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The Painter’s Keys Clickbacks Archive


The archive is a rich resource of art information and advice for artists and creative people looking for meaningful content. You can access every one of the Robert Genn Twice-Weekly Letters since the year 2000, including shared responses from the worldwide creative art community. This is a timeless collection of material formed by the brotherhood and sisterhood of artists, where all flags fly.

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2012 Robert Genn Twice-Weekly Letters

  • Cultivating 'notions'
      December 28th, 2012
  • Novelty is vital to the stimulation of life. This Christmas, for example, Dorothy the Airedale played harder and had more fun with this year's ball than with last year's. It's in human nature. The same old, same old is transmogrified by the creative crossover triggered by seemingly minor novelties. New neural paths are sparked by caving in to notions... Read On

  • The problems of an online Claus
      December 25th, 2012
  • Thanks so much for all your Christmas wishes. I'm deeply honoured to be connected to so many fellow travellers. This time of year my emails show an increase in "Dear Santa"-type letters. Though I treasure every one, and take them seriously, I'm not always able to come down as many chimneys as might be wished. They often go like this... Read On

  • Getting ready for Armageddon
      December 21st, 2012
  • With the Mayan "Long Count" calendar turning 5,125 years on December 21, 2012, folks have been getting ready for the big day. One group in Britain put in dried foods that will last for twenty-five years. A group in the Yucatan has been told to sell all their worldly possessions... Read On

  • The tools we choose to use
      December 18th, 2012
  • Future anthropologists, arriving from another planet, may dig in our middens and determine we were "The People of the Gun." A brilliantly conceived tool, the gun has evolved to reach a remarkable range and power... Read On

  • Some agreements
      December 14th, 2012
  • You may have heard of the Mexican author and spiritualist Don Miguel Ruiz. Ruiz is a new-age advocate of freedom from certain beliefs that he thinks create limitations and unhappiness. One of his ideas is to find your own integrity and peace by absolving yourself of responsibility for other people's problems... Read On

  • Studio dynamics
      December 11th, 2012
  • On Sunday, I happened to stumble on some photos of Francis Bacon's studio. It made me feel a lot better about mine. His was really messy--a combination of never picking up, mental chaos, and compulsive hoarding. His canvases on their easels, where you could find them, were paragons of calm... Read On

  • The closed-mouth convention
      December 7th, 2012
  • You'll be glad to know this letter has nothing to do with not talking about your art. It has to do with the business of painting people with their mouths closed. While a toothy smile may suggest desirable qualities like a happy nature and a sense of humour, in painted portraits it may not be such a good idea... Read On

  • Autopoietic art
      December 4th, 2012
  • What good, some might ask, is such a system? Apart from its brilliance as an exercise, autopoiesis simply and handily creates new forms and can be used as a legitimate art-production method. As well as its obvious value in abstract work, remarkable realistic forms can also evolve before your eyes... Read On

  • Confessions of a puny little guy
      November 30th, 2012
  • When I was a kid I learned that I could get out of scrapes by talking rather than fighting. I had to--I was a puny little guy. Later, after a few semesters at art school, the registrar called me in and told me, "You talk a good job and do a poor one." This was when I realized I had to figure out how to be more quiet... Read On

  • Deja vu
      November 27th, 2012
  • Born in Giverny in 1927, the year after Claude Monet died, Toulgouat, as a boy, had taken painting lessons from Blanche Hoschede Monet, one of Claude Monet's adopted daughters. Sometime near the beginning of the Second World War, Jean-Marie and a school-friend built an American Indian-style canoe... Read On

  • An art of its own
      November 23rd, 2012
  • Many artists look at the painting of florals as a redundant art...Actual flower arrangements in all their fleeting fragility might be the preferable art...Flowers are an education in a vase... Read On

  • The stress of relaxation
      November 20th, 2012
  • Christina Luberto, head of a current relaxation study at the University of Cincinnati, thinks that the paradoxical increase in anxiety as a result of relaxation is more common than we might think... Read On

  • Drunk painting
      November 16th, 2012
  • Most of us, at one time or another, have tried a shot or two while painting. Joe Blodgett does it all the time. He says it steadies his hand and helps him to be more confident. A shaky hand is what I get--my confidence becomes both deceptive and temporary. Disappointment arrives like a mobile doctor with a stomach pump in the cold grey light of dawn... Read On

