Think and do

Thank you so much for this post and your solutions. Just knowing those has cleared and confirmed a central issue for me. Very, very, valuable.

I liked your post today on ‘Think and Do’, but I am left with a burning question: “How do you, Robert, move from ‘stressful world’ – to – ‘artful inner bliss'”? Do you have a ritual?

Bless you, Robert! I’m not painting lately but I need your advice in the rest of my life as well! Thank you so much for your thoughtful words of encouragement and advice. (And for your lovely paintings).

Treating ourselves with loving kindness and forgiveness for falling off of whichever wagon we were riding, then moving on, a is huge step when taken daily or even from moment to moment.

I am not really sure about of the psychological aspect of what drives anybody to do things. I think that we are motivated by a strong sense of accomplishment whether in our jobs or in our hobbies. I do believe that we compartmentalize what we value most and try to succeed in them. People who have the talent for art strive to accomplish it by setting goals for themselves but not neglecting other aspects of their lives. There is a time set for each of the aspects of their life. What is important is a mind set to the things planned do whether mowing the lawn or painting. If a plan is made to concentrate on painting then do it and not make excuses for not doing it.

As well as failure of self-control, there’s failure of self-esteem. We must remember our parents, for it is their influence which makes us princes and princesses.

I enter my studio with a cacophony of voices in my head, most of them dark. After an hour or so there are no more voices, only visions of the colors and memory of the process. Spent the day chasing the voices away, so the mind is quiet– maybe too quiet.

Hi Robert Don’t forget ‘Sally’ and ‘Puff’ !! Oh Oh Oh, poor Sally and Puff can’t be left out ! I’d forgotten the old Think & Do and the only ‘art’ we did in Pauline Johnson Elementary in West Van in the early 40’s was to colour mimeographed pictures of carrots, beets, potatoes etc. that had pre-drawn eyes, noses and smiles !! What fun ! Glad I can Think and Do my art differently now. “>)

While Dr Baumneister’s thesis is that too much self control depletes further self control (as in the self control you need when you get to the easel) he does also recommend systems for improving self control through exercises where self control becomes habituated by training in less significant ways–not pigging out on cupcakes, sort of thing.

Baumeister’s theory is the opposite to what you might think. Self-control does not beget self control–rather, the frequent use of self-control interferes with the more important needs for it.

The “Ride, Boldly Ride” Video by Warren Criswell that you featured in the previous clickback is fascinating and the development of the painting is very familiar to me. I find that making sketches before painting restricts one’s creative process. Perhaps making sketches for murals is necessary, but not for a painting. Thank you for sharing this video.

Working in the sanctuary ambience of my studio diminishes the influence of outside negativity and temptations.

Disciplined, deeply structured people or free spirits who move blithely from one task to another, all seem to get things done. Individual working methods may vary but essentially we will do what we want to do. There is priority in those choices, such as I may decline dessert because I don’t like sugar, but a morbidly obese person must because their life depends on it. Self help strategies, New Years resolutions, our own nagging consciousness, whatever … we see some people produce a ridiculous amount of work while others plod at a snail’s pace. *shrug* Neither is right or wrong and there are so many factors that influence our working routine. Regardless, find your comfort level and press on.

I have subscribed to your letter for a number of years and always find something of value in each one. Every once in a while I read one that seems as though it was written just for me. Today’s felt just that way. I have been going through a very difficult time with my daughter who is suffering. Our days are made up of arguing with the school, speaking to police and lawyers. It is taxing and depletes me of all my energy. I feel a huge hole within myself where my art has always been. I feel like I have no energy left for myself and my art. Unrelenting forgiveness is the phrase that caught my attention. I have been beating myself up for months because I have nothing left when it is time to be in the studio. All the “shoulds” are knocking at my door and leaving me filled with guilt and anger. If I can just stop and forgive myself I know I will open up the portal back to myself and my art. Even if it is just a few minutes each week or better, each day. (Glass artist, Long Island)

There are some folks who are so constantly depleted they can never apply the self control needed for even the simplest positive tasks.

As far as I can see art-making is a constant march of caving in to temptations. Taking chances, daring, getting out of your comfort zone and taking risks is the name of the game. Not everybody gets it.

Unless it was intentional, for myself I am finding it a bit difficult to visually and comfortably separate the trees from the background. The colors are sweet, so is the composition.

Dear Bob, this painting is terrible. Looks like you got angry and threw blobs of paint at it.

