“Seth material” search engine (Jane Roberts)

[...] You will believe that you must use them in order to, say, paint the living portrait of your life. [...]

Robert Butts’ portrait of Seth. [...]

Another of Rob’s “vision” portraits, this one is of Bega, a personality who communicates through one of Jane’s students via automatic writing. [...]

Above, Rob’s double portrait of Ruburt and Joseph. [...]

[...] You could have done conventionally well, with portraits, and with other kinds of paintings, with your technical knowledge, but as you learned more you kept trying to put more into your paintings, ever demanding more of yourself and of the art, and forcing upon yourself a kind of growth and development that in a way became larger than the art itself—so that the art, you felt, could never be adequate as an expression of the inner realities of which you became more and more certain.

This is your present line of development, and you have utilized it in the past through your portraits, faces of those that have appeared to you in telepathic images of which you were unaware. [...]

(Seth’s statements about my receiving telepathic images interested me greatly, since I have been aware for some years now that I would much rather do a portrait without a model. [...]

[...] And also on the portrait you asked me about the other day — the one you just finished.

[...] She also said that when speaking as Seth, Jane tended to use the same gestures and facial wrinkles shown in the portrait I have painted of Seth. [...]

The portrait that you sent to the gallery is evocative. [...]

[...] I am pleased over your portrait prize, Joseph, because the prize should make you aware of the fact that good work is recognized, and that despite the personal and unfortunate shortcomings of individuals as a whole they still do recognize good work, and you should give them credit for this.

[...] If you did not want to do portraits, why accept commissions? [...]

(Here Seth refers to preparations I am making to paint a larger, 3/4-length portrait. [...]

(This morning I showed Jane the portrait in oils that I’m working on. [...]

(“I made some connection between that wheelchair and this rocker, thinking it was a wheelchair, and that big portrait you painted of the patient in a wheelchair in the county hospital where your father was,” she said. [...]

[...] She also said that when speaking as Seth, Jane tended to use the same gestures and facial wrinkles shown in the portrait I have painted of Seth.

[...] In the past Seth has stated that I often use these sources of information for my portraits. [...]

At this party affair, mentioned before session, there are two men who will give you fine ideas for portraits. [...]

[...] In the 424th session of July 29, Seth said Van Elver, whose portrait I have recently painted, left a mental message for me; to the effect that I shouldn’t use sepia with too heavy a hand.

[...] The portrait does represent then a portion of yourself—and a portion that understands you quite well, and took that form for your edification.

Your paintings, in a few years, now, will be in some demand, and you will find yourself quite spontaneously doing multidimensional portraits.

(Two days ago, on Saturday, November 25, I took a few exploratory photos of my two friends, preparatory to beginning work on portraits of them.)

[...] Seth/Jane leaned forward, smiling and emphatic.) And I will sit more formally for my portrait some day.

Now in portrait work, looking at a subject easily for example, try to see him as he was in past lives. [...]