“Seth material” search engine (Jane Roberts)

[...] You are aware of the fact that a great painting can still be great despite depicting, say, acts of violence that are “bad.” [...]

[...] Norma A may enjoy action, sports, dancing and bodily activities, while Norma B may prefer reading, walking, or painting.

[...] We think this legitimate for Jane uses such calligraphy in her paintings.

[...] I thought of joining her myself, but did not mention it because I did not want to lose painting time. [...]

[...] The same applies to the half-dozen or so small paintings. [...]

His own work will go well this week, and his energies be refreshed through his usual activities, and also through painting if he finds time. [...]

[...] I am feeling quite a bit better; I’ve been painting in the mornings and working in the yard afternoons, doing errands, etc. [...]

[...] And Jane’s childlike paintings show it.)

[...] It’s already helped me in my painting. [...]

Ruburt has added more time to his writing day, and is now also doing more painting. [...]

[...] The book would include Jane’s simplistically beautiful and brilliantly colored art; also my own quite different art—especially those drawings and paintings of and from my dreams that began to blossom as Seth discussed his dream material. [...]

[...] (See the deleted session for October 2, 1972.) My material and books, and Ruburt’s, and your paintings, will affect the world as you know it. [...]

[...] In a strange manner, not to be given this evening, your own painting mobility is involved. [...]

An alternate example is your painting. [...]

Now, do you have questions about your painting, or of your own?

[...] It does not regard art as a game, exactly, but it does not expect the same rules to apply, either, to a painted apple on a canvas and a real one. [...]

[...] As an artist painting human figures, I am often concerned with anatomy, though usually of the head and features. [...]

[...] She also said that when speaking as Seth, Jane tended to use the same gestures and facial wrinkles shown in the portrait I have painted of Seth. [...]

[...] I’ve recorded six of those long and complicated dreams, set in my hometown, since December 22; in them I explored my various, sometimes contradictory beliefs about writing and painting, my relationships with society and the marketplace, and with my [deceased] father as he represented certain other beliefs. [...]

(This material was very similar to thoughts I’d had while painting this morning. [...]

[...] I’ve also thought of not finishing Dreams, but going back to painting for the rest of my life—another option. [...]