Prices or Not?

I had all my paintings priced on my website. An artist friend pointed out that I had locked myself into prices that I might want to change one day as my work became more well-known. I also thought that if I wanted gallery representation, any commission from galleries would not have been worked into the prices.

So I got rid of the prices.

Then I read a piece in Fine Art Views that posited a different argument on web sales. How could I expect a potential buyer to 1) get in touch with the artist to ask a price, 2) wait for a reply, and 3) then buy the painting? Since a painting is, after all, a luxury, artists need to depend to some degree on impulse purchases.

(I could insert a whole article here on how necessary it is to have esthetics stir, stimulate, soothe and illuminate one's life -- it IS a necessity!)

Of course, price, to collectors who are on a budget, makes a real difference. Why would they want to ask the artist the price, and then back off and/or haggle if the painting was out of their financial reach?

I decided to settle it in a way that Art Collector Magazine uses: Price ranges for small, medium and large paintings. It's not a solid price, which is regrettable, but it gives a potential collector a gracious way to make an offer. I will soon post my current range on my website, along with several other paintings I haven't put up on the site yet. I hope this will encourage people to buy online, rather than have my website turn into an art museum!

Nancy
www.nancyparkart.com
paintslinger.blogspot.com

Speed Painting?

Here is a comment I received from a friend the other day:

"I tried to leave a comment on your blog. But, apparently you have to
sign up with Google and I'm a bit rushed this evening.

"About your Paseo painting: I think you're on to something. I'm no
expert. But, it seems to me you captured the color, the light and
the "feeling" of the place. Isn't that the hard part that not many
people can do? Anything more would be unnecessary embellishment."

I didn't realize that Google required anyone to sign up for anything before they could leave a comment. Maybe this is why I have had so few responses. It's really nice to know that there are people looking at my blog!

Here are two more paintings done on the fly, during a day-trip to Gloucester, MA. Not only are these two slap-dash oil sketches done in about two hours apiece*, but I used a recommended technique of applying a complementary-color grisaille before applying the top layer of true color. It definitely turns the colors vibrant.

There is nothing more pleasurable than painting from life. One of the lobstermen, hauling in his catch for the day (the boat painting), asked me if I would like to haul this trap in while he finished my painting. Laughing, I declined.

*plus forty years!

Nancy

www.nancyparkart.com
paintslinger.blogspot.com

Alla Secundus

Yes, I know: Using two languages to form a neologism is strange, but I don't know the Italian for "second." The two small paintings shown here are Alla Prima paintings that I refined at home in a second session.

Is there a term for that? And if you know that, maybe you could tell me what a three-session painting, or a four, five or six is called. Sometimes I work on a painting for a month, or take down a painting I've had up for years to change something on it I think doesn't work well, or could work better.

Nancy
www.nancyparkart.com
paintslinger.blogspot.com

Fresh off the Easel

Oklahoma City has a twice-yearly festival at one of its art districts, Paseo, and the one in October is called Paris on the Paseo. It's an alla prima paint-in for artists of every skill level, and much is learned from being with other artists at this festival. I've gone for several years, and usually sell my work immediately.

This year I had been taking advantage of our beautiful weather for two weeks by painting outdoors as often as I could manage, and was ready for action today, which was the day of the paint-in. I realized I wouldn't be able to paint all day because of an art show opening. I have some works in it, and planned to attend this evening.

My plan was my usual modus operandi since I've had my camera: Take the painting home and refine it with photo references. However, someone came and bought it as it was ... as rough as it was! Here is one of my photo references and a photo I took of the small painting. I'm going to have to start actually believing that some buyers don't want blood, sweat and tears in a painting; that one done in a few hours is worth as much as they believe it's worth.

I wonder if other artists have this problem -- a lack of faith in themselves that translates to overworking many paintings. The old saying about having another artist available to hit you over the head with a two-by-four when your painting is done may be true!

Nancy
www.nancyparkart.com
www.paintslinger.blogspot.com

Wrong order!

The photos in the last post are in reverse order: The second one is the original and the first one is the finished painting.

-- Nancy

Alla Prima...Not!

On our second trip to the lake last Friday, the three of us positioned ourselves further apart. One of my friends made such an interesting subject with her new umbrella that I wanted to paint her. At six p.m. the boats started sailing and I added some as an afterthought, with a stroke or two.

As you can see, the first painting that I took home was the alla prima version, but I thought I had a little too much white space at the bottom -- and the boats looked like they were sailing in air!

I put in a couple of hours balancing the painting's values, colors and trying to keep it in its original all-at-once looseness at home .. that's the second photo you see, which I entered in a show yesterday.

Nancy
www.nancyparkart.com
paintslinger@blogspot.com