The painting doesn’t feel balanced, somehow…there is more “weight” in the top half and it feels like it is tilting backwards. I believe this would be alleviated with the addition of a bit of top colour in the bottom…I would go with the warmest tone myself.

From what I have seen of your paintings – this one isn’t finished. Unless you are lost for direction (which I can’t believe) shouldn’t you finish it before you get input. Your direction is a personal one and although input can be valuable you should go as far as you can by yourself first – then see about input only if you need it. Everyone has an opinion.

Obviously not finished as yet. The foreground and mid ground are blending together, needs temp, clarity or value difference. The kitty between the two rocks on right needs to be dealt with. Thank you for subjecting yourself to an uneducated critic. Love your work! CmB

Amazing how many faces and animals I found in your painting. Enjoyed them all and am still looking for more!! Did you put them in first and paint around them?

I enjoy the feeling of the trees in the foreground. There are echos of The group of Seven. I also enjoy the room given by the artist to let me look around the scene, from foreground to background. I enjoy being in this place the artist shares.

Add a little interest to the bottom third of the canvas. Could use bright colors and perhaps some strong light and dark contrasts.

Well your painting “Patterns” draws one in as your work does. The snow is so cool and inviting and the trees outlined in the background are so serene. I have done a series of about 20 theologically inspired art pieces and recently have done 3 of Joan of Arc, st. George and St. Dymetrius in gouache – all riding white horses. St. Joan is currently exhibited in St. George’s Anglican Church in Westbank. As a result I am spent with all the slaying of dragons. Even to the point of feeling like I am a dragon (lady). I don’t even have a website but would like to send you some images.

I see this as one of your better paintings, primarily because of the unusual and original composition. We have great tension between horizontal and vertical elements; the gray foreground is pleasantly surprising, and it ties in with the grayish rocks in the middle of the format. No critical changes are necessary. The only eye-catching and disturbing parts are the light blue blobs above the lighter horizon line. They look like some helicopters or spaceships have landed there. They are not necessarily expected in this kind of a landscape.

I love it – love the colors and the almost abstract design. Has a lushness about it I can admire, and also a pervasive calmness.

Having seen your other work and liked it quite well, I was surprised at this painting and its abstract feel. Though, compared to your other work, I’m not a fan, the setting and scene are obvious and the color distribution is superb. The title “Pattern” would lead me to believe and hope that his was a pattern painting for something more defined and realistic in the future. This all offered from a novice and infrequent painter.

On the painting, Pattern: the dark leaf center foreground feels too strong or too centered and the beige/gold area upper left seems to stop the eye as it wants to travel thru that area.

Looks good to us. One of your better paintings. ;>)

It feels like 2 different paintings going on at the same time, with the green and orange foliage competing for attention versus the more subdued greyish background…

Personally I think it’s spot on. Made me take a second look and when I did, I liked it even more…great job!

Beautiful brushwork! I would remove the floating rock in upper left, leaving a triangular pattern on movement with the remaining 3 rocks. Consider a hint of warm glow in the foreground just left of the tree to allow the back glow to ooze forward, again triangulating movement throughout the painting.

Robert “Pattern” is a pleasant landscape with an attractive color scheme. The title suggests I should be finding more than that. I do find myself hunting for the focal interest. What was Robert trying to say here? Denis

The trees are intreeging and I want to stay in them, enjoying the colors and shapes. However, the rocks in the foreground catch my eye, as they are pretty much the same size and shape and are equally distant from each other. My eye keeps bounceing between them…until I see the yellow snow and then my mind goes somewhere else, entirely. Fresh, uncluttered beginning.

I don’t see the point in critiquing a demonstration piece, as I assume there was limited time in which the work was made, not necessarily the time needed by an individual work to be resolved to your satisfaction. I might suggest solutions which you might reject as unworkable, or not the direction in which you might wish to venture. The hallmarks of your painterly style are there. Can you show us how you resolved it, finally?

I see from your “painting” that you truly do enjoy a joke. It takes an experienced artist to incorporate that many “errors” in one painting. BW

“At first (and last) glance” the painting appears to me to be cluttered, and no sense of depth. Painting on a wall. Hard edges everywhere, so no sense of a ‘center of interest.”

