“Seth material” search engine (Jane Roberts)

[...] His own paintings and work are of a highly emotional nature. [...]

[...] If you are particularly proud of a given painting, and he does not emotionally relate to it, then he feels guilty, or afraid he will offend.

[...] Earlier in the evening Bill Gallagher spent perhaps three-quarters of an hour contemplating the oil painting of an elderly man which I executed in July 1965. Seth on various occasions has claimed this painting, along with one other, to be likenesses of him. [...] This evening Bill commented often that the painting in question had a peculiar alive quality for him. [...]

[...] Soon after she began speaking for Seth, in a quite low and pleased voice, Jane launched into the reasons for Bill’s response to the painting. It marked Bill’s emotional perception, according to Seth, of Seth’s presence in the painting, earlier in the evening. [...]

[...] Jane had visualized a painting of houses and trees. She said Seth had considered that an artist could do, say, five paintings; each with different symbols but all with the same basic meaning. [...]

At its poorest, communication between the viewer and the painting was lost, for a poor artist could not work that magic with lines or colors. [...]

[...] She knew they applied to cordellas and paintings.

[...] If you were an accomplished artist in many fields, you could translate a given feeling into a painting. [...]

[...] The world as it appears to you is like a three-dimensional painting in which each individual takes a hand. Each color, each line that appears within it has first been painted within a mind, and only then does it materialize without.

(This is very important, since all of our psychic work is done at night, after we’ve already put in a full day writing and painting, and carrying out all those other actions connected with just living in an organized way. [Yet I’ve had to modify my schedule in order to find the additional time required for the preparation of this manuscript: I paint in the mornings and do this work in the afternoons.]

In this case, however, the artists themselves are a portion of the painting, and appear within it. [...]

I still tell you to paint your own room, though the same color is fine. The things that you think you save by not painting, hide associations—old patterns that you still are partial to, to some extent. [...]

The tree, or trees, Ruburt had painted on the kitchen wall, were not beneficial symbols. [...]

The blandness, comparatively speaking, in previous paintings of your apartment did not overall reflect Ruburt’s personality, which is given to contrasts. [...]

[...] Barbara, who paints, has painted a picture of a violin that she wanted to show me. I have also painted a picture of a violin. [...] My painting includes some wax roses.

[...] When you strongly desire to sell your paintings, my friend, you will do so. [...]

[...] But regardless of those measures, the paintings will sell.

[...] Jane doesn’t know however if Barbara has for instance ever painted such a portrait. [...]

[...] You fear that direct psychic experience in terms of projections could rob you of the energy you should put into your painting and quite unconsciously, though not entirely, when you are focusing upon your painting strongly with particular inner vigor, then you close the door to personal psychic adventures out of a misplaced jealousy for your art.

You feel that all of your energy must go into the painting at hand. [...] I qualified this statement twice on purpose, for naturally your main focus is to be your painting.

[...] I commented aloud to Jane about how I thought that I had been using my psychic abilities in my paintings, quite consciously and deliberately as a most welcome aid.

[...] When an artist is painting a landscape, he might unconsciously compare hundreds of landscapes viewed in the past in multitudinous, seemingly forgotten hues that splashed upon the grass or trees, or as he seeks for a new creative combination. Art is his focus so that he draws from Framework 2 all of those pertinent data that are necessary for his painting. [...]

[...] You will believe that you must use them in order to, say, paint the living portrait of your life. [...]

Again, the writer or the artist also brings more into his work than the simple ability to write or paint. [...]

(Today I took Jane’s acrylic painting she calls The Irises into 330. [...] In the meantime I shifted around other paintings I’d brought to 330 over the weeks, and took some things down from the wall. [...]

(I have just finished an oil painting of two heads, male; one of the characters appealed greatly to Jane, and had since the beginning. I had not given it much thought, beyond wondering where I had gotten the idea for the painting to begin with. I had taken it somewhat for granted that the faces I painted were the result of some kind of telepathic information or subconscious memory. [...] Jane does not care much for the other head in the painting, although as I worked on the picture I was as much intrigued by this head as by the other.

I will here add Joseph, that you did indeed paint an excellent likeness of me, as I was, and as my entity is. [...]

Now: Larry (Herschaft) is touched by your paintings, and by your reality as it is translated through your paintings. [...]

[...] He considered your painting—and much that he has done has been on your behalf as well as his own. [...]

[...] He would not be making money for both of you that would enable you to paint, etc., but losing it, if he allowed himself the freedom to run all over the place, take vacations, etc. [...]