  • Denial of digital?
      November 13th, 2012
  • Taking a look at Don's work, I was blown away by the remarkable quality. Don's art is photographically based. As I understand it, he goes to quite a bit of trouble to set up his models and photograph them in period costumes and true-to-life environments... Read On

  • 'A dumb idea'
      November 9th, 2012
  • ...Because of this dumb idea, my cup runneth over. The Jimmy job took little time. I was the only one in the world who could safely do it. It was a joy to inspect the old painting, clean and re-varnish it and send it on its way once more. Future black lights will learn its secret... Read On

  • Love those apps
      November 6th, 2012
  • IPad apps like Sketchbook Pro, Procreate, ArtRage, ArtStudio, Brushes, Zen Brush, Inspire Pro and others are great for the ageless instant gratification needy. And like other new technology, the cutting-edgers are putting the things to work. David Hockney recently exhibited a bunch of florals... Read On

  • Two artists
      November 2nd, 2012
  • "Jack" got a BFA and then an MFA from a Midwestern University. He's visited many of the major contemporary art museums and follows the work of several "important" contemporary painters. He's written articles on Philip Guston and others... Read On

  • Make a list
      October 30th, 2012
  • Stepping into an environment with an open mind and no plan is possible. Such a serendipitous attitude can surprise with joy and unforeseen opportunities. But you can also be caught unprepared and blind to both potential and problems. Just as walking right by a particular owl in a certain kind of forest is possible, you need to know how to find what you're looking for. Go out with a list... Read On

  • The Pomodoro Technique
      October 26th, 2012
  • If you think all of this is nonsense, you're not alone, but I suggest you try a Pomodoro just once. For those who regularly lose focus, fail to finish or fail to start, you might be pleasantly surprised... Read On

  • How to purge
      October 23rd, 2012
  • At the beginning of a career, professionalism is possible, but not likely. Hope is a frailty of the human mind that needs to be tempered with reality. Hope is not a strategy. Purging must come from within, from your own calculated powers of discrimination, which should have nothing to do with what "others might see value in one day." Here's how to purge... Read On

  • Talking about it
      October 19th, 2012
  • Talking things out is certainly a ploy, and a popular one, but it has problems that visual artists need to be aware of. Words--spoken or written--have a way of making rigid that which needs to be exploratory and free. Words are small straitjackets when put around creative flourishes and maneuverings... Read On

  • Perfect happiness
      October 16th, 2012
  • Be philosophical. The happiest people take an "agnostic" approach where curiosity and questioning give more joy and stimulate more wonder than pat answers. We live our short spans in the vortex of a miracle, and while we may not be the center of that vortex, it is magic to be anywhere in there. Be happy! The gods insist on it... Read On

  • No signature!
      October 12th, 2012
  • I can understand why painters might want to have their paintings juried on merit alone. I wondered if some of the artists were intending to drop by the gallery and sign their work just before the show. Not practical, I figured--some painters were geographically challenged. Could there be other reasons for the omission?... Read On

  • Inner Authority
      October 9th, 2012
  • Some observers claim that over the last hundred years fine art standards have diminished. This condition, if true, gives heart to beginning artists to whom it all looks so easy. Add to this the epidemic of entitlement and "me-too-ism" running like flu through Western populations and what have we got?... Read On

  • Beyond "So what?"
      October 5th, 2012
  • ...you need to ask yourself what extraordinary thing could be made to happen in your picture. It could be, among many things, a burst of light or an unlikely inclusion. You need to think of something just a bit magical. An engagement of imagination brings a shot of emotion, drama or surprise. This visual epiphany, devised or not, is key to entering the sensibilities of others... Read On

  • The thing on the wall
      October 2nd, 2012
  • A remarkable old black and white photograph of Henry Miller, taken when he was living in Big Sur, California, shows a small room, almost a shack, fairly tidy, with books and a few of the simple staples of the writer's life--paper, pen and ink. But something else in that room has always made me curious. I wonder if you can find it?... Read On

  • The purpose of gibberish
      September 28th, 2012
  • Talking about visual art is difficult to do. Gibberish is a popular convention that has self-fulfilling benefits. Art that by its nature is confusing is bought by confused people who willingly submit to some form of verbal confusion. "Significant" and "important" art is magnified by the art of gibberish. Cut out the art of gibberish and many artists would also be out of a job... Read On

