“Seth material” search engine (Jane Roberts)

Now: An artist does the same thing in different terms, when he or she imagines the probable versions that a painting, or a book or a sculpture, for example, might take. [...]

[...] I took it for reference for a future painting, and consists mainly of a mass of tangled marsh grass in the foreground; in the background rise a couple of average-looking houses, a telephone pole and some wires. [...]

[...] You paint because you love to paint, and forget what an artist is supposed to be or not to be. [...]

[...] To some extent you are a teacher in your painting, Joseph. [...]

You were not painting. [...]

[...] The sun shines, the writer writes, the artist paints, the thinker thinks, the dreamer dreams, and each of you, whether you know it or not, naturally follow your own natures. [...]

(I painted as usual until about 8 PM. [...]

[...] When you paint, you feel you cannot justify your art, and in our books you wonder what percentage your notes and contributions might make in the overall royalties, say. [...]

[...] You did not draw or paint because you felt a responsibility to do so. [...]

[...] You did not want to sell your paintings because you did not want that much direct contact with that society or marketplace (intently).

[...] You felt you should be introverted, have periods of isolation, time to sit and think, to write and paint, to look inward rather than outward. [...]

[...] Because your imagination follows your beliefs, you can find yourself in a vicious circle in which you constantly paint pictures in your mind that reinforce “negative” aspects in your life.

6. From her viewpoint my mother was, indeed, quite baffled when I turned away from a well-paying career in commercial art toward a very risky one in “fine art,” or painting. [...]

[...] It is an excellent idea that he has taken up his painting again, for this turns his awareness to other matters. [...]

[...] He couldn’t do much more without cutting down on his own painting hours, so I often did experiments on my own while he was in the studio.

(Peggy pointed at a life-sized oil portrait of Jane that I had painted.

You might find our glass discussion, Joseph, evocative for your painting. [...]

[...] You could have begun serious painting in New York, and if you had done so, you would have also continued and done well in commercial work.

A simple example can be seen in the transformation of an idea into a painting, that is the transformation of the energy, the psychological energy of an idea into physical materialization. [...]

[...] He should have a painting in progress as a hobby, or several for such times, or do household activities. [...]