“Seth material” search engine (Jane Roberts)

Now you are dealing with emotions, working with your portraits. Some of the people you paint are real, but you do not know them. You work within regular hours, yet within those hours you are dealing with unregularized emotions. You are dealing with personalities, some far different than your own, and forming these into paintings.

As you know both the discipline and the spontaneity are necessary. Now I know you. I know you far better than Ruburt knows you. (Smile.) Some things you block out. The personalities behind the people that you paint now run about that room of yours, and you try to put them into your paintings, and to make yourself strong enough to contain their reality, and you feel that Ruburt does not understand this. You do not understand all of it, but you feel the pressure of their reality, that wants to be expressed.

(“Do some of those personalities know they are being painted?”

Consciously of course they do not. Underneath they know there is a communication, but they do not realize they are being painted as such. In one man’s mind he has seen your image however, and there is some telepathic communication operating both ways, but both of you accept the thoughts as your own.

This is of the man with the odd chin. You have two separate studies of him. He has two children and lives in Nebraska, and oddly enough he is a house painter who also wanted to be an artist. He paints flowers on memo pads.

Two small paintings on your shelf. They are both of the same man. One is more a profile than the other. Ruburt knows. He has noticed them and disliked them. He disliked the person.

(Actually, each sketch, perhaps four inches square, was done to solve technical problems I was concerned with in the series of portraits I am painting. Each was successful in its own way, and opened several doors. I might add that I was somewhat surprised at the ease and success of these two sketches.)