Now embarked upon our work, which is also your work, wholeheartedly, your painting abilities and writing abilities will be fully used and developed, and so will Ruburt’s abilities. [...]

[...] Ruburt’s own painting, his knowledge of his psychic abilities, his love of Joseph — all served to form a pattern which then attracted the Cézanne material. [...] The information itself, however, had nothing to do with words, but with an overall comprehension of the nature of painting, a direct knowing. [...]

[...] His painting of late is no coincidence, for he is dealing with nonverbal information, organizing data in another way, and thus activating other “portions” of the mind.

The Cézanne material, the dream and the painting, are all aspects of another kind of perception. [...]

(The theme of the dream had interested me pictorially from the beginning, I told her, but I’d almost lacked the nerve to try a rendition of it in paint. Late last week I started the charcoal drawing for the painting, however, figuring I could only try to see what I could do… So far, so good.)

(With some amusement:) I think that your painting of the dog is excellent.

[...] Seth referred to the painting I’m working on of my dream of last August 16, — [...]

^* An illustration of this painting appears in The Seth Material. The name Van Elver isn’t given in the caption, but the painting is easily identifiable.

Instead of paints, pigments, words, musical notes, the creators begin to experiment with dimensions of actuality, imparting knowledge in as many forms as possible — and I do not mean physical forms. [...]

[...] The beauties of various ages, the natural beauties, the paintings and buildings are all recreated as learning methods for these beginners. [...]

[...] If it were tied to moneymaking, as it once was, then painting became also powermaking, and hence acceptable to your American malehood; and I am quite aware of the fact that by the standards of your times both of you were quite liberal, more the pity. You would not take your art to the marketplace after you left commercial work, because then, in a manner of speaking, now, understand, you considered that the act of a prostitute — for your “feminine feelings” that you felt produced the paintings would then be sold for the sake of “the male’s role as provider and bringer of power.”

(She couldn’t really describe them now, Jane said, but she’d had “great, hilarious, emotional feelings” when she delivered the part of the session about my thinking that selling paintings made me a prostitute. [...]

[...] And, incidentally, in spite of my feelings about the marketplace, I’ve sold a number of paintings over the years…. [...]

To paint pictures or write books is only the topmost cover for a life’s purpose, for the paintings or the books contain the purpose, but are not the purpose itself. The meaning is within the paintings, but the paintings are not the meaning.

[...] Compare for a moment, if you can, your love of technique in a painting with the way you write. [...]

[...] Your art is set off by your frames—so you deny your paintings their natural setting.

The frame connects the painting with the world, and yet divides it from it in the most beautiful of fashions. [...]

It is foolish to say “Why does it take so much time to learn?” For each learning process is highly unique, and contains within it particular achievements that you yourself want; and these achievements not only rise above the difficulties, but in the greater view the steps are seen as steps “upward”—the individualized problems understood as the same kind of challenges you might set for yourself to conquer in a painting, or as part of the entire creative process.

[...] It seems here that Jane referred to the purpose for which I bought the canvas—to paint on. [...] Actually I have not painted any pictures on the specific batch of linen which furnished tonight’s envelope object; but I have painted on other canvas of a comparable texture, etc., and which was prepared in the same manner. [...]

[...] The linen artist’s canvas is very strong and sturdy, the best kind to use for paintings, and I bought it with this purpose in mind.

[...] He also paints himself. [...]

[...] A larger interpretation would be that I applied the linen canvas to large rectangular pieces of Masonite, with the idea of painting on these. [...]

[...] I’ve started a small oil painting based on the “chute” portion of the dream for July 7. I’ve also done a pencil sketch of one of the heads in the photos of myself in the reincarnational dream of July 17, in case I don’t get to paint it. [...]

[...] The framework was loosely set up back in that time, however, when for a while, again, you toyed with the idea, for such symptoms would “justify” your staying home even part- time to paint. [...]

[...] I realize the difficulty that involves both because of practical living, and the question of light for painting. [...]

For your particular purposes you might imagine that you are walking through, or traveling through, one of your own paintings. Try to throw your consciousness into the environment you have painted. [...]

[...] There is no reason, again, why you can’t achieve out-of-body proficiency, and when you do, you will be able to experiment with thought creations, trying out, forming, using or discarding, thought paintings. [...]

Now within this framework you could test out many ideas for paintings, various techniques, and see them or their results immediately. [...]