“Seth material” search engine (Jane Roberts)

[...] At the same time—I do not mean simultaneously—in spare moments, playfully and not seriously, he should see himself performing any number of activities on the floor—from painting as he used to, to talking or reading. [...]

[...] Her dream was also fairly accurate concerning the magazine’s cover painting for the piece: a montage featuring “a bird that was somehow a part of a man’s head, or face,” as she described it. [...]

[...] As a painting that is destroyed physically may still be retained in your mind, so in the reality of the physical system a trace remains, an image trace of the camouflage structure that enclosed a given personality.

[...] I cannot say that Ruburt would go mad over a painting on a kitchen wall, or anything else on a kitchen wall, but then Jane is a different Ruburt all over again.

I would suggest also, though I don’t mean to be presumptuous, that you ask Mr. Clauss over, where he can get a good look at your paintings. [...]

(Due to the work involved in hanging my first one-man show of paintings, at Harris Hill Inn, last night’s regularly scheduled session was not held.

[...] Today, as she has often lately, she worked on painting a small acrylic landscape.

[...] Ruburt becomes his poem during such occasions, and you become your painting.

[...] Now that can be said of your painting and of Ruburt’s poetry. [...]

He should work on the porch more frequently, and paint there also. [...]

[...] Whether or not you remember the dreams, or can interpret them, they will be, in a dream-drama series, painting the reality of the world in a new fashion, giving the significant clues, and to some extent altering habitual psychic organization.

[...] Your idea about paintings and your list of correspondents is excellent. [...]

[...] [To Rob:] The paintings that you will paint exist now. [...]

[...] But in the interim I figured out a method to coat the Masonite for paintings that obviated the use of any special kind of Masonite, and thus did not return to Wellsburg.

[...] The worker—whose name we do not know, but could easily learn—became quite talkative when he learned I planned to use the Masonite as support for paintings. [...]

[...] That is, it will be a good policy to arise at 7:30, and get your painting time in. I do not want to take up all your working hours, and you must have time to paint. [...]

It seemed that I should have finished my part of both books long ago, even though simultaneously I was working on several other projects with Jane, as well as painting a few hours a day. [...]

[...] For this patience, employed in conjuring up thoughts and images through words, was objectively and subjectively quite different in quality from that which I was so used to using in producing painted images. [...]

When you create a poem or a song or a painting you are in a state of play, of enjoyment, of freedom. [...] They compose songs and music and paintings in their heads. [...]

All of which reminds me that to many viewers the “portraits” I paint are balanced equally between the masculine and feminine, regardless of whether the subject in any one of them is male or female. The paintings are of personalities I see mentally rather than physically; they do represent, I believe, my efforts to unify in any particular image my intuitive appreciation of the male/female qualities embodied within each of us.

[...] In a much more limited manner, any artist does the same thing when he translates what he is, or a portion of it, into a painting. [...]

Ruburt’s nature leads to periods of painting and poetry and subjective exploration of unconventional thought. [...]

[...] The glasses got in the way when I wrote and painted. [...]