Face Making

Artist Gwenn Seemel’s bilingual blog about art, portraiture, free culture, and feminism.

How to start selling art / Comment commencer à vendre son art

2013 . 08 . 08 - Comments / Commentaires (2)

The beginning part of any process can seem overwhelming, but where sales and art are concerned it’s maybe more so.

Au début, tout effort sur n’importe quel sujet peut sembler écrasant, mais, quand on parle des ventes et de l’art, c’est peut-être encore plus angoissant.

For more details about the beginning part of my career, check out this vlog, and, for more about making art in series, go here. I recently wrote an art marketing book too, and you can read that here for free!

Pour en savoir plus sur comment j’ai commencé ma carrière, regardez ce vidéoblog, et, pour plus de déails sur les mérites de créer l’art en série, allez ici. Je viens d’écrire un livre sur le marketing de l’art, et vous pouvez lire gratuitement ici!

Paul Linnman painting

Gwenn Seemel
Paul Linnman
acrylic on canvas / acrylique sur toile
36 x 24 inches / 91 x 61 centimètres
(detail below / détail plus bas)

Paul Linnman portrait by Gwenn Seemel

This painting is from Snow Days.

Ce tableau fait partie de Snow Days.

- On being picky about who buys my art / Choisir qui peut acheter mon art
- How to price art
- How to make art on commission

- Comment mettre un prix sur l’art
- Keeping the faith as an artist / Garder la foi en tant qu’artiste
- Comment peindre sur commande

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(2) Comments / Commentaires: How to start selling art / Comment commencer à vendre son art

-- Kerrie W -- 2013 . 08 . 08 --

What contact mode did you frame and implement with each of your local personality choices, before painting this portrait series?

Quel est le mode de contact avez-vous formuler et appliquer avec chacun de vos choix de personnalité locale, avant de peindre cette série de portraits?

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-- Gwenn -- 2013 . 08 . 08 --

I had already painted portraits of local art dealers for my first conceptual series, so, when I sent the news anchors and weather people invitations, I already seemed more trustworthy—or at least less weird! smile  I got the gallerists to sit for me by walking into the gallery and pitching my series in person. 

And, with the TV types, at some point, I contacted a high school classmate’s dad who had been a meteorologist.  He not only participated but also acted as a reference.  It turned out that no one ever called him, but his participation made the difference for some of the other subjects.

It can be tricky to get public figures interested in a project, but I’ve found that it’s always okay to ask.  All they can do is say “no” and often they do the opposite!

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