing this gives you a great advantage.

(9:46. Jane said she was pretty far-out during the session, and that Seth was “on a kick” about the data concerning painting. He could have continued, but we decided to cut it short.