One of the times you dread as an experienced actor/director is to be invited to the first night of a play by a friend in the cast and to find that the production and or performance are seriously out of kilter which can happen for a multitude of reasons;- direction, miscasting, lighting, you name it. You creep unwillingly to the dressing room after the show, put on your most thoughtful expression and say slowly and with profound conviction, “You know … That was VERY INTERSTING.” Worse still, of course, is when it’s you in the play and you have asked a valued friend for their ‘honest opinion’ ‘cos you know it aint right. What is ‘very interesting’ here is to see the vibrancy of a painting which you describe to be in a half baked condition. Thanks Bob. John

At first I did not appreciate the color combination but stepping away I could see the depth and harmony and simplicity also the kitty in the lower right front. Was the kitty designed or accidental?

At first I thought it was Henry Isaac, then it reminded me a little of paint by numbers, then I saw a cat peeking from behind a rock but, must say that I do like it

I think it’s bloody good! I wouldn’t change a thing!

Robert, I’m responding to what struck me as soon as I looked at your piece. The values in the green land area or lawn (?) appear to be in reverse. I find the large center placed tree in the foreground off-putting as it’s too in your face and it splits the scene in half. Corrine Bongiovanni

RE your painting: fire and snow existing as one. In sanskrit ” acintya beda beda tattva” or simultaneously, inconceivable one and different. RE you thought on crits: I am also questioning the value of workshop crits for same reasons. If this be so, could you share the real value you find in workshops for persons not too interested in socializing?

The structure is strong and those trunks give the precise information about the place. Living in the tropics I am not familiar with snow landscapes but I can “read” enough. It is the perfect combination of realism and abstraction. Red spots add joy. I enjoy it just as it is, it might be in the point when adding more is eroding it strength and power. I admire the efficiency of a few strokes: it is a master´s work.

Interesting in that I’ve never seen something of yours that you hadn’t already resolved. The only things my eyes trip over is the dense grey strip in the foreground, which may only be dense due to the camera’s inability to pick up really subtle colour variations, and the slightly out-of-season (to me) green in the far side of the lake. The green between the trees (which might be the same green) works well, but somehow not when out in the open. Again, this may be due to the limitations of photography, not of the painting. I am not bothered by the divisions the trees make; I like their balanced asymetry.

I think the painting is too busy, and the orange should be a little more subtle. Altho I think I could be a better judge if I was present while you were doing the demo! In any case I love your letters and would love to go to a workshop some day.

Delete the foreground up to the rocks. That way the center of interest really shines. I like a reflection of sky I can’t see. Always a pleasure to see your work!

Bet you caught it for the same-sized rocks in mid and foreground, and that stray cat? Still, has a good feeling; jus85546854t needs to be completed.

My immediate reaction was I don’t like the central tree right in the middle of the picture……..otherwise I love the color and texture…it’s just the tree that bothers me.

I’m just a novice and a very poor one at that, but I can’t tell exactly where light source is. The shadows seem incongruous

Perhaps it is because it isn’t finished yet, but to me it looks like a student in the throes of S. Quiller hero worship. Don’t mend to offend, only my opinion.

Hi, Mr Genn, I wish I was smart enough to figure out what it is about your painting that has gotten caught in my brain–I like it and yet I don’t. What a puzzle! Thank you for your letters!

Oh, are those cute little foxes down by the rocks!? I actually ‘like’ this painting.

I notice orange dots that are dotting the canvas in illogical places. And are those coniferous trees really turning orange just like maples?

Before I commented on this unfinished work, I’d ask you what you like about it and where you intend to go. Hearing you talk about this piece at this point would be instructive. My only caution to you at this point is to point out the two trees in the center foreground which seem to be growing at an unusual angle, which is not bad in itself, but they are parallel to each other and the same height (unless this is a single tree that hasn’t been filled in yet).

I find your work colorful with a delightful sensitivity to light: blue snow turning warm (from the setting sun) near the top. I like its simplicity. My only criticism would be its feeling graphic, a bit like a paper collage. John

I don’t like to critique other artists work because I don’t know what their intent is. That being said I will make two observations…one is the snow. When I first looked at the painting (and this may have to do with the small size on the computer screen) I thought it was the sky, then my eye wandered to the area above the sky and I was confused, then when I went back to the “sky” I realized it was snow. That made it interesting. Then I noticed the “cat”…lower right between the rocks. Just sitting there looking at the viewer wondering what the fuss is all about. :-) P.S. I like your trees

The yellow and white areas seem a bit ambiguous. I am not sure what I am seeing. I do like the patterns of the trees and the background.

Its DONE, I love it and wish I could afford it. Love the spacial break up, color, subject, everything! Sign it!

