“Seth material” search engine (Jane Roberts)

(The portrait is one of my “people” that I had painted without a model, which is my favorite way of doing people. Seth has said that I paint these portraits of unknowns because I have received telepathic data on them. At one time I had decided never to sell the portrait, but gradually changed my view on this in the light of my own feelings, along with Seth’s statements concerning my using my work to influence others. [...]

[...] Sonja has always been attached to a portrait I had painted before Jane and I were married, and at various times had urged me to sell it to her. [...]

[...] The painting always struck the personality deeply, reminding him, because of the face portrait and the background, of the bare and ancient land from which he had once come, and to which he returned.

[...] Sometimes that picture is a fairly faithful representation, and sometimes people make artificial portraits of themselves, and instead of speaking for themselves to others, they let their artificial portraits do it for them. [...]

(Pause.) Sometimes to protect themselves because of their beliefs, people then form distorted portraits of themselves, and project these outward “to take life’s arrows,” so to speak. [...]

(Smile.) You need not paint one neck with ten heads, but the one portrait can be made to suggest previous structures and characteristics that have merged to produce the present head. [...] Such a portrait will immediately be fascinating, particularly of course to the subject, who will intuitively and unconsciously recognize its components.

[...] There may be a definite memory recall, a few curious moments when time dissolves, when even beneath a portrait you have painted you will see another face.

[...] And congratulations on your portrait (for Pat Bailey) which is also a breakthrough. [...]

[...] I told you that your portrait of an old woman was yourself as a mother, and that should be included, as should the portraits of Ruburt and Joseph done together.

[...] Save now all of your people (portraits), and do not sell them locally.

[...] This was the one you sold, of the man that hung for some time in the position in which my portrait now hangs. That was a portrait of Joseph; in other words of your own inner identity as you intuitively perceived it at the time. [...]

The man Ruburt thinks of with the funny eyes is a fairly good portrait of the artist I told you of. [...]

(Here Seth refers to a portrait I am working on without a model, of a bald man with rather young features. [...]

[...] (Eyes closed, Jane made gestures.) Draperies behind a self-portrait he did of himself. [...]

(Jane said that she saw the scene with Van Elver, as she described it to me; including his self-portrait. [...]

[...] You are painting portraits indeed. [...]

You will do a series of portraits of one man, each one depicting a different materialization of his personality in various existences. This will be true portrait work—the personality as seen in more than three-dimensional terms. [...]

[...] Two men, (pause), each of whom will serve as a basis for a rather unique kind of portrait work. [...]

[...] She told me that as she gave the above data, concerning the individual of whom I will do reincarnational portraits, that she could “almost see this guy.” [...]

(“I have the image of a circular object within a rectangular one, or rather an oval shape as in a portrait of a woman that is oval, for example as in old-time valentines.” [...] Jane doesn’t know however if Barbara has for instance ever painted such a portrait. [...]

[...] I have the image of a circular object within a rectangular one, or rather an oval shape as in a portrait of a woman that is oval, for example as in old-time valentines.

(“Who is the woman referred to in the card and portrait?”)

(2nd Question: Who is the woman referred to in the card and portrait? [...]

[...] It will be recalled that the worker described a portrait drawn of him while he was in the service; and that the artist making the portrait drew him with a symmetrical face, whereas his face is decidedly not symmetrical.

[...] He described to us in some detail how he had a portrait of himself drawn during the Second World War, when he was overseas. [...]

[...] Jane was sure this referred to the story told us by the worker at the lumberyard, who procured the Masonite for me, concerning his war service, his portrait, etc., done while he was in the service. [...]

[...] As stated earlier the worker at the lumberyard described a portrait drawn of him overseas. [...]

[...] From one inharmonious high-pitched yell for example, if you listen, you as an artist can sense the self that was forced to make that sound, perhaps emerge with a prize, an excellent portrait, or simply an unique and individual mouth. [...]

From the sound, the assaulting onrushing sound of traffic, if you listen you can emerge with the prize—perhaps an abstract, with the pulsating sounds transferred to rhythm and color; or perhaps again a portrait, here, of a compulsive personality, driven, and yet behind it all the purpose which is not easily seen, and the reason.

You can do this in the opposite manner, building up from sounds visual frameworks that are completely original portraits, created from the sound of voices. [...]

Now: Remember in your portrait the sense of play, and a light hand. [...]

(Here, unexpectedly, Seth referred to a large portrait I’ve been working on for the last month and the one that gave me so much trouble today. [...]

The portrait is of Joseph and Ruburt. These are not portraits of yourselves as past personalities in your terms, or of particular reincarnational selves. [...]

[...] I told Jane that tomorrow I’d replace the oil portrait of mine that’s been there on the bulletin board. [...]

[...] A landscape is not lacking because it is not a portrait. [...]

[...] The portrait discussed above is one I recently finished after many attempts. [...]

[...] They involve mostly portrait work, and such mundane things as the handling of paint, both opaquely and thinly, and the symbolic meaning behind these things. [...]

[...] The painting I am working on now features a cadmium red shirt on the subject, and has given me some trouble because of its tendency to turn purplish if not watched; since Jane has seen me at work on this portrait often, she may have picked this up, although I haven’t mentioned it to her. [...]

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 can change the picture of your life at any time if only you realize that it is simply the one portrait of yourself that you have created from an unlimited amount of probable ones. The peculiar aspect of your own probable portraits will still be characteristic of you, and no other.

(In the meantime, I told myself I would know how to proceed with painting; the result is that I returned to a small portrait I began several months ago, and left unfinished while I tackled some other problems. [...]

(I am finishing up a series of half a dozen life-sized portraits, at the end of which, I told myself some time ago, I would feel free to embark upon larger projects of whatever choice I made. [...]