“Seth material” search engine (Jane Roberts)

Children then apply their imaginations more vividly, and even utilize all of their senses at certain times, to follow or reinforce those pictures that imagination paints. [...]

[...] I would like to get back to painting at least a little each day. [...]

[...] So will you sense, Joseph, the contours of your own work as it appears in your painting, and in “Unknown” Reality.

[...] Ruburt needs time to give himself a few suggestions in the morning, to start up his journal again, even to paint if he wants in a framework in which he allows himself that much freedom. [...]

(This afternoon while painting I had a vision. [...]

(For what it is worth, earlier in the afternoon I had been wishing I had a model handy, for I felt like doing some quick sketches as a relief from the constant oil painting. [...]

[...] Paint. [...]

Those beliefs paint a dire picture, in which any given situation is bound to deteriorate. [...]

Art as painting or drawing was then an important element in what you think of as man’s evolution. [...]

Drawing and painting during such periods was considered both sacred and immensely useful at the same time. [...]

(Now Jane agreed with all of this at the time, but later while painting I wondered whether I’d been too vehement in what I’d said. [...]

[...] I also wanted to try to make up some of the painting time I’d lost this morning. [...]

[...] Imagine a very large painting, in which the most important events of your life are clearly depicted. [...] If school graduation meant nothing, for example, do not paint it in. [...]

[...] Matter may be added to the floor in the form of paint or varnish, yet you still call the floor the floor. Paint may be added to a house, and paint may disappear from a house through weathering, and you still call a house a house.

[...] That is, I greatly enjoy setting to work to “make up” a character, then paint it. [...] The situation is about to be remedied however, since as my work continues to expand I now discover that I want to use models also, and have several paintings planned in which she will appear.

[...] It is no coincidence that Ruburt’s writing, and even his painting, is also showing advancement to a higher level of its own, as your work also shares in your increased abilities to use and handle inner energy.

[...] The painting in other words achieves a certain freedom from camouflage, while it cannot escape it, and actually hovers between planes in a way that no thoroughly camouflaged object could do. That is, something that exists completely in your plane cannot be evocative in the manner that a painting or, and this is for Ruburt, a poem can be.

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

[...] In a manner of speaking, then, the picture of nature is painted by its own consciously vital, esthetic portions. [...]

It has begun to work newly for you in the sale of your paintings as you dropped barriers against their sale; but feel it surround you and surround both of you. [...]

[...] Well, tomorrow I’ll paint and forget the whole business about evolution….”

But as I type this material two evenings later [on Friday], I can note that Jane didn’t paint at all. [...]

[...] At times you felt as a child that painting, or rather drawing, hurt her, and that also she might retaliate by withholding her support in other areas. [...]

[...] Your love for each other is coming to new fruition, and that, sensed by each of you, will give you an even greater impetus, for Ruburt creatively and physically; and for you this will bring about real breakthroughs in your painting and in your writing.

[...] Think also however of the sound in connection with your paintings, of sounds that will make the paintings themselves more vital and the material last longer. [...]

[...] [When we went to Florida it had been agreed upon that she would hold a job while I tried out some painting ideas. [...]

[...] [I remember her telling me this in Marathon, when I returned to the trailer after driving out to get a job painting signs.]

[...] I’ve pinned copies to walls in both my painting and writing rooms.

“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 health and creativity, the greater and greater sales of all her books. [...]

[...] She’s selling her home and leaving the valley; she has a painting I gave her years ago that she wants me to have back, so Jane and I will probably make the trip to Athens, PA this Sunday. [...]

[...] There are explorations of emotional content, for example, very difficult to explain, in which intensities of emotion are explored for their own sake, as one might experiment with the values of red or black—not caring what the form of the painting was.