This comment is about your work and not on the topic of free will. I don’t know if it will make your day but I appreciate the opportunity to try:) I like the layout of the colours and the perspective. (I don’t see much sky but a line of trees in the distance). To me it is only missing detail both in the foreground and the background. I sort of feel like your more experienced painters, just want to get on with my own stuff.

My first reaction is that this painting is very Stephen Quiller-ish…….which is great with me as I am a big fan of his……and yours. Wonder what would happen if you pushed the orange through in the background a little, and pepped up the foreground with a color contrast? Think it’s got good bones…….. as all of your work does!

Robert, What’s the trouble here? If you send it to me I will hang it on my wall immediately ! The lovely cat between the two rocks in the forground is out of character, but charming all the same:) Paint On !!

Contrived – often seen in demonstration compsitions

You should sign it!

As I cannot comment on the anonymous letter from the Episcopalian minister in the featured comments above I will do it here. Christian forgiveness has always been sullied by the Biblical idea of “an eye for an eye, a tooth for a tooth.” This latter concept has, to this day, impeded interpersonal affairs, politics and the justice system to the detriment of humanity. Mr Genn’s “pure forgiveness,” if ever attainable, would be a great first step in clearing the way for the kind of self control needed to make great art, great individuals, and great societies.

What did you want to be the center of interest – the larger tree(s) in the foreground or the opening to the background?

About “Patterns”: it depends on what you aim at, what experience or idea are you trying to bring to light in this particular piece? I feel that this canvas is at that precious undefine moment in which it can tilt in various ways. The few decisions that follow should be pondered upon the philosophical skeleton that should structure any work of art; a certain vision that the artist shares with others. Is it the beauty of light? Is it the expansion of space? Or maybe the eternal quality of the relationship between mountains and water? I, myself, am an ambitious artist with high quality standards in anything I attempt, but high quality render should only be the expression to higher thinking. About “crits”? After more of 30 years of attempting art, I have mixed feelings about “crits”. I have seen, in general, more pain than healing out of critique sessions. I believe that a possible solution to this pedagogical technique is opening the necessary dialogue every artist needs asking more questions and listening more. In the end we don’t need to do what others believe, but we need to help each other find out what each of us believe, and help each artists follow their own unique path. From Valle de Bravo, Mexico, Monica Beck.

Just keep going, Mr Genn. P. S. I used to date a farmer with no art background. He could pick out the weakest parts of my paintings and ask, “Why did you do…..?” And hit the nail on the head as to what needed some attention from me.

Robert, Putting aside all the things I like, there appear to be two horizons, one near the top just above the two green bands and one near the bottom. I think you don’t make mistakes like that so I am guessing this was intentional on your part, likely as a hook for the critics.

Hate to tell you but this is one I would buy. It is not predictable. I love getting critiqued because I am new. I have had many worthwhile critiques where I’ve been able to do a little tweaking and the painting is much better and I’ve learned from it. When I’m asked to critiqued I don’t always know what is wrong with a picture but I usually can say something is wrong.

Critiques…I struggle with them…not that I mind having my work critiqued but I find, as you said, that you can get numerous different opinions what to do differently. If I submit myself to a critique, I’d want people to ask me what my inspiration was for painting..and whether I thought I had achieved that…and continue the discussion that way. I sometimes think that people rely to much on what others think of their painting…I too find myself not saying much if there is nothing that glaringly stands out. I also found that one week I really like someone’s painting, express that, and the next week, it comes back for another critique and they’ve changed it to the point that I don’t like it. Most importantly, it doesn’t matter whether I like it…they are the ones that need to like it.

To my eye, the tree in the foreground is too centered, and I believe if you enlarged one of the rocks, the painting would be improved. It looks too “busy” to me. Patty Oates

I think you should finish it and then ask for input.

The lake seems rather flat and dead. I would like to see the use of more transparent colours. Why isn’t your spell check Canadian instead of American?

My first response was oh wow! And I stick with it. The abstraction of the piece is what attracts me and the ambiguity of what’s happening, what’s where, intrigues me. I have to look at it to get into it. Balance and rhythm are what I see with a splash of excitement.

