his

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TPS2 Session 603 January 10, 1972 13/88 (15%) Rembrandt varnish compromises pigment Italy
– The Personal Sessions: Book 2 of The Deleted Seth Material
– © 2016 Laurel Davies-Butts
– Session 603 January 10, 1972 9:10 PM Monday

[... 9 paragraphs ...]

Ruburt has learned to make compromises, not always gracefully, but he has learned that they are sometimes important. He is against them on principle however, and very straightforward in his approach. He saw your life adding up to a circle of compromises – compromises that would cost you your vitality, both of you, in the end.

[... 11 paragraphs ...]

Now apart from that, Ruburt has his own feelings, which are somewhat exaggerated, but he also usually tries to disregard them emotionally. He says “I overreact to Rob’s mother,” and intellectually then says “that is silly,” but he never allows himself to experience the feelings themselves. He does not want to hurt you. He does not want things to be unpleasant.

Yesterday he allowed some of these feelings to arise only because he was so miserable. (While we were in Sayre; Jane was doing the washing; mother was cooking dinner, etc.) He remembered you and the pendulum, and having none there instead allowed submerged feelings up. You should know what they were. (Jane told me about some of them at the time; which I thought an advancement.) He was scandalized and outraged. Sundays were the days he could not escape his mother. There was no school, no excuses to get out. It was a day of encounters with her—her two-hour bath, the preparation of meals, and the wild hope that he could escape after supper for a few hours.

Fifteen years of that at one end of the scale, he thought, and ten or fifteen in the middle with your mother on Sundays. His loyalty as you know is binding. If he thought she had been a great mother to you then your Jane’s feelings would not be so strong.

[... 10 paragraphs ...]

Ruburt is progressing. The exercises (yoga) are good, in case you wondered. His willingness to physically exert himself is important here. The physical effort involved. The body is awakening, in those terms. The sleeping requirements were a result of the sudden use of physical energy. He should find the requirements quite lessened this week, and that should be followed by a noticeable easy release of physical energy during the normal day.

[... 8 paragraphs ...]

(Smile, emphatically:) I am not concerned, because I know the energy available to you, but I do have his concern to deal with.

[... 11 paragraphs ...]

(Rembrandt copiously achieved this effect in his later works, especially the last ten years or so of his life. I don’t believe Jane knew this in those terms. I am well aware of it, and want to use effects similar to this in my own work, and have done so at times in past works. I haven’t discussed it with Jane, though, just considering it a technical problem involved in the art, as I would suppose she would work at writing a paragraph, etc.

(There is no record that Rembrandt ever traveled more than fifty miles from Amsterdam, Holland. Very little is known about his life.)

Out of his desire he applies energy (gestures) and color over it, so that the paintings have then the reality he hopes for.

[... 1 paragraph ...]

I do. He travels and learns. He also learns some secrets of color through the man mentioned earlier, and there is a binding agent in his work not recognized as such. A chemical technique learned.

(Rembrandt’s technique has been the subject of much speculation over the centuries. Especially when he took to piling pigment up to a thickness of a quarter of an inch in such paintings as “The Jewish Bride”—a masterwork. It is thought he used stand oil—heat-treated linseed oil—and varnish of various kinds as a medium. If he added anything else to his pigments it would be well worth learning about.)

[... 2 paragraphs ...]

You were indeed. You were the man who experimented with color, as applied however to sculpts. And one of your discoveries was of the binding agent adopted by the master painter in his work.

[... 19 paragraphs ...]

(There is little available on Rembrandt’s correspondence—a few letters; inventories attached to his bankruptcy in later life, etc. Italy is not mentioned as far as I know. Rembrandt did do business with a wealthy art collector in Sicily, selling him some very famous works—Aristotle Contemplating the Bust of Homer, etc., and a series of etchings late in life. Don Ruffo. Historians generally say, for want of any other facts, that these business transactions were done by mail, etc.

[... 3 paragraphs ...]

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