Experiences with artists

One day at a meeting of Amarillo graduates, I was asked, "What else can we use clairvoyance for?"

I answered, "For doing everything that is constructive and creative in a better way."

The next question was, "Can we use it for painting better, and how?"
I said, "I will show you a way right now."

There were about forty-five graduates in this meeting, but Mr. Fitz the art professor, was not present, so I selected a woman sitting in the front row.

"Madam," I said, "will you come forward and sit in this chair?"

She came and sat in the chair at the front of the room, facing everybody.

I then told this woman to enter her level, because I wanted to talk to her at her level.

When she indicated she was at her level, I said, "What is your name?"

The answer was "Mrs. F."

I then continued, "Mrs. F., who do you like to paint like?"

Mrs. F. answered, "Like Van Gogh."

I then asked Mrs. F., "Have you read Van Gogh's biography?"

She answered, "Yes."

I continued, "Mrs. F., since you are a painter, you must have good visualization and good imagination. Could you, using your visualization and imagination, create a copy of Van Gogh here at your level?"

Mrs. F. answered, "You mean something like making believe?"

I said, "Yes."

Mrs. F. said, "Yes, I can do that."

I then told Mrs. F. to start creating a copy of Van Gogh, starting with the head, on down to the feet.

Mrs. F. started motioning with her hands as though she were sculpturing a body on her right, starting with the head. Everybody in the room was watching Mrs. F. create her Van Gogh at her level of clairvoyance.

When Mrs. F. finished, I told her that from now on, when she would be painting, out of level, and she needed to ask Van Gogh a question about a painting problem, all she had to do was bring the tips of the first three fingers of either hand together, concentrate on the image of Van Gogh she had created, and ask the question mentally. After that, whatever ideas came to her would be Van Gogh's answer.

"Now come out of your level and paint something for us with this new concept," I told her.

Mrs. F. came out of her level and set up her easel, canvas, pigments and brushes. Occasionally while painting, Mrs. F. would bring together the tips of the first three fingers of her left hand, or sometimes of her right hand, and concentrate a little, then continue painting.

When Mrs. F. finished her painting project, a vase with flowers in it, everybody appeared amazed at the finished product and how she went about doing it.

Without realizing it, I had selected a person who had had only a few lessons in art.

At that time, Mr. Fitz the art professor and gallery director, arrived and wanted to know why there was such a commotion.

When he heard what had taken place, he told everybody to sit down and that he would study the painting. Mr. Fitz then analyzed the painting from top to bottom, pointing out the similarities to a Van Gogh.

When he had finished explaining what he detected in the painting, Mr. Fitz even had me convinced that there was something of Van Gogh in it.

When I went back to Amarillo a month later, I was met by a group of painters who had witnessed the Van Gogh experiment and who now wanted to create their own Rembrandt, Da Vinci, Michelangelo, or other masters. We did just that, creating a master of each who wanted one.

Three months later, this same group wanted to meet with me again.

When we met, they said they wanted to let me know that they had decided to continue being their own personal selves, that they did not want to be copies of anybody.

I then explained to them that there was nothing wrong with starting their painting profession as copies of the great masters.

"In other words," I told them, "picking up where the great masters stopped."

I then reminded them of what the teacher of teachers, Christ, had said: "He who believes in me and the works that I do, he also shall do, and greater than this he shall do." I interpret this to mean, "You believe (at your clairvoyant level) in Van Gogh and the works that he did, you will also do, and greater than this you shall do."

I emphasized to the artists, "Notice the phrase, 'and greater than this you shall do.' This means that you are not to get stuck just being as good as the great masters. You are to do greater works than the great masters. In other words" I concluded, "to be better than the best. Your being better than the best will be your contribution to the cause."

The group appeared to have liked and accepted the explanation.

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