I find the composition and color play extraordinary well done. I remember one of your earlier letters re adding orange. I have tried it on a rain-forest painting I did; astounding effects. Please allow me one other comment: You are a gifted and highly prolific writer. Between all the painting, instructing and writing there appears to be little time left in your life for anything else… I wish I had that much energy

always love the chance to sharpen critique skills! If this painting was on my easel, I’d consider the two horizontal bands, both cool and of equal size..and the equidistant spacing of the grey boulders….I also would contemplate extending the dark value on center tree down to the bottom of the picture plane. Lastly, the peachy area on left ends within the confines of other elements…I don’t like the coincidence – extend down a bit so that the tree doesn’t corral the color

Your coverage of the subject “critic ” is usually straight on…..but, I could not help myself to add a thought when it came to your specific painting. The painting is exciting, especially considering that landscape subjects may become excellent paintings but many times are not especially creative or may even dis-regard design pattern. I sometimes prefer a borderline abstract style painting. Your handling of the subject and painting style in an upward motion makes the painting exciting. However, I think the four white strokes at the top of painting draws the eye out of the painting and not back into the design pattern. Would you agree, or am I just being ancient?

In bullet point form from someone who couldn’t paint his way out of a wet paper bag: – the horizontal linear grey field in the foreground – doesn’t feel natural – the green and orange tree patterns in the foreground trees – I would continue that patterning through to the bottom of the painting. Perhaps bad composition (although it works in my mind’s eye) I just don’t like the predominately dark tree branches. – the linear greens of the field – it works with the painting but it doesn’t feel finished at the same time. (I am assuming even though this is a demo it is a finished painting)

Maybe I don’t love it but I sure like it! sorry…. I liked the straight lines in front and horizon. I feel the depth of the cliff drop off and wouldn’t change a thing. Got to get back to the easel. Wait anxiously for your next newsletter.

I have been a fan of your art for over thirty years. It is easily recognizable and comforting for me. Therein is the rub……. Get out of your safety zone..try different subject matter and style Take a different journey, forget about the end product which is so predictable..for your fans like me.

Its a pretty nice painting.The only thing that bothers me is that wild cat staring at me in the lower right quarter and that maybe there should be a bit more sky reflection above it by the rock.

As you said, it’s “half-baked” and so….not finished, I assume. The snow needs to recede: right now it jumps forward. So….blue shadows to come ? The greens clash, don’t “go with” the trees in the distance, and the orange is clunky and needs some refinement.

I like it a lot.

I’m concerned about the lack of what would seem to be the appropriate reflections in the water of objects above the far shore. The dark evergreens seem too close to the shore not to be shown on the basis of angle-of-incidence, angle-of-reflection considerations. Am I missing something? But as usual I [bleep!] your work!

I am captivated by the composition. However, if it were me (always the crucial part of a crit) I would make the green strip in the background a little lighter and grayer…it’s the same value as many of the foreground colors. Also, while the orange adds excitement, there’s just a bit too much, again only my opinion, in the center. I’d paint over a little of it. I truly enjoyed your article on crits because I’ve looked at my work from before I’ve spent the last year taking classes and workshops. I think it’s better. The problem I’ve had is the “always and never” crits that are frequently opposites from teacher to teacher, ie “do it my way”. I would think the most valuable crit would be to go with the artist’s style and make a few suggestions to enhance the way they are painting. I’ve decided to simply paint for awhile, ignore opinions until I get my view of the world on a 2 dimensional surface.

Is there a focal point, light source? I like the patterns, but my eyes are jumping all over the place.

Your Pattern painting is off to a good start, I think. It’s funny-the 1st look had some opinions like is that a weird lake, which you usually paint, or grass, or just color patterns,& where is the sky-Oh!just cute little sky holes, & love the kitties & the trebuchet coming out to the right of main tree which makes it work bkz the tree is too centered but it leans. Thats pushing it! 2nd look, I see 2 rocks lines up so that needs more asymetry & lite yel. on left looks unfinished-more green grass? Really like the tree colors & shape – very Genn!

My 2 cents is too much orange

My eye hit the green paint just to left of centre and then roamed around the rest, but always wanted to settle back at the green.

On critiques: My ideal is to first ask the artist what they think they did well and something they’d like help with. Then others can add comments, starting with something they like in the painting.

I love, love, love light and shadow in landscapes. If this is a landscape I think it needs more of that. If it’s an abstract I think it’s too dull for my taste.

Other than the angle of the trees in the foreground, I find your painting very interesting.

That is a tough painting for any beginners watching, looking for a path they can follow. The horizontals at rear, if intended to be a reference, really kill the ideas of the foreground. There is a lot of experience in there. Living in Florida I miss the woods. Thanks.