  • The new template
      September 25th, 2012
  • As most artists know, galleries are going through a fair amount of rationalization these days. We noted several prominent galleries of our acquaintance that had recently closed their doors or made the switch to online only. We also discussed the problems dealers have with represented artists who also have state-of-the-art, personal websites... Read On

  • Managing FOMO
      September 21st, 2012
  • More prevalent in younger people than older ones, it's that terrible feeling that you're missing out on something that might be better or more fun than what you're doing right now. Since the cellphone revolution, checking and texting can be based on a thin hope that something really wonderful is coming up. In life and art, it can be a false hope that keeps us checking... Read On

  • Those important letters
      September 18th, 2012
  • I'm told that in some jurisdictions credentials are important, but I'm not sure where those jurisdictions are. Further, I've never heard of someone coming into an art gallery and saying "Do you have anything by an RA?" And while this may happen, especially in academic circles, credentials are mostly sought by people who are already credentialed... Read On

  • A strange situation
      September 14th, 2012
  • Have you ever noticed that paintings of nudes come and go in popularity? In the galleries I work with, there are currently very few. Back in art school the nude was "de rigueur" and I actually thought I was getting the hang of it. In those days, most of our models were women. Perhaps the current decline is because the idea of "woman as object" is not as popular as it once was... Read On

  • An excess of inspiration
      September 11th, 2012
  • Several nights here we've had a hard time getting to sleep. "I'm too excited!" says my daughter Sara. Rich environments such as the Bugaboos, a mountain range in southeastern British Columbia, teem with the sort of stuff many a painter craves. While not all painters are into mountain work, better compositional elements are worth looking for wherever we happen to be. What are those elements?... Read On

  • Memory vs. Creativity
      September 7th, 2012
  • Our personal efforts become a sanctuary and a shelter. Creation, we realize, is the guiding principle of our earth and our universe--every day tiny flowers reappear in our gardens and stars in the heavens are being born and reborn. As artists, we dare to become part of this principle. We are the ones who know that every created thing is a treasure. We are the lucky ones... Read On

  • Flushing the Rolodex
      September 4th, 2012
  • How many times have we watched our first courageous strokes deteriorate into a cluttered mess that looks like the work of fussy ne'er-do-wells. This happens for several reasons and they're mostly psychological. You can go a long way toward fixing the problem by first lying down on your couch... Read On

  • Humblebragging
      August 31st, 2012
  • Readers may have noticed that I don't think artists should talk about what they're going to do, what they're doing, or, in some cases, what they've done...But now that everyone's blabbing, tweeting and face-booking minor and major glories, there's a new way to deliver your stuff. It's called humblebragging... Read On

  • Lessons the arts teach
      August 28th, 2012
  • In our day, when math, history and even language skills can be quantified and measured, giving clear percentages that pass or fail a student, it's good to know the arbitrariness of art still persists... Read On

  • Public apology needed?
      August 24th, 2012
  • We jurors are often confronted with excellent work that seems to be other than what it's represented to be. On more than one occasion it has fallen upon me to phone an artist to get some info. And on more than one occasion I've been met with anger and indignation. One time there was so much sobbing and tears on the other end that my own cellphone got wet. All I was doing was inquiring as to how the work was produced... Read On

  • Handling edges
      August 21st, 2012
  • No matter how you need to get your edges, a slippery imprimatura or ground coat is valuable. It may seem like a mere trifle, but any pre-lubed ground is more pleasant and potentially more expressive to work on. Many painters find dry and absorbent surfaces to be as odious as fingernails on blackboards... Read On

  • The sacred space
      August 17th, 2012
  • The home studio need not be either big or fancy. "Small rooms," said Leonardo da Vinci, "set the mind in the right path; large ones cause it to go astray." Many significant artists treat the home studio as a secondary venue. "A studio," said Joaquin Sorolla, "is a good place to smoke your pipe." That said, the studio need only be a sacred place where work and imagination gently collude. "A space," said Rainer Maria Rilke, "for the spirit to breathe"... Read On

  • The joyous mind
      August 14th, 2012
  • Observing a trance-like state and the machinations of my own mind as I paint, I've been curious as to what might be going on in the minds of others. It seems the act of applying colours is deep-seated, perhaps atavistic, as if some humans are programmed to move pigment from one place to another. Do we, I wonder, have an innate need to plop and smear and modify?... Read On

