The Painter's Keys A Seminar With Robert Genn

Rating:
Summary: How to be an effective artist
Review: Robert Genn's book "The Painter's Keys" presents attainable steps to becoming an effective artist.

Genn introduces two simple but deep-felt ideas in the first chapter of his book, "Wondering Child" and "Joy Mode". Both concepts are paramount to our well being and to the approach we take each day as we enter our workspace to begin painting. These two key points transformed my own way of thinking, my attitude and approach to each day.

The Painter's Keys has shown me how to have enthusiasm and the desire to do the painting. Genn believes, "this joy and enthusiasm will show in the painting if it is there, and will certainly show in the work if it is missing".

Two key points I found valuable in The Painter's Keys are concepts that assist the artist in building character and developing personal systems for the execution of painting.

In building character we are taught how to excel and be our personal best both as a person and as an artist. Genn writes that the trials we experience as artists are not brought on by a lack of ability but by a lack of character. For me this was one of those Ah-ha moments, this idea alone has allowed me to grow in leaps and bounds. Genn teaches us the systems to develop better work habits and break old patterns.

Robert Genn introduces us to the idea of "Recipes" in his book. This was another key point that revolutionized the way I approach painting. This simple yet functional system is tailor-made to each individual; the recipes are our plans, directions and techniques - simple or obvious. Genn borrows this quote from Sergi Eisenstein, "careful planning, and brilliant improvisation", that underscores his idea. "The recipes are the ideas you want to be working on, "you name the ideas - and you claim the ideas. When you come to an area in painting that you feel stuck in, you have the knowledge that you have thought about it before, you won't feel lost." To some this may sound too planned out, that is not the case, it allows one more freedom. This simple yet profound idea may save many a painting and frustration.

This slim volume is filled with nuggets of wisdom that comes from Genn's treasure trove of experiences from his 45+ years of painting. One need only to browse through "The Painter's Keys" index to see the variety of topics this book covers. Topics such as: how to choose an art school, art shows, juror's criteria, how to choose galleries and dealers, being noticed, commissions, depression, fear, framing, idea book, income tax, insurance, personal records, quality, procrastination, publicity, women artists, value, titles, shipping and time give an idea of the riches within.

What I liked about this book was the simple, practical Ah-ha concepts. They all ring true for me. The painter's keys that Genn shares with the reader are easy to apply to life and routine, given commitment and stick-to-it-ness. I have recommended this book to many people, given a few away and often quote Genn in conversation. It is a book for any creative person at any level of experience

Rating:
Summary: Good, but no cigar.
Review: The best thing about this book is the abundance of sheer "go for it" good energy that Genn conveys to his audience of artists who are, themselves, at times sceptical, confused, unfocused, but mostly enthusiastic. This little book is a transcript of a two-day seminar, the first chapter of which is available to read on Genn's web site. There are indeed many useful tips and insights scattered throughout, some of which might just be the kick in the pants some readers will respond to. Genn seems to have had in mind a theme for each hour (eg. quality, motivation, etc.), but questions from the audience are often unfocused and quickly lead him astray from his topic. He begins the ninth hour by saying "I want to give you one idea that will pay for the whole seminar. It is such a golden idea that I would appreciate it if it didn't go any further than this room." (Well, he published it in a book, didn't he?) What ensues are some mildly interesting marketing tips, but hardly anything that will transform a career. I also found annoying the ever present veneer of '60's gesthalt psychology with which his comments were laden. The mix of beginning and experienced artists in the audience also made for a fair number of time-wasting questions that should have been diverted elsewhere -- for example, technical discussions of how to paint with acrylics (apparently what Genn mostly uses), how to shoot reference photos, and so forth. Most of the tips offered will be familiar to most artists, but if you're in a slump it can be helpful to hear it again.