“Seth material” search engine (Jane Roberts)

[...] Bordered in white can be a reference to the rough white watercolor paper on which I did the painting. I painted only the two leaves and their cast shadows, and left the rest of the paper white. Thus the leaves are darker in the center of the painting, outside of the white portions.

[...] I used two of the maple leaves Jane and I gathered on our October 1965 walk as subjects for a watercolor painting. [...]

[...] The sessions and any work resulting from them will never detract from your painting, although upon occasion it may appear that you suffer timewise. The sessions have greatly increased your ability to use your inner visions and intuitions, and to free them so that they can be directed into your paintings.

Despite the fact that I had not intended to deliver any personal material this evening, a small note to you, Joseph: you should now once again concern yourself with your painting. [...] Not only do you impart energy into a painting, but you also derive energy from a painting even while you are working on it. [...]

(It is of interest here to note that in the 134th session Seth also announced that I had painted a likeness of him. This painting shows a much younger blond man, bearing no resemblance to the other portrait. [...]

[...] I enjoy this Jesuit; and for Ruburt’s benefit I will indeed tell you that the likeness that you have painted of me, Joseph, is excellent.

[...] I’d had somewhat the same feelings today, having managed to “work” at painting for but a couple of hours this morning. [...]

[...] Poetry, painting, and out-of-bodies are quite as much a part of his “work” as anything else he does. [...]

[...] In the meantime, I’ve let myself go, not working hard in any direction, relaxing while working on the files, or in the yard, or shopping or painting or whatever. [...]

[...] It was allowed to leap beyond the boundaries of painting or writing, to escape even the temporal frames of your present personalities, and to form an original psychic or psychological structure—a new psychological art, if you prefer—that could be contained in none of the arts as they are known. [...]

[...] I’ve thought of trying to find another place to paint, especially for the larger works I plan to do, but not of leaving her. [...]

[...] That is, writing and painting themselves embark you upon uncertain routes. [...]

[...] He can do what he likes: putter in his apartment, visit friends, paint, read, walk. [...]

[...] The sketches could then be used for paintings.

[...] The same applies—in different degree, now—in his painting.

[...] I am speaking of your painting now.

Your own faith is also beginning to arouse new confidence in your work, in your painting. [...]

You also believe — (humorously:) if you wish you can underline every “believe” while I am talking to you — that your main method of communication is painting; and here you are taking notes as a form of dissemination instead.

[...] And two, that you should have been here, reaching out to the world at large through your painting.

Because you believe your method of expression is primarily through your hand in painting, and you believe your mother’s to be vocal, you tampered with your hand’s motion — not, for example, your speech. [...]

(Jane said she thought that if I’d had to choose between painting and her, I’d have chosen painting. [...]

[...] This almost always occurs when there are misunderstandings in particular areas between the picture of the self or the world as painted by the intellect, and the picture of the world or of the self painted by the emotions. [...]

[...] Personality can have a corrosive or soothing effect upon such unlikely things as the paint upon your walls. [...]

[...] You have experience in concentration in regard to your paintings, but Ruburt has not been used to concentrating in that manner. [...]

(I presume Seth’s congratulations to me refer to the accelerated rate of my painting sales, since I began to put some of his advice to use. [...] Indeed, I now have two advance orders for work not yet finished; this is the first time I have been in such a pleasant position, as far as selling paintings goes.)

(November 25, Wednesday, 7:30 PM: I saw my painted trees again, and again with good duration. [...]

(This afternoon while painting the thought came to me that Jane’s trouble was that she was avoiding success; and success was looming ever closer with the advertising campaign planned for her ESP book, the near-completion of the dream book, etc. [...]

This is connected with Ruburt, of course, and you feel your purpose is bent from its main direction, in that you are not painting full time.

Your paintings also represent sons to you. [...]

[...] But to discuss Seth or Seth’s ideas primarily from the true-or-false framework is the same thing as considering the Mona Lisa only from the validity of the physical properties of paint and canvas; very, very limiting. [...]

For your own purposes an unfinished painting on your easel would help you project to your studio, for you would psychically wish to return to study it. [...]

[...] You will begin to attract people who want to buy paintings for example. [...]

[...] In that regard, every person paints his or her own portrait in living color — a portrait that does not simply sit in a tranquil pose at a table, but one that has the full capacity for action. [...]

[...] In a manner of speaking, now, each person dips into the same supplies of paint, and so forth — which are the elements out of which your likenesses emerge. [...]

[...] While we were eating we had a flurry of action in 330 as people—male and female—had to get in and dust and mop the floor, and talk about paintings, and so forth. [...]