“Seth material” search engine (Jane Roberts)

Now: The hill environment is as important to your painting as the ready-made workroom in the Foster Avenue house. The very air is inspiring, so that you will paint more there even if your work area is not immediately as good. [...]

[...] Nevertheless he helped develop your inner freedom so that you could apply it to your painting. [...]

Neither of you want physical issue, for the primary purpose now is to leave behind your work, paintings and writings, and my communications. [...]

[...] The boy should be encouraged to continue painting, regardless of the fact that she knows nothing about it. [...]

[...] And I hope that you will use your inner senses to create the tree in your mind for the painting that you have begun. Now it will be a better tree in the painting, for you will be able to create the essence of the tree.

[...] You will find that your painting will not suffer. [...]

[...] Therefore they planned to move our manuscripts, Ruburt’s writings, and Joseph’s paintings upstairs if the need arose. [...]

[...] They found themselves alone with the Seth material, their paintings, and other manuscripts of Ruburt’s. They had been using a mild version of self-hypnosis to produce a calmness and reduce any panic. [...]

[...] You, Joseph, might find it most beneficial to sketch for future paintings. [...]

[...] Tomorrow afternoon I suggest a long, carefree, refreshing and solitary walk in the afternoon usually devoted to painting time.

(To me:) Your own creativity has also had a psychic basis, and often you have translated such information into your paintings without ever having been aware you have done so. [...]

You should be able to do this when you are painting. [...]

This means symbolically that your painting will also achieve an even greater depth because you are willing to encounter the emotionalism that is always highly personal, that speaks out through each portrait. [...]

[...] You, Joseph, must paint, using all your powers, instilling into your work all you have learned now and in previous lives, of human understanding, ability, capacity and failure; and you must make an effort to have your work seen. [...]

[...] Your synthesis, the synthesis represented by your painting, Joseph, and Ruburt’s writing, must come from passionate involvement now, conceived in isolation but received from a psychic commitment to the world as you know it. [...]

[...] You must work ever harder at your painting, and always allow yourself spontaneity and joyfulness as well as discipline in your work; and you must show, sell, or even give away your work.

[...] I plan to do a small oil painting or two of the sketch I’ve done of Mrs. Johnson, plus another image of her that I hadn’t drawn at the time, but retain well.

[...] And all good works appear meaningless in the terribly exaggerated picture painted of social and world events.

[...] I had no regrets except that I wouldn’t get to do any more paintings. [...]

[...] I would like to do a painting from it.)

[...] It is as if an artist found the last painting showing up over and over in the next one. [...]

[...] He worked with photography because he could not paint. [...]

[...] He felt the impulse to paint, and did so, but by late afternoon he was in a very poor mood. [...]

[...] Commercial art is beautiful there, for at one time it allowed you to paint because (underlined) you were immediately repaid, and that made art legitimate. [...]

[...] Even before the psychic venture began, it was always your individual and joint work: in the beginning writing and painting.

[...] There are also paintings — so-called abstracts — unconsciously produced, many by amateurs, that are excellent representations of such inner organizations.⁴

4. As an artist myself, I’ve occasionally wondered if some abstract paintings could have such origins. [...]

[...] When you paint a picture, my dear Joseph, you are dealing with a transformation of energy and transformation of camouflage pattern. [...]

[...] The painting, however, achieves a certain freedom from camouflage, although it cannot escape it, and actually hovers between realities in a way that no thoroughly camouflaged object could do. [...]

[...] There is also a transforming process involved, much like the moment that we have spoken about in the creation of a painting.

[...] Last Christmas he arranged for me to have a show of paintings at Harris Hill Inn, just outside Elmira, in February 1965. [...]

[...] Many of my paintings, being landscapes, are predominantly green. [...]

(Harris Hill Inn was closed on Monday, February 1,1965, and Jane and I met the proprietor there Monday evening and hung the paintings. [...]

I do not want you to take any time from your own painting to work on Book One of the Seth sessions, nor do I want anyone else to record the sessions.

Your own expectations, Joseph, in line with your paintings, have vastly improved, but they are not yet enough developed. [...]

(Bill has [by coincidence?] made a painting of the general area described above, and I will photograph it for the record.

(October 28, Wednesday, 5:30 PM: Today I had been working on a painting of apples. [...] I could discern easily the grain of the board, the brush strokes in the paint, etc.

[...] Some of my paintings hang there. [...]

[...] Painting wasn’t involved either....” [...]