Bob, I’m mostly a non-objective painter, but I’m always trying to find different ways of composing a painting. So, here’s my attempt at a crit of your demo, “Pattern”. I think this work suffers from too much symmetry, despite the strong diagonals. If this were my painting, I would move the central mass of trees a little more to the left side to create a contrast of full/empty space. The use of orange works well and creates a rhythm that unites the foreground, so I would leave that be. The 4 large rocks in the foreground could be more varied in size; as is, they’re too matchy-matchy. I’d eliminate the white space in the background that seems to fall smack-dab in the middle of the canvas. Also I find that the diagonal lines in the foreground are a little too symmetrical and could be more varied. Finally, the foreground could be cleaned up a little. How did I do? Did others find the same issues? Liz

Robert, Try covering the top third of the painting. Get rid of it. Then the leaves at bottom (center right) become a village in the distance. I like it better that way! This is my Try New Eyes System. Like it? Would enjoy a response from you. All Best, Bonnie

Dear Bob Genn I’m thinking your painting is a bit of a spoof. Any design, color, value, etc., “mistakes” are done purposely to elicit crits. I’ve long wanted to enjoy having one of your paintings and would like to purchase this one when it’s finished. It would be an extra pleasure having the story behind it. I understand the price would be the same as your gallery price. Continued thanks for all your insightful letters. Linda Bean

Regarding your painting “Pattern.” I think the lower left corner of the painting needs to be darker. It’s part of the foreground, I assume, yet doesn’t have the same strength as the tree that divides the canvas. A couple of shades down would do it for my sense of order.

Well not sure about the layout – the trees right in the centre (don’t like the orange) block your view into the painting – you can’t get past those trees at all

Since I can’t say “love, like, good, fine, etc”, I will say “positive” and “negative”. My positives are the interesting and varied shapes of value, color. Negative would be a softening of some edges for more variety, especially as painting recedes. What I find positive about you is–You are so emotionally and mentally healthy and I truly positive you. (Annabanana)

I’d drop the bottom grey horizontal, windowledge,sidewalk, who cares. I find the rest compelling. I think the dialogue of crits can be a good thing. I like talking about the best work, with the caveat that ‘best’ is a judgment and therefore conditional. Presumably ‘best’ can travel among the students, under the watch of a careful instructor, so everybody gets a chance to hear what others’ reactions are. We all work in such isolation, and as much as we seek and like our isolation, it still is enlightening and a good practice to check in once in a while to see as others see.

My eye keeps going to, and stopping at, the rock lower center right. It’s rectangular, toolbox shape doesn’t lead me on into the middle and background areas.

The painting needs to be blended better to make a more realistic picture, it looks like a paint by number painting.

CRIT of Unfinished “Pattern” painting: I want to look around the foreground tree to figure out why the mid-ground (snow?) is yellow toward the background. Perhaps the foreground/blue snow needs more shadow/shape, and whatever sun/cloud combo has warmed the mid-ground snow could also reflect off the water/green-stripe below the distant trees. Right now it’s like 3 separate flat layers. Grey foreground is too plain; rough it up a little, so it won’t look like pavement going over a cliff.

Your demo painting, Mr. Genn, is perfect, of course. Your colour palette accurately represents the natural B.C. environment. The trees are powerful, but some lean as the wind can be more powerful. The water is often grey. The touches of orange provide excitement, and great beauty. Bravo.

Dislikes: Center of interest is almost dead center. Green stripes in background—ugh. No interest. Too much mid values. Angles of tree trunks too similar. Likes: Yellow dapples. Orange in trees like a cockeyed L. Lower left hand corner is interesting.

A couple of things come to mind. I tend to like paintings that aren’t too detailed so I am liking this. Only two things kind of bother me. The mid foreground – too much white. And maybe the green in the background. But I imagine you could do one of your famous glazes over it all and that might just tie it all together. Thanks for asking. This is fun.

Gorgeous subtle colours, the edges shimmer. I would like a few more tiny orange dabs. Also would you bring the green to a lighter tone?

Well! I do enjoy the patterns you have created in this piece and although I have mainly reverted to more realism (do to publisher’s requests) I do, very much admire your free spirit and colors. In the lower right quadrant of your painting, I imagine I see two wolves! Am I right? Kindest regards, Janet Kruskamp

Everything is wonky and backwards. The painting is cleanly divided into 2 equal sections – a “no,no.” The foreground is greyed down, when it should be poppin’. The strong midline plus the greys at the bottom pull the eye right out of the painting.The greens in the mid/upper are cleanly and evenly divided, unlike nature, and far too strong. I agree with Black Jack Daniels that you must like a joke. You’re puttin’ us on.

looks like a paint by number

Methinks you have a frustrated abstractionist inside trying to get out!

