This is a wonderful book, one full of good things: clever advice, fine descriptions of all kinds, enlightening anecdotes, vital insights and hilarious asides. The whole thing is presented with verve and energy. --Peter Gellatly, Editor Emeritus, Harworth Press, New York
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. --Jill Ehlert, Artist
This book, a transcript of one of my seminars, sums up the essence of my ideas and systems. A painter all of my life, I have always been curious about the basis of creativity and motivation for what we artists do. I had become aware that there was a useful middle way, where an artist might hang on to his or her integrity, and with the addition of a few systems and applications, become highly successful. This without extraordinary ballyhoo, lucky breaks, or grants. I've also noticed that many successful artists, often the people I'm competing against, keep their own counsel and rather guard their secrets. I guess that, in the past, I too could be accused of this. In this book we talk about the systems that have worked for me, and the winning ways of many other professionals that I have come to know and admire. It's not a book that tells anyone how to draw or paint. I start with the proposition that the reader already knows how to do that, or at least has a good learning curve underway. What I do is to make suggestions of what may often be new ways of looking at the daily life and strategy of the creative person. I discuss a wide range of topics, some have said in a somewhat disorganized way, such as concerns of quality, motivation, work habits, the joy mode, value adding, insider secrets, professional attitudes and methodology, dealer relations, and problems particular to women artists. Members of the seminar keep pulling me back to their practical concerns, or trying to lead me off track. There are a few laughs and you can read between the lines. The result is that readers come away newly inspired to tackle their interests. Many, even those who thought they knew it all, tell me they have found a new and clearer passion and have gone on to even higher levels of personal satisfaction and success. From the letters that I get I know this book is having a profound effect on not a few in the creative field. Robert Genn