“Seth material” search engine (Jane Roberts)

[...] Ruburt used painting as an art in the dream rather than writing (pause), because it symbolized your joint ideas of art—to some extent, now—and allowed him to have you in his mind as he viewed the dream events.

[...] Rob had severe back trouble, and hardly felt well enough to paint when he came home from work. [...]

[...] Rob was painting in the back studio, three rooms away. [...]

[...] I was working afternoons at an art gallery, and after the dishes were done and Rob was through with painting for the day, we got out the board.

The dream representing the card with the double message can also be applied in a different manner to your painting. [...]

[...] The imagination will follow, painting dire mental pictures of a particular condition. [...]

Each person alive helps paint the living picture of civilization as it exists at any given time, in your terms. [...] Your thoughts, feelings and expectations are like the living brush strokes with which you paint your corner of life’s landscape. [...]

[...] The time of the great masters in the fields of painting and sculpture is a case in point (humorously and louder)—so you see, I am getting to one of your favorite questions,² and we will continue the discussion at our next session.

[...] Why isn’t there at least one artist in all of the world painting today whose ability equals Rembrandt’s, and who uses that great gift to evoke the depths of compassion for the human condition as Rembrandt did? [...]

[...] They are also painting a highly prejudiced view of reality, leaving out all matters concerning man’s heroism, love of his fellow creatures, his wonder, sympathy, and the great redeeming qualities of the natural world itself. [...]

[...] After break, Seth discussed my painting and gave some material for others who aren’t involved with this book. [...]

[...] Preparing Oversoul Seven gives him a good point of concentration, yet beyond that he should allow himself the leisure and pleasure of playing with concepts, with poetry, and even with painting. [...]

[...] Jane was with me last Saturday, June 18, when I bought the burlap to use for some experimental canvases for painting.

[...] Jane saw me doing this, and knew I was experimenting gluing the burlap to panels to make painting surfaces. [...]

And in a note for that session I wrote: “Years ago, when Jane and I began living in Sayre, Pennsylvania, not long after our marriage in 1954, I began telling myself that before I reached the age of 40 I’d know whether I wanted to concentrate upon writing or painting — but that if I’d failed to do so before that date, I would then decide upon one or the other of those creative arts. I turned 40 in 1959 — and chose painting.”

[...] You believed the painting self had to be protected … as you felt that your father had to protect his creative self in the household….”

[...] She told us she’s leaving the hospital to be a supervisor in Painted Post, a small community some 17 miles west of Elmira. [...]

(Seth’s reference to a tree concerns one I had drawn directly on the kitchen wall, in India ink on the yellow paint. [...]

(My counterpart, Peter Smith, and I are both professional artists; we’re roughly of an age, with strong interests in other forms of creativity, such as writing, and in myth and fantasy.¹ A number of the similarities and differences between Jane and me should be obvious to our readers; she also does quite a lot of painting. [...]

Rob’s painting of the fourteenth-century artist from whom Seth gleans advice on painting techniques. [...]

“You must watch the pictures that you paint with your imagination,” he said, “for you allow your imagination too full a reign. [...]

In this painting, according to Seth, Rob depicts himself in a previous incarnation, when he was a woman and mother of five. [...]

[...] I had my poetry; Rob, who is an artist, had his painting. [...]

[...] Though Seth has appeared only once in a physical materialization, Rob has seen him clearly enough to paint a portrait of him that hangs in our living room (see the illustrated section). [...]

Without the reasoning mind the artist would have no need to paint, for the immediacy of his mental vision would be so instant and blinding, so mentally accomplished, that there would be no need to try any physical rendition of it. [...]

[...] In a sense, painting is man’s natural attempt to create an original but coherent, mental yet physical interpretation of his own reality—and by extension to create a new version of reality for his species.”

(Theodore  described to Jane the painting of a woman he felt Rob would paint.)

[...] Now, my dear friend Joseph, it is partially because of this that some paintings, you see, generate strong emotional response, and outlast the artist.

(The sketch of Nebene is rather successful and would make a good painting. [...]

[...] An alternative could involve two definite periods of self-suggestion a week, prepared for ahead of time, with a specific physical area chosen in the same way that you choose certain areas for your writing or painting.