“Seth material” search engine (Jane Roberts)

(I have the simple, profound faith that anything I desire in this life can come to me from Framework 2. There are no impediments in Framework 2. Framework 2 can creatively produce everything I desire to have in Framework 1—my excellent health, painting, and writing, my excellent relationship with Jane, Jane’s own spontaneous and glowing physical flexibility and creativity, the greater and greater sales of all of her books. [...]

[...] Your taking a hand at the painting, in the bathroom particularly you see, turned the tide more quickly than otherwise.

The weight gain, incidentally, should begin when the bathroom painting is completed. [...]

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

I am painted on the wall. [...]

[...] I want you to seriously consider each one of the paintings and tell me which one is Bega! [...]

[...] I do not want to see another painting. [...]

[...] The following thoughts came to me while I was painting this morning. [...]

[...] Moreover, Ruburt would simply not go to work, and lose writing time to support you so you could paint.

[...] You would have financial security at least so that you could paint without money worries.

[...] You waned a situation where you could each write and paint relatively undisturbed. [...]

[...] You were rewarded for physical agility, and for your painting. [...]

[...] Ruburt’s actions were appropriate for the horror program, and so were some of yours when you were afraid of painting because it did not bring in money. [...] Your paintings will bring in money when they are the result of spontaneous creativity. [...]

[...] When you are painting pictures you are also translating inner knowledge. [...]

[...] Through chanting, dancing, playacting, painting, story-telling, man spontaneously translated inner sense data into physical actualization. [...]

[...] Beside translating inner images into paintings, for example, you may unknowingly be translating sensually invisible sounds into images. [...]

[...] James had been thought of, but Ruburt certainly had no idea he would, or could, possibly write a book on painting.

Your own creativity being applied in this new fashion will also show its results in your painting and writing, for it adds a new cast, not only to your understanding of creativity, but to its application.

[...] Her vision was much better yesterday afternoon on our ride, and today as I type this she is working on a painting—the first one she’s attempted in some weeks. [...]

If the universe were a painting, for example, the painter would not have first painted darkness, then an explosion, then a cell, then the joining together of groups of cells into a simple organism, then that organism’s multiplication into others like it, or traced a pattern from an amoeba or a paramecium on upward — but he or she would have instead begun with a panel of light, an underpainting, in which all of the world’s organisms were included, though not in detail. Then in a creativity that came from the painting itself the colors would grow rich, the species attain their delineations, the winds blow and the seas move with the tides.

“Now, the creative abilities do not just help you write books, paint pictures, play the piano, compose. [...]

[...] The painting represented a new approach in art for me, and had caused me a good deal of puzzlement at first. [...] I won’t take the space to describe the series of mistaken efforts I went through in producing the work, except to say that finally I came to the rather simple conscious understanding that I was trying to paint a probable Jane. All at once, as I watched her delivering the 684th session on February 20, I saw strong resemblances between my painting and certain poses she repeatedly took while in trance.

[...] The ghostly qualities in that event fit in with what I was trying to do in the painting: By leaving the thick gray and white underpainting of my “portrait” of “Jane” without color, I realized, I could express not only a probable interpretation of her, but the colorless qualities of the Saratoga experience itself. Once I made those conscious connections I was able to finish the painting very easily. [...]

[...] She has great respect for your painting, and for Ruburt’s abilities, and you knew her when she was a soldier in Rome. It is for this reason that she painted the halls, and made the apartment adjustment. [...]

[...] This applies often in your paintings, and can in certain areas of my book where you are involved.

[...] If you allow yourself the freedom you can draw for inspiration not only from this life’s experience, but for your painting use visual memory from your other existences.

[...] In the painting of a picture, you are actually forming new patterns through which energy can flow into material form. There are reasons, which I will discuss later, why the painting, that is the physical pattern of a painting, may seem to, and often does, exist longer than the man who paints it.

That Robert Butts did not continue his painting with any purpose, trying to be objective and sensible, lacking the understanding of his parents that you have achieved through sessions. He put security in financial terms above everything, took no chances at all along those lines, and despite this, of course, is not making much money because his heart was, with the painting, most largely abandoned.

You had planned for this as a temporary arrangement — six months, at most, to save money — then you were going to paint full time. Instead, however, you stayed, supposedly to aid your parents, but this was largely an excuse because you were afraid to take the chance and paint full-time and also afraid to give up the regular money, even though you had no rent to pay.

‘In that probability, you, Rob, painted constantly and Jane had published a bunch of short stories, a novel and poetry even before this got started. Do you do this now?’

[...] Want to come home and see the paintings I’ve done?’

[...] They included a projection through the eastern wall of our living room, and a “visitor” who returned with her; the Latin title of a book; her awareness of a third eye; some material, with diagrams, of me as a monk who wrote manuscripts in an underground chamber that he later sealed; a vision of Seth in a brown robe, looking as I’ve painted him—but the brown robe was “too easy,” Jane said suspiciously. [...]

[...] You believe you can write books and paint pictures, and you do.

[...] There is importance, significance in your suggestion that Ruburt send energy to his body, and in your suggestion that he look for the library, as there is in his new attraction to his painting.

Some for you are, also: but divest yourself of all your beliefs that you did not fully understand or use your painting abilities “in your youth.” [...]

[...] The you that paints your paintings is far more than the Bob Butts you call yourself, though you are that Bob Butts. [...]

(The painter, 14th-century Belgian artist Van Elver, a survival personality whose portrait I have painted. [...]

[...] As far as I know, Jane doesn’t think about painting in such terms.

In the matter of publishing, or selling paintings, others are involved—others who very rarely in their lives experience that important encounter between, say, the self as actualized and the idealized sensed self, between the painting or the poem as an ideal and the actualization of that ideal. [...]

[...] In writing and in painting you tackle it. [...]

[...] Things have been hectic here today, interfering with my painting: Frank Longwell and his brother started work today on the front porch, which is to be glassed in so that Jane can have more room. [...]

[...] It seemed almost sacrilegious to think that the production of excellent art could involve fun—or worse, an active sense of irresponsibility, a joyful sense of ease, so that if a painting came too quickly you could not trust it. [...]

[...] Whatever—both cases would involve time and interruptions, a threat to what I see as my main course in life these days, painting. [...]

[...] Since these were an aesthetic people, the walls were lined with paintings and drawings, and sculpture was also displayed along these inner byways.

This has to do with communication as it was applied to their drawings and paintings, and to the highly discriminating channels that their creative communications could take. [...]

[...] Color was used in terms of language in communication, in drawings and paintings; representing somewhat as your own color does, emotional gradations. [...]