“Seth material” search engine (Jane Roberts)

I will tell you one thing. You have a deep distrust of the marketplace. A distrust so that you do not want to entrust your best works to it. You are not afraid to entrust lesser work to it in terms of commercial art. Portions of this feeling are hangovers from your father’s experience, and if you are aware of this you can combat it.

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.

There are opportunities however waiting for you, needing only the initiative on your part. There are two men in particular in New York who would be more than willing to show and handle your work—both connected with galleries.

The man to whom I have referred is approximately 62, but filled with energy, and would have intuitive understanding of your work. He also needs something new in his own life, and your work would give him new purpose. You could trust him.

There are 3 other galleries who would handle your work. The name Jerry (spelled), the second name beginning with a G... Something like Geraldi (spelled).

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.

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.

(This is very true, and quite acute on Seth’s part. I have had awareness of this occurrence a few times, and puzzled over it, seeing effects in finished work that I wanted, without knowing how I had achieved them. Jane certainly didn’t know about this consciously, for I have said nothing about it to her.

You are so jealous of your own work that you use your psychic abilities most strongly as an aid to your work. I repeat, often your hand, left alone, will give you effects that you want. Then you can study them.

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.

When you become involved in the figure work however, make sure that you allow yourself special freedom in the area of the upper thighs.

(I explained now to Jane that the material tonight was very good, and that I hadn’t given her clues to it, etc., especially as regards the color experiments, characterization, the full-figure work, the essentials required for drawing the full figure convincingly, etc. She did know about my plans to do full figures, however.