  • Monument
      August 10th, 2012
  • All of us have the opportunity to leave our world with some sort of monument. Some among us have the compulsion more than others. Down deep, many artists have the idea that the objects we produce will be our legacy. Our life in art is like the growth of a forest--small seeds nurtured until their presence is inescapable... Read On

  • Colour choice and adjustment
      August 7th, 2012
  • Some painters nail the exact colour they need on the first go. I'm not one of them. In my experience, 90% share my problem. Colours change as the colours change around them--and you can't know the colour of a passage until you're picking up what you're putting down. The situation is compounded by the presence of... Read On

  • Slow down to speed up
      August 3rd, 2012
  • It's warm and muggy beside this froggy pond. I'm the shiny guy wearing the "Deep Forest Off." Nearby, an Oregon towhee rummages in the undergrowth. In the distance, a barred owl is being harassed by resident robins. With no immediate obligations and practically no guilt, I'm moving slower than a spotted slug... Read On

  • Out of the blue
      July 31st, 2012
  • ...a fellow painter from another part of Vancouver Island had sent a link to a speech by John Cleese. "This came out of the blue," she wrote. "Why not," I thought. He's a bit bombastic, John Cleese, and you can't stop seeing Basil Fawlty, but his points in this older 35-minute video on creativity, based on his own experience, are authoritative. Read On

  • Rocky shores
      July 27th, 2012
  • I'm laptopping you from a 27-foot sport-fishing boat near the mouth of Quatsino Sound on the Pacific side of Vancouver Island, B.C., Canada. Right now we're being slammed around in 10-foot swells while a moderate southeaster whistles foam from the wave-tops. It's difficult to paint in these circumstances, but not impossible... Read On

  • Managing delay
      July 24th, 2012
  • Creative delay is when you look at your work-in-progress and are unable to decide what to do next. While audacity and "seizing the day" can be valuable, also acknowledge times for prolonged reflection and consideration. During this delay the mind subconsciously continues to sort options and devise ploys... Read On

  • In praise of sleep
      July 20th, 2012
  • After a week of wildness and goofing off while at art school, I stayed up for 48 hours to complete a particularly tough assignment. My class-mate and best friend Jim Ferron, on the other hand, had stayed off the streets and worked at the project in a measured, systematic way. Jim aced the job while my effort earned me a trip to the registrar's office... Read On

  • The fine art of hoarding
      July 17th, 2012
  • Attitudes of preciousness and unwillingness to release are fairly common among artists, and this knowledge has helped me deal with my own problem. I'd appreciate if you didn't mention my problem. My question is to what degree it may be a beneficial problem... Read On

  • Kindling the flame
      July 13th, 2012
  • I used to think folks were either born with it or not born with it. Some are, of course, and that's handy, but I now know the flame can also be self-lit. For the lukewarm and the not-so-hots who would like to feel more fire in their bellies, there are ploys... Read On

  • Copying an enigma
      July 10th, 2012
  • Yesterday, Paul Austin of West Drayton, England, wrote, "I've recently been given a commission to paint an exact replica of Magritte's 'The Son of Man.'...Is there any way of copying an exact image of this work?" ...Paul, if I was asked to do this commission, I'd turn it down. But I'm not you, so I'm going to tell you how I would do it if I was lashed to the easel... Read On

  • When to let them fly away
      July 6th, 2012
  • Yesterday, Joe Radovich of Surrey, B.C. wrote, "Together with two other painters I'm having a two-day show in our art clubhouse this weekend. My question is, when someone buys, should we give it to them right away, or should we keep it hanging for the duration of the show?" Thanks, Joe...In my experience, collectors prefer... Read On

  • Disruptive innovation
      July 3rd, 2012
  • Disruption, it would appear, is one of the natural keys to invention and success. I've been curious how Christensen's principles might apply to art. Impressionism disrupted academicism, abstraction disrupted realism, etc. While there are many artists who work diligently to create the next "ism," some among us think that realism is currently re-disrupting abstraction... Read On

  • Cataloguing for life
      June 29th, 2012
  • Yesterday, Dennis R. of Aspen, Colorado wrote, "I read with interest your letter on why you shouldn't put dates on paintings. What are your thoughts about catalog numbers on paintings?"... Thanks, Dennis. Several times in my life I've started cataloguing and failed. I once got as high as 75 before zoning-out. If I had to do it all over again I'd... Read On

