“Seth material” search engine (Jane Roberts)

[...] But when I wanted to be by myself to paint, I had a corner studio I could retire to where I could work in privacy — a very nice room. [...] In the dream I was involved with painting, but not writing.

[...] The many people, and connecting rooms, represented the new structure of vaster beliefs that are all interconnected while you are still, however, concentrating upon the private creative self, and from that viewpoint viewing the world — hence your private corner in which you painted, as from that corner of private creativity you viewed the large interacting structure of new beliefs.

“He is studying the use of painting in therapy,” Seth said. “Not only working with patients and using art as therapy, but working with the idea that some paintings in themselves have a healing effect.” Seth went on to say that “certain paintings can capture and direct the healing abilities of the viewer. … The painter’s intent is embedded in his medium and in his painting.”

[...] Each of Rob’s sketches and paintings won prizes for the doctors for whom he did them. In this session, the 487th, Seth told Rob that in another system of reality, Rob has a probable self who is a doctor who paints as a hobby. [...]

[...] He is an older man in his system of reality than Rob is in ours, and while he is engrossed in his painting, this interest is subordinated to his medical work.

[...] This strikes us as really funny, since I paint as a hobby, with a stubborn lack of perspective. [...] I’ve never studied art, and my paintings are rather childish in execution, done with raw color. [...]

[...] Rob had never tried this particular method of building up color tones in portrait work, and it is this technique he used in the painting idea that “came to him” a few days after this session. [...] We are still accumulating material on art, art philosophy, and painting techniques.

[...] The salesman who waited on us became quite talkative when he learned that Rob was going to use the Masonite for paintings. [...]

[...] Some were of people, and Rob began to use them as models for his paintings. [...]

The painting of the apartment is beneficial, in its symbolic representation, and for what it means to you both on other levels. [...]

[...] Painting is a wholesale change, for example. [...]

[...] Rearrange the paintings in the bedroom. [...]

[...] The chests in the bathroom should be painted. [...]

[...] I did not mean that conversation was on an equal par with painting.

[...] In the past he has more or less translated this data automatically into a new camouflage pattern, in other words into a painting, without realizing that he had received any vision at all. [...]

I mentioned once that I found sculpture to be a more imprisoning form than say painting, music or a poem, and here I will mention my reasonings. [...]

[...] The statue actually imprisons vitality more than a painting or musical composition or poem, because it is bound to you by so many ties. [...]

[...] He has been inspired, but to paint, because his impulses are quite correct; the painting of flowers leads him to contemplate beauty for beauty’s sake, frees his mind, and also allows for certain kinds of muscular motions that are now beneficial.

[...] He will be chatting, or yelling at his painting, or whatever. [...]

[...] He paints as he writes, furiously involved, in bursts. [...]

[...] He should return to his poetry however, and his painting as a hobby. These are his strong points, and the painting represents more than he realizes, for he has a talent for it from previous experience.

[...] And the sounds are somewhat connected with your feeling toward oil paints. [...]

[...] The sounds can be used in your paintings like colors. [...]

[...] It would help you to think of painting these structures, for in some other systems voice is perceived in this manner.

[...] This reminding Ruburt however of your op painting.” [...] We cannot connect them with the object however; although it is easy to connect them with my optical painting of last year, which hangs here in the apartment. The painting is made up of many three-quarter-inch squares of brilliant color.

[...] This reminding Ruburt however of your op painting.

[...] As stated, no connections unless Jane refers to my op painting. [...]

[...] As it happens, both the object and the op painting which contains the small colored squares are rectangular.

[...] Later Seth links these with paintings. The object contains items I use to do artwork with, although no paint. Jane did visit the art shop where I buy my paints. [...]

To do with paintings.

[...] One item of similarity showing up on both lists is the “cash check" data, referring to a check I had received for a painting recently….The mail package data on Jane’s list refers to the errand package discussed on page 195 under the Florida data. [...]

[...] “To do with paintings.” [...]

[...] (Leaning forward, eyes wide.) Say you as a personality can write and paint. Do you need the permission of your writing self in order to paint?

[...] He is fully bald, and as I painted it I wondered why he was bald. [...] Seth then gave the artist’s name as Van Elver, saying he was from Norway or Denmark and that he was giving Seth painting data to be passed along to me.)

(“Have you got anything to say about the faces I’ve been painting lately?”

A strong coming-into or focusing of inner reality into the objective form of the painting. [...]

[...] She painted a tree rising out of the earth with brilliantly colored apples, for example. [...] She wasn’t bound by the mundane rules of perspective, with its everyday limits that most of us never surmount or subsume: she created her deceptively childish world each time she painted. [...] Susan Ray of Moment Point Press used three of Jane’s paintings as cover art for her books; God of Jane, Adventures in Consciousness, and Psychic Politics.