Looking at Robert’s demo, I envision the sun setting, caressing the snow which is the intensive focal point for me. The snow seems to be surrounded by protecting trees, embracing this particularly precious patch of snow which might not remain until morning. It could melt away, as time, but through these brushstrokes it stays and with it, its serenity and, yes, clarity as well as warmth. I wish for a gentle horizon and sky. The snow and its embracing “protectors”, your trees – kind and strong – stand alone, as a visual sanctuary I would always want to “walk into”. That defines an infinite piece of art to me, personally. And, too many mountains are, even visually, impossible for me to climb. This painting is very “near”, and within reach. And, I love warm snow! Thanks for that and everything else you keep giving to your flock!

This painting almost hurts my eyes. I think the slashing forms and strokes combined with the charged palette of the same values almost feel violent and there is no place to rest.

The oranges need to be deleted on the sides. The whole painting seems too fractured. The style of painting is great.

The comments are hilarious! Everything from perfect to you made all these mistakes on purpose. Thanks for the fun.

Great topic Robert! Critiquing is something I have given a lot of thought to over my many, many years of being part of the art world, both commercial and fine art. As a student I noticed at the end of the school year that all the art of my class mates hanging on our classroom walls looked like the work of Vince McGill. He was an excellent teacher however, I came to the realization that as he critiqued our work, one on one, that we were not learning to be individualy creative, we were turning into cookie cutter copies of Vince. I struggled with and waged war on this for the rest of my school years and graphic arts career. Then I took on a few art students myself and after much thinking on how I would manage the teaching of them I decided that one of the most important tool I could impart was to teach the skill of self critiquing. A commonly asked question was “what’s wrong with this painting and how do I fix it?” I do my best to help my student find the answers the self. Rather than say well you need to do thus and so, I do my best to lead them to the solution by asking questions that will help them discover the missing elements. Telling them what to do may remove the present road block but what happens at the next turn in the road. If they can learn a technique of analyzing their art with an eye to truly seeing whether they have met their objective then it is my belief that they’ll have learned how to solve future problems a little more easily. It is my goal as a teacher to mentor a strong creative individual rather than a weak copy of myself. Thank you for this opportunity to drag out my soap box. Respectfully, Tim

Hi Robert I don’t know what the yellow patch on the left side depicts. I would have painted the lake right through behind the trees. Always your fan! Jutta

Hi Robert As I am sitting here in Prague, Czech Republic at the Internet station in my hotel after downing a couple of glasses of wine I find myself to be somewhat of an expert on critiquing your painting!! So here goes – I admire your painting but wonder if the two green stripes could be advanced upon making the background more palatable. Otherwise, nothing more to add except are you related to Tom Thompson in some remote way? Maureen

Why would you wnt to change anything? I see balance, unity, rhythm and perspective. Celeste

Like, I RULLY “love” this “nice” painting, Mr. Genn. A “good” example of focused spontaneity (take THAT Clem Greenberg). I feel the chill wind and the hopeful left over autumn leaves…sense the quivering nose of the little fox. The two dimensional poster-like quality of the observation is immediate and appropriate for me…wouldn’t change a thing.

I love your painting Robert. The only thing I would query is why you have a dark green right at the back which brings it forward when it should be the opposite.’Dereka

So. . . you’re inviting us to crit your painting? OK. Your values are perfect but I find the flatness of each area of color makes your painting look like a poster. Otherwise I think it works okay.

Hi there, as I usually work in pastels, the approach is a bit different then that of acrylics, so I wonder if this will be a snow scene with shadowy foreground, and ice on the near area with open blue water beyond, or if it will be a fall scene with a dark shadow on the lake/river. The tree placement is pleasing but could have more variety in trunk sizing. Hope to see the finished product soon.

I would like to see the light source more defined and the central tree mass less central, the rocks more randomly spaced, the water more reflective.

A lot of flatness. Reminds me of Bonnard.

Don’t touch it. Leave it as is. ‘Love it’ ‘Like it’ ‘it’s good’…….

Your painting, “Patterns”, looked good from 10 ft. away and good for the initial block-in – excellent values. However, this is not my style and I don’t feel qualified to properly crit it.