  • What digital photography isn't
      June 26th, 2012
  • Fact is, people are snapping at unprecedented rates and not taking much time to look and see. "The medium has eclipsed the moment," says journalist Erin Anderssen. Unlike the scrapbooks of old, the tsunami of imagery remains, for the most part, ephemeral. Its commonality contrasts with the relative scarcity of paintings... Read On

  • Your easel, your altar
      June 22nd, 2012
  • Apart from perhaps the nursery, nothing compares to the remarkable container known as the studio. Here is a sanctuary where mere materials are transformed into objects of beauty. Like the laboratory, the studio is a domain of imaginative possibilities--as near to "creation" as mankind is likely to go... Read On

  • Signing and dating
      June 19th, 2012
  • While the unique style and painterly quality of your painting is more important than your signature, a good reason for putting a signature on the front is in the interest of the observer. People love to be right. If someone sees a "Joe Bloggs" from across the room... and moving closer, sees the signature "Joe Bloggs," then this observer confirms his brilliant connoisseurship... Read On

  • How to give advice
      June 15th, 2012
  • Recent emails asking for advice prompted me to give further thought to the business of giving advice. Believe me, I'm deeply honoured when people trust me with a half dozen jpegs and the question, "What do you think?" Read On

  • Downsizing
      June 12th, 2012
  • Very often, a large "mish-mash"--poorly composed or overly cluttered work--can have a better life by turning it into two or three smaller works. To get an idea of potential compositions within paintings, try moving... Read On

  • Lessons from a shopaholic
      June 8th, 2012
  • Artists need to keep busy while they're waiting for something to happen. At the same time, artists don't want to be careless when it comes to business, but they do need to be free to concentrate on their craft. Read On

  • A friend indeed
      June 5th, 2012
  • Artists need to keep busy while they're waiting for something to happen. At the same time, artists don't want to be careless when it comes to business, but they do need to be free to concentrate on their craft. Read On

  • Your Inferior Shadow
      June 1st, 2012
  • I've spent a lifetime trying to figure out why some artists just go ahead and do things and thrive, while others don't get much done and languish. I noticed that thriving in our game often has more to do with attitude than talent. Read On

  • Try an odyssey
      May 29th, 2012
  • I recommend three- and four-hour car-sorties. In our family we call it "mosey driving." Unlike your regular trip to Costco, you move around so you can look and see and perhaps record. Read On

  • The death of painting
      May 25th, 2012
  • Intellectuals and others have enthused about modern forms of art that seem more significant in today's problem-loaded world. These pundits are the ones most frequently announcing the death of painting. Read On

  • Not your father's Oldsmobile
      May 22nd, 2012
  • Fashions come and fashions go. One generation doesn't always want what the former generation coveted. It's an action-reaction syndrome and, considering human nature, it's inevitable. Read On

  • Sincerity
      May 18th, 2012
  • Getting in tune with sincerity requires a daily search of your "passion inventory." You have to clear your way past the clutter, impedimenta and obligations, not to mention your own personal bedevilments. Read On

  • Art and current economics
      May 15th, 2012
  • When I first started painting 50 years ago, there were fewer accomplished artists and less expendable cash to buy art. Today there are far more artists and a peculiar disconnect in the buying of art. Read On

  • Outsourcing
      May 11th, 2012
  • In one of his recent books, the American author, A.J. Jacobs, reported he had successfully outsourced his life. In the name of improving personal efficiency, he left everything odious to an outfit in India... Read On

  • Post-traumatic growth
      May 8th, 2012
  • Internal motivation can be sparked by a few minutes of quiet Zen-like reflection on earlier times and places. Work begins when you answer the question, "What do I want to do today? Read On

  • Your primal joys
      May 4th, 2012
  • Internal motivation can be sparked by a few minutes of quiet Zen-like reflection on earlier times and places. Work begins when you answer the question, "What do I want to do today? Read On

  • Tips for you
      May 1st, 2012
  • Whenever I offer tips to fellow artists I'm aware that a tip may be valuable to one person and a poison pill to another. Lately, on the speaking circuit, I've been giving a little talk I call, "Two dozen tips for painterly happiness and success." Read On

  • The Parachute Principle
      April 27th, 2012
  • I discovered "visual innocence" to be a learnable art. One needs to secretly and privately cultivate the self-delusion of surprise and even dismay. Read On

  • Painter's high
      April 20th, 2012
  • Wondering whether there might be an evolutionary base to the kind of high we sometimes get from painting, I consulted six painter friends. Read On

