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Dilemma between producing work you think will sell and painting work you brings out your creative qualities.
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Posted
Welcome first of all as a new member of the forum; I have seen and admire your work.
I don't paint to sell, because I've never worked out what IS likely to sell - and have been surprised, frequently, by what does and what doesn't. I painted a couple of acrylics which, if I say so as shouldn't, I thought pretty good - and sellable. I've still got both of them, some ten years later. I still think they're pretty good (all the usual caveats here, but I am capable of recognizing when I HAVE pulled something off; most of the time I just jog along - and sometimes, I produce a veritable stinker).
Now and then - more "then" than "now" - I'd get an offer for a piece which I put on my blog, or maybe on Facebook, which really surprised me - suppressing the response "what on earth do you want THAT for?", I have indelicately snaffled the money and run. I have very little idea why those items sold, when others, of which I thought more highly, just hang on my walls unloved (well: I'M fond of them, if no one else is).
Such an offer came for a painting incorporating a lonely donkey - an oil on Daler board, it was a fairly large landscape, some decent bits of brushwork in it (again, though I sez so as shouldn't) and rather than just grasp the outstretched hand to faciliate the bundle of notes, I asked the buyers what had drawn them to it. It was a poem the wife had known since childhood, titled "Nicholas Nye" (may be Wordsworth, I forget). She saw my lonely donkey, most of whose body was obscured behind hedgerow, and the poem clicked with the image. Of how many people would that have been true? To whom else would it have appealed? Probably no one - I hadn't painted it with any intention of selling it, or any thought that it would sell - as I remember, it was basically an experiment to see how many natural greens I could make based on Pthalo green, which is as natural as a talking donkey on its own....
Maybe you've hit a magic formula, in short, but I never have; I don't have a clue what might sell, and I suspect that if I tried to paint a truly commercial picture, confident that it would excite the rustle of notes, the clink of coin, I'd never shift it. The one thing I think might help is the inclusion of dopey dogs or captivating cats - but putting them into a landscape in order to invite sales is a quick route to kitsch. Some pull it off - eg Steve Cronin's watercolours, invariably featuring a "little man and his dog". I suspect though that the harder one tries to be commercially successful, the less likely one is to succeed.
Which is why so many of us teach, or advertise our wonderful painting courses which, in reality, are our (not my) main source of income.
Posted
I agree with Ellen. I paint what I want to paint (plus some commission portraits), but I enjoy exhibiting my paintings whether I sell any or not. My husband keeps telling me I need to be more ‘commercial’, but I just don’t want to. I think it shows in the painting if you didn’t enjoy painting it. However, I AM trying to make a (small) living from painting.
Like Ellen, I’ve sometimes been unhappy with how a painting turned out, and only finished it to get it out of the way…. Only for someone to love it and part with their cash 😀.
Everyone has different tastes art-wise.
Posted
I like your work Shaun and especially the still life paintings in your gallery. I do get asked to do commissioned work and I might do the odd one if I feel like it but only if it's not interfering with my learning process and ability to paint what I wish. I think you should paint the way, that makes you feel that you have achieved the most.
Posted
I
I like your still life works, Shaun. My only advice would be… don’t paint for others and what you think might sell, always be true to yourself. However, not long ago I sold a painting that I didn’t like at all, but it sold and the buyer loved it! So you can’t second guess anything.That sounds familiar and many thanks - I appreciate your reply
Edited
by Shaun Byatt
Posted
Welcome first of all as a new member of the forum; I have seen and admire your work. I don't paint to sell, because I've never worked out what IS likely to sell - and have been surprised, frequently, by what does and what doesn't. I painted a couple of acrylics which, if I say so as shouldn't, I thought pretty good - and sellable. I've still got both of them, some ten years later. I still think they're pretty good (all the usual caveats here, but I am capable of recognizing when I HAVE pulled something off; most of the time I just jog along - and sometimes, I produce a veritable stinker). Now and then - more "then" than "now" - I'd get an offer for a piece which I put on my blog, or maybe on Facebook, which really surprised me - suppressing the response "what on earth do you want THAT for?", I have indelicately snaffled the money and run. I have very little idea why those items sold, when others, of which I thought more highly, just hang on my walls unloved (well: I'M fond of them, if no one else is). Such an offer came for a painting incorporating a lonely donkey - an oil on Daler board, it was a fairly large landscape, some decent bits of brushwork in it (again, though I sez so as shouldn't) and rather than just grasp the outstretched hand to faciliate the bundle of notes, I asked the buyers what had drawn them to it. It was a poem the wife had known since childhood, titled "Nicholas Nye" (may be Wordsworth, I forget). She saw my lonely donkey, most of whose body was obscured behind hedgerow, and the poem clicked with the image. Of how many people would that have been true? To whom else would it have appealed? Probably no one - I hadn't painted it with any intention of selling it, or any thought that it would sell - as I remember, it was basically an experiment to see how many natural greens I could make based on Pthalo green, which is as natural as a talking donkey on its own.... Maybe you've hit a magic formula, in short, but I never have; I don't have a clue what might sell, and I suspect that if I tried to paint a truly commercial picture, confident that it would excite the rustle of notes, the clink of coin, I'd never shift it. The one thing I think might help is the inclusion of dopey dogs or captivating cats - but putting them into a landscape in order to invite sales is a quick route to kitsch. Some pull it off - eg Steve Cronin's watercolours, invariably featuring a "little man and his dog". I suspect though that the harder one tries to be commercially successful, the less likely one is to succeed. Which is why so many of us teach, or advertise our wonderful painting courses which, in reality, are our (not my) main source of income.Thank you Robert for your interesting and informative reply- I appreciate what you have said and I find it very helpful.
Posted
Shaun the dilemma of what to paint has bugged artists for ever , most of the Victorian artists painted what sold hence the mass of flower covered cottage paintings with smiling well dress labourers and wives . Like most amateur artists I paint what pleases me and very occasionally I’ve paint something particularly interesting to a relative or friend as a present . I have been asked to paint on of my subjects several times as a commission and have sold quite a lot over the last ten years or so. Never enough to make a living but then I wasn’t trying to , but it’s certainly bought a lot of art supplies etc.
Bit of a long winded response but paint what pleases you as it shows in the finished painting and if it’s a subject that is like someone will buy it , as said before ts the ones you don’t always expect that sell .
Posted
Well Shaun, I’ll lower the tone. This relates to what does and doesn’t sell. Some years ago at a club exhibition, one of our leading members, a local doctor, painted a sort of abstract…a sort of oval shape with markings here and there. “ Any ideas for a title?” he asked. Amid gales of laughter, from him too, it was suggested “Builder’s Bum”. ( obviously that wasn’t displayed) The painting sold and the buyer waxed lyrical about what she saw in it. He saw the funny side, he wasn’t precious about it but it’s certainly an example of the unexpected.
Edited
by Marjorie Firth