“Seth material” search engine (Jane Roberts)

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.”

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

(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.)

You learned how to mix colors in such a way that they would dry uniformly, and to apply them in certain ways (with gestures, implying layers of color one over the other) to facilitate this drying.

(I also work, usually, with one color layer over another, rather than mixing them while wet. This maintains purity and clarity of color—and has been considered sound painting technique over the years.)