  • No fish today?
      April 17th, 2012
  • "What to do?" I was asking myself. In my panic I briefly impaled myself on a brush I had forgotten to wash the day before. Read On

  • Rebellious student
      April 13th, 2012
  • More than anything, creative aging means keeping the mind alive to possibilities. In the art business, one never stops learning. Read On

  • The happiness factor
      April 10th, 2012
  • Does tribalism and togetherness improve creative quality? Some people will swear on a stack of "Robert's Rules of Order" that it does. Read On

  • Wonderful faces
      April 3rd, 2012
  • We begin to understand the symbiosis between art director and illustrator, just as artists have catered to patrons throughout history. Catering, by expanding demands on an artist, can be key to greater craft and technique. Read On

  • Talkers and doers
      March 30th, 2012
  • More and more in later years I've come to realize that shutting up is not only cathartic, it's a positive technique for quality control and improvement. Read On

  • Look who's buying art now
      March 27th, 2012
  • In what I call FABE (the Female Art Buying Explosion), women have less hesitancy in collecting women artists. This may be partly because female-run and female-owned galleries have risen dramatically. Read On

  • Wet-into-wet
      March 23rd, 2012
  • By encouraging more fluid, cursive and longer flourishes, the professional's prowess is revealed. After that, little dry strokes are not as much fun anymore. Read On

  • Your own website
      March 20th, 2012
  • For those who want to inexpensively become a player on the world art stage... I found it to be a no-frills, straight-up demonstration of hands-on information. There's a learning curve, but it's not daunting. Read On

  • Strategic patience
      March 13th, 2012
  • Strategic patience... precludes running off willy-nilly in a knee-jerk reaction--a reaction that often does more harm than good. Read On

  • Scapegoat
      March 6th, 2012
  • Scapegoating is a natural human tendency. But blaming others for our weaknesses and perceived failure is folly. Read On

  • The Genn Method
      February 28th, 2012
  • Using The Genn Method, our workshops are events where participants are re-energized and re-armed with techniques and systems that take them to a more professional level. Read On

  • Second breath
      February 24th, 2012
  • Paintings that are not quite right or that are wrong to the point of abandonment sometimes deserve a second breath. Read On

  • Trust your steps
      February 21st, 2012
  • The ability to focus is challenged in our society--not just with the nerve-jangled adults, but also with the new batch of kids. Read On

  • Dealer padding
      February 17th, 2012
  • Some dealers can and will sell almost anything to certain customers. This situation puts an unnatural spin on the art market... Read On

  • Jamaican afternoon
      February 10th, 2012
  • Like a scene out of a movie, the crowd now moved toward me, their shoulder-born reggae growing in volume as they approached. Read On

  • What turns you on?
      February 7th, 2012
  • Give yourself permission to fall in love and you'll partake in the miracle. Life may not be fully understood, but art is one way we can try. Read On

  • Contrarian critters
      February 3rd, 2012
  • A creative thriver needs to be an independent self and a seeker of joy. If joy's not in you, you might need to delude yourself that it is. Read On

  • Wild places
      January 31st, 2012
  • Not only nature binds our world, but also those among us who inadvertently or on purpose are able to share their magic. Read On

  • Left, right, up, down
      January 27th, 2012
  • Neurologists tell us a glance to the left indicates right brain activity. A glance to the right indicates the left brain has kicked in. Read On

  • Noticing the good
      January 20th, 2012
  • Cruising your eyes over someone else's work in silence and with respect may be the next best thing to struggling on your own. Read On




TWL Letters

Be witness to Robert Genn's abiding faith in the Brotherhood and Sisterhood of Artists and you will be informed, inspired, and motivated. On first publication of this book November 27, 2009, Robert wrote: "It's my sincere wish that you get real and lasting value from it. It's your book, really, and I'd like to thank everyone in our Painter's Keys Community for the inspiration that makes these Twice-Weekly Letters happen."

ORDER THE BOOK

"Thank-you for your friendship." (Robert Genn)

The Robert Genn Twice-Weekly Letters, 960 pages--ten years of over a thousand unabridged letters including an 82 page index. Six by nine inches and more than two inches thick, this beautiful book is hardbound Red Cayenne with a separate dust-jacket, a red ribbon, and shipped in a custom protective book-box.

Last modified: Nov 26, 2014