1 result for (book:tps2 AND session:603 AND stemmed:would)

TPS2 Session 603 January 10, 1972 16/88 (18%) 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

[... 6 paragraphs ...]

It was known at your place of employment. An unconscious bargain had been made by you and your employers. They knew precisely how much you would work for, and to what ends you would work. They also knew that you did not want more money—this is precisely what you did not want. More money simply would have made the temptation stronger. You made your attitude quite clear. You did not want advancement, and you did not want more money.

[... 1 paragraph ...]

(I don’t. This hasn’t really been a point with me, although at times I would get mad at Artistic for at least not offering me something more. At the same time I told myself the low pay prevented me from ever deciding to make a career of it there, and let it go at that.)

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.

[... 3 paragraphs ...]

This is the fear that Ruburt felt for you. Now. Your own ideas and goals are worthy ones, and yours for a reason. They have within them the power to develop and mature. It was known, then, that you would leave before you gave notice, unconsciously perceived.

[... 5 paragraphs ...]

Your mother is quite shrewd however, and has grown these years. In the past she would have been quite able to face and handle everyone’s honesty, and honesty would have been far kinder. So the true love and compassion goes crying, while you are forced to express an exterior love and compassion many times.

[... 3 paragraphs ...]

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.

[... 1 paragraph ...]

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

[... 3 paragraphs ...]

He would not though, you see, express those feelings to you.

[... 2 paragraphs ...]

Understanding your own reactions helps you understand the reactions of others. Otherwise you would find other people’s reactions far too alien, and not be able to relate to them personally or through your work. This applies to both of you.

[... 2 paragraphs ...]

Now give us a moment. I would like you to have several Sumari sessions together. You can arrange this any way you like—in the place of one regular session, for example.

I of course will also be present, and perhaps vocally as well. (Humorously.) But there are some interchanges that I would like you to become aware of, that can be done in practice. Then I would like to explain them to you. Do you follow me?

[... 18 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.

[... 4 paragraphs ...]

(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.)

[... 9 paragraphs ...]

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.

[... 6 paragraphs ...]

You also experimented with inserting odors into pigment, very briefly, for churches, so that a violet for example would smell like the flower. You would mix ground rose petals into the red pigment to be used for a painting of roses.

[... 3 paragraphs ...]

(Any such experiments with adding odors to paint would fail, I believe. Even today, as far as I know, this hasn’t been accomplished.

[... 5 paragraphs ...]

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