“Seth material” search engine (Jane Roberts)

Too many compromises do sap your strength and energy, and the work compromise was inhibiting your painting to some extent. The focus upon compromise automatically forces you to withhold directness and energy in all of your pursuits. After a while despite yourself you take on to some extent the coloration and attitudes of others who live by compromise entirely, until your own clear-cut ideas and purposes seem more and more unrealistic.

There is some envy. You did not say that you intended to devote yourself to your own painting, and this should be verbalized. The family compromises began long ago, out of a misguided sense of sympathy, and now to some extent or another will continue. Here you are caught in a compromise of emotions. Ruburt feels this particularly strongly, because he is so sensitive over such relationships to begin with. The situation however is such that almost any clear emotion is automatically denied expression, shunted aside and often replaced completely by an opposite—all under the guise of the idea of (in quotes) “being good and understanding.”

Unconsciously the emotions are quite clearly picked up on all of your parts, and clear communication, bodily or verbally, almost completely cut off. The quite legitimate spontaneous desires to be of help are therefore often hidden beneath a barrage of resentments at being forced to help for the wrong reasons.

All of this is quite legitimate, and that is undistorted.

(I would say that all of this marks definite learning on Jane’s part. If she will just keep it up….)

(“For the last couple of years I’ve been wondering about my strong interest in the painting of Rembrandt van Rijn. When I was a young man in New York City I even saw some of it in the museums, but I don’t recall being that affected by it then. I might vaguely recall some of it, but that’s all.”

(All of this is very acute artistic information, and embodies the use of good technique even today. Again, I don’t believe Jane knows these things consciously. The varnish data is very good, also the fresco material. Many frescos were ruined in those days through poor techniques. Quality control was not what it is today re paints, varnishes, etc.)

(Lead white, for centuries, has been the recommended white pigment for oils, and indeed before this century was the only white available, as far as I know. It is poisonous. Even today most authorities still regard it as having superior properties to all other white pigments. In this life, however, I prefer zinc white.)

(In those days, tubes for paints did not exist—all color had to be prepared fresh each day by the artist or assistants, from dry pigment. Varnish was often used as an ingredient in mediums. There are and were, many kinds of varnish. A slight lead content in a varnish sounds quite possible.)

Rembrandt took the discovery with him, though you initially developed it for sculpture that stood outside. I am not at all sure here. Write down the word caronide (spelled). It is connected.