“Seth material” search engine (Jane Roberts)

(Long pause... This material stemmed from a discussion Jane and I had had the other day, re selling paintings and how best to go about it. I had forgotten the conversation, as had Jane, and we hadn’t asked that Seth discuss it this evening.)

You feel the work is safe while you have it. You put in time and effort in the past to sell your commercial work, but have refused to do the same to sell your paintings. You are aware of this, I know.

In order to sell your paintings in any important way, or to achieve a reputation, you must want to achieve a reputation, and want to sell the paintings. Not because you should, or feel you should, but because you want to. And if you want to, you will take them to the best-known marketplace. This in itself will bring into activation positive elements.

What you do not seem to understand is that the search, to show and sell your paintings, will in itself provide fuel for future work. The search in itself will make you feel that you are doing your best to place your paintings so that they will be permanently displayed and cared for. You owe them that much.

Ruburt nicely channeled these so that they could be used with the writing ability. You have only begun to use your own psychic abilities, in line with your painting.

You have had glimpses, but the two abilities will work hand in hand so that ideas for paintings will occur with greater vividness, and your hand itself will know how to get certain effects that you want, before you are consciously aware of how this is done.

You have begun to appreciate the workings of your psychic self in your paintings, but you are only beginning. And yes, the entire figures of your people will also emerge, both in movement and repose, and you will be surprised, again, at how well the characterization will show itself through the gestures and even folds of the cloth.

You want to create a whole new world of your own making, in your own art form, and you will not be satisfied with less. In your paintings the people will be in control of the environment. It will not overwhelm them, and yet they will definitely emerge from it, and psychologically this will represent to you a triumphant emergence of individual personality.

In one way you have begun to do so, in the manner that you have chosen to paint clothing—that is, the types of clothing you have chosen to portray. The environment portion will come later, and you will sense the environment something like a mystic arrangement that a given personality throws about the world around him.

Clothing tells much about character, for a person chooses his clothing. Subconsciously he also chooses his environment, and throws his own character about it so the basic mood, the underlying mood of a personality beneath all the shifting moods, will also be expressed in color that is reflected in the entire painting, the environment as well.

This is also reflected in the environment. By environment I mean those portions of the painting called background. They will attain greater vividness for you. You will see them as extensions of your people, rather than as the medium in which your people happen to appear. Do you have any questions on this material?

(Once again, the material in the last delivery was very good, with much intuitive insight as regards character, background, emotion, etc., in painting. From this data I will formulate some questions for Seth. At the moment however they will center chiefly about New York City galleries, names, etc.)