Ok, ….. Bring some orange down into the lower right corner?Can’t travel down. OR>>Center orange spot keeps my eyes there-looks like the foreground tree is on par with middleground trees. Change color of orange to darker hue. Background really pulls me into that far range of mountains. Good.

A striking painting with attractive positive & negative shapes. Don’t touch it, Robert.

Hard to critique someone who is a success, does the job well most of the time, we all fall down at times but for me who is relatively new at this, it’s always about growth and not so successful even 50 percent of the time. I always find inspiration in your work and like a friend told me a while back sometimes we overlook the not so great details in a painting, because something about it captured us.

It looks brilliant to me!

My first impression was the way the trees were tipped look like a device to draw my focus to the green patch in the middle–the lighter green in front of the darker which could be playing with atmospheric perception, but leaves me wondering about that focal point. Almost immediately, my eye went to what I do like–blocking in large shapes. At that point, I stopped looking for what was wrong and focused on colors and shapes, their relationships to each other, not at the objects in the painting. I could like or not like this painting. It doesn’t matter. In a classroom situation, I would be more interested in what you are demonstrating or talking about. BTW, I took a week-long class from an artist I admire and bought her demo piece at the end of the class because it helped me remember what we learned. I have another piece of her artwork. That is the one hanging on my wall.

Maybe I missed your point, but I wouldn’t call your painting “half baked”, I’d call it half finished. I’m sure it has potential and when you have signed the piece, please allow us to crit it again. Otherwise, I try to be mindful of the fact that a “half baked” cake is not as delicious as one fully decorated… just sayin’.

Strong composition, good patterning, lots of movement and drama (love the use of reds and greens) with quiet spaces that mean something in the composition, interesting colour forms and control of relationships, excellent unity of shape and edge throughout. The only area I would ask about is the quiet nature of the foreground. It seems remote and uninvolved – maybe more than you intended. Wouldn’t take much, maybe adding some of the local colour, softly, over it to bring it into the painting without disturbing its quiet attitude?. Maybe use the same stroke as nearby?

Robert, I love (Oops! Forbidden) your painterly quality–just the way you put paint down. And you are a brilliant colorist. The snow in it’s various color temperatures makes a great mid ground for the trees. And the red, greens and violets of the trees are beautiful. I feel the composition is somewhat scattered to my eye, in spite of the central foreground tree grouping. I think it’s because the background doesn’t ‘contain’ the composition. Maybe seeing the tops of some of those distant pine against bright sky would have helped keep my eye on the more loosely composed foreground. And a little more something or other on the lake. Bear in mind, I would wither if you offered to crit one of mine, though I hope I could finally act more grown up about it.

I find the only issue to be compositional with the trees being dead center in the composition. No other negative issues to my thinking, and the painting has great colors and contrasts and values. Thanks for all your great writing and thoughts

The title is quite appropriate. Did you think of it while painting it or after the critiques? Surpringly, the most obvious pattern (that of the rocks) was not the most obvious to me at first. I am aware of many more each time I view it. I’m curiously drawn into the calm, tranquil background, but feel “thrust back” by the fluid calligraphy and forceful strokes within the trees. You’ve created a sense of opposites, or complements within one dynamic setting…yin and yang perhaps? Interesting!

The warm rust shapes create a central band that holds the eye and prevents an appreciation of the whole. Using warm tones from foreground and beyond would create a path for our eyes to appreciate the whole.

Dear Robert, I am glad you called this painting ‘pattern’ as that is exactly what it is. I notice patterns in nature too and often paint them . If this had been a realist painting I would have suggested one improvement…..to blur or fuzz out the edges and leave the focus more sharply outlined, however in a pattern the focus is constant so the repetition of the shapes is the focus….well done.

I like the boldness of this work and would not change a thing.

Too much symmetry, but i’m one of those novices you mentioned. Your work is cool but i love your wk’ly letters, O wise one.

I looked at your demo from your workshop. You did a whole lot better than I did at a recent portrait class! The class siad it was wonderful! I thought: Oh no! It is not! I cannot talk and paint at the same time. Better to do demos first and then teach, for me. As to yours. I think it is a beginning and know you would, if you had the time and inclination, make it a lot more complicated since that is the way you paint. This is a first step and not a bad one at that. I say, Needs more deatil. I like it. I know that is off limits. But I cannot tell you how to make it better…yet. Work some more. Love, DCVeeder