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Why use a gallery to promote and sell my work?

Agallery should promote an artist’s work, create and hold exhibitions, stock an artist’s work year-round, give advice to both their customers and artists, pay them promptly, relay customer feedback (both positive and challenging) and be their ‘store-front’… oh and did I mention pay them promptly?

That said, because of the interconnectedness of the internet and especially social media, many of these things can be done by an artist themselves from the comfort of their studio, so the question is: to gallery, or not to gallery?

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The Artist
Jan-18
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Other Articles in this Issue


The Artist
WELCOME from the editor
Want to comment on something you’ve read, or seen? Email me at theartistletters@tapc.co.uk, or visit our website at www.painters-online.co.uk/forum
PLUS
THE ART WORLD
NEWS, VIEWS, INFORMATION AND SPECIAL EVENTS IN THE ART WORLD
YOUR VIEWS
This month’s star letter writer will receive a Landscape Selection of 48 Van Gogh soft pastels worth £49.99, courtesy of Royal Talens. For more information about these, and other Royal Talens products, seewww.royaltalens.com
OVER £17,500WORTH OF PRIZES
We are looking for the best work from amateur painters in the Leisure Painter category and from experienced and professional artists in The Artist category.
EXHIBITIONS
GALLERY OPENING TIMES AND EXHIBITION DATES CAN VARY; IF IN DOUBT, PHONE TO AVOID DISAPPOINTMENT
FEATURES
Memorable painting
Caroline Saunders talks to Rob Adams who paints serene watercolour landscapes with limited highlights and achieves an effect similar to that of an engraving in his pen and ink works
The easy gift to give WORTH £57.20
£37.99 by annual Direct Debit or £39.99 by all other
Abstract arrangements
Dennis Spicer shares his thoughts about his intuitive approach to colour and form and the sense of ‘stillness’ in his still-life oil paintings
Impressionists in London
Susie Hodge reviews this must-see exhibition at Tate Britain
The artist OPEN COmPETiTiONS & ExhibiTiONS 2018
These listings are in chronological order according
Charles Williams’ musings Illustration
Last year one of my main activities as programme director
PRACTICALS
The dark and the light
Jake Winkle shows you how to capture light in watercolour by the use of extreme shadows in both daytime and night-time subjects
Table-top landscapes
Richard Pikesley, president of the New English Art Club, reveals the benefits of painting indoor landscapes in oils – still lifes that ‘connect with the landscape outside’
How to draw the horse
In the first of two articles equestrian artist Ruth Buchanan shares her 10 key techniques for making a successful drawing of the horse
Watercolour techniques for misty days
Peter Cronin demonstrates pure watercolour painting techniques for atmospheric landscapes, including fog, mist and haze
Painting the ground
In his final instalment in this series, Graham Webber advises what you need to consider, and how to make it all come together, when painting land in a landscape
Still life with flowers
Judi Whitton looks at what to consider when painting still life in watercolour – what to leave in, what to take out, and how to bring all the separate elements together for a balanced painting
A new class of oil paint
Sennelier has recently launched Rive Gauche, a range of oil paints for which, says Max Hale, they have made some interesting claims. Read to on to find out what’s different about them and why his first impression was one of pleasure
The head and neck
In the second part of her series, Adele Wagstaff identifies the superficial structures and anatomy of the head and neck so you know what to look out for when drawing the figure
Painting by instinct
Painting by instinct is a great way to achieve freedom of expression, says Barry Freeman, who urges you to be bold and paint in a looser style using acrylics