Search Results: Robert Genn (1577)

Letters An adult Bald Eagle that has been restored to health by the Juneau Alaska Raptor Rehabilitation Center is released on the Chilkat River, Haines, Alaska.
8

Here at the American Bald Eagle Festival in Haines, Alaska, releasing eagles back to the wild is part of the program. This year there are five. Wounded or sick birds that have been revived by local animal shelters are brought here for this purpose. A prominent Chilkat Chief of the Raven Clan released one at dawn today. Dressed in full regalia — button blanket and traditional wooden hat — he said a few words in the Tlingit language. Then, on the count of three, he threw the bird into the air.

Letters Quiet Morning, 1994 34 x 30 inches acrylic on canvas by Robert Genn (1936-2014)
33

When my husband, Peter, attended his first Genn family gathering, he was delighted to find that after the meal everyone scattered to their respective rooms for what our family fondly and only half-jokingly calls, “quiet period.” No communal digestion, no idle chatter, no one’s company sought. Within minutes, everyone was under the covers in their own bed with a book or writing tool. Quiet period is when you get to go to your room to work on that thing you’re quietly working on.

Letters Return of the Forest 30 x 40 inches acrylic on canvas by Robert Genn (1936-2014)
17

Artists need to be constantly on the prowl for ways to make their work more visually exciting. Art needs magic bullets beyond mere subject matter. Fact is, perfectly dull subjects can be made more interesting with a little extra thought and effort. You may already be applying some of these ideas, but if my request seems more like a tough order, perhaps these exercises will be all the more important for you.

Letters Ranch House, Santa Fe, 1925 watercolor over pencil on paper 13 7/8 x 19 7/8 inches by Edward Hopper (1882 - 1967)
12

Vicki Lynn Rae of Vancouver, BC wrote, “I have noticed from time to time subscribers have written with art related questions and now I have a situation that has me stumped. A few years ago a client bought from me two large paintings. One, an Orca, I had already painted and listed on my website. The other was a landscape commissioned to go along with the Orca. Recently, I received an email from this client saying he is having to downsize and wishes to sell the Orca painting. He asked me to handle the sale.

Letters Late Surprise, 2007 36 x 40 inches Acrylic on canvas by Robert Genn
4

Outdoor work can be confusing. Because there is often so much to look at, the painter may not know where to begin. Here are three basic approaches you might find useful:

Even though your planned subject may be off in the distance, before you do anything about it, search around your immediate environment and find something in the foreground. This can be anything that interests you or has design potential — a stump, colourful foliage, animal or human figure. Render this to some degree of completion first.

Letters Drift, 2010 oil on canvas 36 x 36 inches by Sara Genn
23

Yesterday, my twin James arrived in the evening with an early birthday present. I could hardly believe it when he wheeled it across in front of the window under the eave lights, where he knew I would see it from the kitchen. Sky blue, with 3 speeds and a basket, James might as well have given me a second studio. After I hugged and thanked him, we reminisced about every other bicycle we had ever known, and all the pleasure and inspiration that can be drawn from such a timeless creativity machine.

Letters Getting started on Ramparts, February 2004.
8

When I was a boy my dad owned a sign shop. There were four employees: Nort, Mort, Phil and Bert. Each had their specialty — show cards, banners, silkscreen, illustration. It seems my dad was always walking around and asking, “Do you have something to get on with?” Dad lived in fear that one or the other would run out of something to do.

Letters sara genn lake ohara
18

My daughter, Sara, and I are again up to Lake O’Hara and Yoho National Park in British Columbia. Today, in the champagne air of a place known as “The Hanging Gardens of Babylon,” both of us are struggling with extra-large canvases. We’ve come this high with a little help from our friends, and we’re talking about “strong and wrong.” It’s a term currently used by some of Sara’s New York musician friends. Apparently it’s better to blow a strong note off key than to produce a wimpy one that doesn’t get noticed.

Letters The Hunter (Catalan Landscape), 1923–24 oil on canvas 25 1/2 x 39 1/2 inches by Joan Miró.
21

With the unmistakable breeze of authority, Dad said, “Never underestimate the power of a little pressure.” At the time, I took it as many aspiring artists would — that production pressure was a gift from the outside world, a reprieve from the echo chamber of your solitary room. But what he meant was that you need to put pressure on yourself. By doing so, you override the helplessness of creative dependency on external minders and convert yourself magically from a reactive artist into a proactive one. Here’s what I mean:

Letters Twilight of the Gods Acrylic on canvas 20 x 24 inches by Robert Genn (1936-2014)
13

With all the current running off to get things juried and critiqued by others, self-critiquing might seem an unpopular sport. It isn’t. The acquired ability to critique oneself is the fuse of great art and the silver bullet of the pros. While all artists work differently, here are a few thoughts:

Quality develops when the artist and the critic are honed into a functioning co-op within the same skull.

1 … 3 4 5 6 7 … 158