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Common Theme Painting - Solo Exhibition

Artists, 
   I have realized lately that my work is too scattered, from still life's of wine bottles and tea cups to portraits and landscapes, my work is too random and I feel I should start a collection. I have a great idea for an art show, and I think that if I create 10 paintings with this common theme it would bring me some recognition and perhaps a solo exhibition. For my future percieved exhibition, do you think if I painted my ten paintings on the panel it would be valued as much as if I painted on Belgium Linen? I tried the recommended Masterpiece oil primed canvas and it is an incredible surface to work on. However, panels are great for portraits as well and the cost is much less, but in the end, you will have to frame the work which will be costly as well.... perhaps the linen canvas I won't have to frame but then again I might frame in the end. I guess my question is geared toward professional artists out there, do you think painting on the panel would hurt my chances at selling my work or hurt my chances to get someone to invest in my show, whether it be a gallery or whomever. Thanks!

Mark A
oilpainter1950

Comments

  • SummerSummer -
    edited May 24
    @Markalex777 ; Mark A, You bring up a good question seldom asked.  I think that the canvas on boards are for us and the stretched canvasses are for them.  We've put up with stretched canvasses for too long as a group because of tradition and I don't see that changing anytime soon.  Anyone who paints on canvas knows the grief I am talking about and wishes there were better ways.  For what you are planning on doing, I'd cater to the traditional audience and galleries and use canvas on stretchers.  When painting for yourself I'd try linen on "artboard" for instance.  Or, canvas on aluminum.  Even primed aluminum.  I know I'm stepping on toes here, but I will only paint on aluminum and canvas on artboard and I doubt that will ever change.  You are a fine painter and still young enough to handle the canvas on stretchers crowd to achieve your goals, imho.  Summer 
  • @Summer
    Thank you for your reply. See ever since I started painting, I worked with good old cotton duck canvas from Michaels... some of them, the more pro type was actually not too bad... I would sand the canvas down, and if it was big enough, the portrait would be really nice. However, when I discovered wood panel, the type that is already gessoed with acrylic i found to be great for portraits because of how smooth it is... i quickly learned that you really can't use cotton duck canvas for portraits unless you were doing thick impasto or at least if the canvas was big enough...other than that your portraits will look like someone with really bad acne. The boards worked out great, they were relatively cheap, less expensive than Michaels canvases with the 40% off (if u know what im talking about) and portrait smooth, and hey Vermeer painting on a similar surface. Then I discovered linen, and it blew my mind away... first linen portrait i did was tiny just to try it out a 9x12 and it was fantastic... and I bought the one from century not even masterpiece one.. then I bought the masterpiece linen 3x oil primed, their most elite canvas, and it was just quality like I've never seen.. i knew this was the surface I wanted to paint on for my clients... but its like $70.00 for a 18x24... for my project, because of costs i was thinking all ten should be the same size around 18x24. My question and I believe you answered it well, the wood panel (not canvas panel) my hinder my chances if a gallery loves my idea but then finds out its all painted on wood panel surface... where if you go with linen, you won't have any issues with clients or galleries. :)
  • My guess is your average punter doesn’t have clue about supports. I think the main thing is to buy the best you can afford, that it is archival, and it’s a surface you enjoy working on that suits your style. There’s nothing wrong with wood panel, some of the most famous and valuable paintings in the world are painted on wood panel- it just needs to be prepped properly- like any surface that is going to be painted. There is a snob value (as well as being a lovely surface to paint on) to Belgium linen that some collectors and galleries pander to. A lot of it depends on your personal taste and style and who you are marketing to IMHO.
  • Markalex777

    A few years back I posted a link to a survey on what makes people buy paintings.
    Twenty five factors were assessed. Support or type of support did not rate a mention.

    https://makingamark.blogspot.com.au/2011/10/what-makes-somebody-buy-painting-poll.html

    Denis
  • @Markalex777, I know that it is important to make a good impression but don’t overthink it or you will procrastinate and wait till you can afford the absolute best. Boudicca and Dennis are right, people will buy something because they like it, collectors will know a bit about supports, galleries will know what is archival quality. Use good enough archival quality and go for it.. also Enjoy it :)
  • @marieb @dencal @Summer  Im excited about my project, just worried that after all that work, pulling through and painting 10 paintings that it will only be good for online marketing because galleries might shun the idea of a panel surface because so many buyers and collectors assume that you paint on canvas or that canvas is the standard. Also when I say I paint on wood panel I am talking about the Ampersand Artist Panels that are sized with acrylic gesso. 

    When it comes to the surface I love to paint on, I love Masterpiece Beliguim Linen... It also brings a  tangible quality to a painting. 


  • Markalex777

    Here is a sample gallery rule for exhibitors

    All two-dimensional work submitted for hanging must be attractively framed and sturdily wired using screw eyes or mirror hangers and picture wire for hanging. The following will not be accepted: damaged or dirty frames or mats, glazing, saw tooth or other unstable hangers, inadequate wire, or framing canvas with tape. Works on paper must have matting or spacers to separate it from glass or plexiglass. Oil or acrylic paintings must be on canvas, hardwood panels or masonite. Canvas- covered cardboard is not accepted, but clay board and other specialty archival supports are permitted. Paintings must be completely dry. Gallery Wrap canvases are acceptable with the following conditions: canvas must have at least one-inch sides and the image on the front must be painted around the sides.



    Denis

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