[...] I painted signs, then designed clothing labels for a printing plant there, and painted and wrote on weekends.

[...] Could I have briefly joined that reality, and perhaps recorded a few aspects of it in my own dream reality, aside from the afterdeath paintings of Jane that I was to produce over the next several years? What, I could ask, did Seth really think of the portrait I’d painted of him way back in June 1968? [...]

I showed our guests the portrait of Seth that I had painted from my vision in 1968, as well as my paintings of Jane both before and after her death. [...]

To some extent you are unable to explain the secret nature of your own painting. [...] Not only that, but your paintings are not an attempt to communicate with the world, or to get anything from it. You think you should—that is, you think you should sell your paintings, or make some effort in that direction. [...]

[...] I wish that my painting could bring you abundance in social ways also. I feel guilty sometimes when I paint for that reason. [...]

[...] On June 22 the pendulum told me that my stomach bothers me not because I don’t spend enough time painting, but because I feel guilty at spending the time I do, in view of all the other work with Jane that I feel I should be doing: working on sessions, “Unknown” Reality, etc.

When you think that Ruburt is being taken advantage of then by the world, in any way involving money, then you feel guilty that you do not use painting to procure money.

(A few days ago, while doing some painting, the idea had popped into my conscious mind unbidden that the very act of painting a picture involved the construction of a plane. [...]

[...] That is, paintings would have no reality in your present stage of development as long as they remained simply in your mind, even to you. [...] You do this to the best of your ability, but in order for the painting to have a reality in your world it must be materialized to some degree on the physical plane.

You were quite correct, Joseph, in your feeling that art created another plane, and now let me hit you with this one: that the paintings of an artist to some degree have a consciousness of their own, not imprisoned either by the form itself.

[...] It should be simple as an analogy to consider the next point, where the figure in a painting would not only have a certain consciousness for example but would have other freedoms also; and this would give you a limited conception of what is involved in the creation of other planes of more varied scope.

The painting that results is a new reality, but it is also a distortion of the original landscape. The artist may hint at time within his painting, but he cannot capture the physical eons that might be contained in the mountains themselves, which he wishes to reproduce.

However his painting contains new realities, and distinctive ones, that would be alien to the original landscape. [...] The trees in his painting, being artificial reproductions, do not undergo the same physical changes, even while the atoms and molecules that compose the canvas itself, and all the pigments, constantly themselves change.

The painting, therefore, is both a distortion of reality, and the creation of a new reality. [...]

(Pause.) You could not treat your paintings as products in the marketplace. [...] You were interested not only in a painting, and the painting’s origin, but in your origin as an artist, and in all of those relationships that are involved between the perceiver and the object, that then is turned into the artist’s model. [...]

[...] They do not just help you paint a picture, or write a poem, but they help you form the living picture of your lives. [...]

Ruburt paints as a hobby. Sometimes he paints for fairly long periods of time, then forgets about it. [...]

Ruburt’s love for Joseph, his own purposes, and his growing questions, along with his interest in painting in general, triggered exactly the kind of stimulus that broke through conventional beliefs about time and knowledge. [...] He did not contact Cézanne per se, but Cézanne’s comprehension of painting as an art.

[...] Long ago you first used the word “work” in reference to your painting, and to Ruburt’s writing. [...]

[...] The faces that you alone can paint can leap into your mind no matter what you are doing, and they are not dependent upon good lighting, though your final rendition of them might be.

Your creature feelings toward night, dawn and dusk, have much more to do with inspiration, though a painting, once inspired, may then take so many hours to execute. [...]

The yard at 2 or 3 in the morning might amaze you, and ideas of paintings leap up. [...]

(This afternoon I had delivered to our landlord’s supper club, here in Elmira, four large oil paintings which we mounted on the club walls. [...]

My hearty congratulations that your paintings are being seen now in your friend’s establishment, and they will affect many people.

(The data re the paintings—Bega—Tom M, was interesting, etc. On July 17 Tom M. purchased the painting of Bega as designated by Seth. [...]

The fact that you would say “I am giving you the opportunity to do this by my job” entrapped him further, for he felt basically that underneath this was another reason: that if you wanted badly enough to paint all the time that you would do so, that you should have done so, that you should do so, that you would and could have managed without jobs, particularly in the later years, and that you were betraying yourself and therefore him. [...]

[...] As he became afraid that youth left him and that your drives to paint and write were not as secure and overriding, then he became even more in need of reassurance.

[...] Had you stopped painting, you see, the dilemma in a way would not have existed. [...]

[...] He often in the beginning resented the psychic work precisely because it took time from your painting for transcripts. [...]