Had a request for a more specific breakout on the costs in producing a painting. It's not necessarily susceptible to an incredibly precise analysis, but let's give it an attempt, taking this 30"x40" figure from a few years ago as our example.

(thread) Image
Starting broadly, I'm not paying a monthly studio rental fee or anything, because I work at home. Finding a property that both suited my needs as a studio & my rather modest budget was difficult, but here we are.
If I were starting from zero, and presuming I can't use window light, I'd say I'd need about $150 in a simple, but decent easel, a good medium arm palette is about $100, and $2-300ish in high quality lights. These things will last foreverish, thankfully.
More consumable, but very long lasting if cared for, I guesstimate I use, eh, $3-400 in brushes. It's nice to have more, for redundancy and special purposes, and looking at my coffeecans-full makes me... uhh, want to vomit. I almost entirely use these:

dickblick.com/products/escod…
It looks like my basic set of paints would cost about $250 to acquire initially. I'm neither the thinnest nor the heaviest painter, so let's say, eh, I use 1/5th of that per painting? I use, almost exclusively, Michael Harding and Old Holland paints.
The painting surface, for this scale, I usually use a polyester canvas adhered to a wooden substrate. Roughly:

Wooden base: $70
Adhesive: $30
Canvas: $50
Oil primer: $75

So, quick-and-dirty guess, $225 to make the thing I'm actually painting on.
A piece like this, I'll generally have the model in for about 10-15 3hr sessions. Let's just say 40 model hours. I pay 15/hr here, which is higher than the local art college, but notable less than an art model would get in, say, Boston or NYC. Gives us $600 in model fees.
A hand made frame, hand gilded in imitation gold, will be about $35 per linear foot, plus, idk, $25/ea for the carved corners. That gives a total cost of $800, which, without checking my records, sounds about right; this was a slightly pricer frame than normal.
(Frames, btw, are sort of like suits. The price difference between having Hobby Lobby make you one, and having a craftsman make you one, is substantially less than the gain in quality you get might imply.)
These handwavy numbers get us to $1675 to put the painting on a wall. Show submission fees, shipping costs, etc, may further add to that before anyone actually sees the piece.
(I'll say as an aside that these are, call them, early-mid-career numbers for me! I've been making paintings, and reinvesting paintings in more paintings, for a while now, which allows me to be more profligate than is strictly necessary.)
Ah, "hourly rate for artist" was in the OP question, but tbh I have no idea. Aside from logistical legwork, I paint on these substantially when the model isn't present without track those hours.
And do we count the evening hours when I'm just staring at the painting & listening to Belle & Sebastian? I think they're important... somehow 🤔 Generally I expect to have these on the easel about 2 months, often with a last burst of work a few months later.

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More from @kendrictonn

17 Oct
Deadlifts. Feels good man. End of winter, imma be hot, rich, and have a big stack of awesome paintings.

I know how to do like, 1.5 of these things, but we'll see.
Currently sticking to full body routines; legs, push, pull, accessory to taste, repeat 3xish times. If I continue going to the gym through winter, which is in question, I'll break those back out into a split, when I feel like I'm used to lifting again.
Solid ninety minutes in the gym. It's hard to be sure, since I'm not doing exactly what I was doing back in February, but I feel like if I lost some raw strength in half a year at the calisthenics park, I gained some endurance.
Read 4 tweets
16 Oct
Painted an alla prima portrait demo during a small event at the Columbus Museum of Art yesterday. Felt a bit strange doing something like that--it's sure been a while--but I'll admit it was a welcome change. Image
Here's a succession of shots taken through the night. I am faintly embarrassed to relate the number of people that came up and said something amounting to "we saw your start, and thought ehhhhhn this guy's an idiot 😬 but wow! It's amazing!" ImageImageImageImage
Let's talk for a second about portraits and likenesses. I think most people naturally assume getting a likeness is about getting someone's features correct--eyes like so, nose like so, etc. This isn't entirely false, but wait: you can recognize your friend from 200' away.
Read 11 tweets
15 Oct
Let's talk just a little about pricing. Broadly speaking, there are three ways to buy a painting from most artists: directly from the artist, from a gallery they have a permanent relationship with, and from a show they have a temporary relationship with.
My prices--and this is good professional practice--are generally consistent across venues. There can be a little slop, this isn't aeronautical engineering, but essentially, it costs the same to buy a painting from me, from the gallery, or from a show.
The gallery, or a show, will generally take a 50% cut of the sales price, although they may also be handling some or all of the shipping and framing, which mitigates that.
Read 6 tweets
14 Oct
Have an inquiry from an existing collector in my inbox, asking to be kept informed about a pencil drawing I'm working on, so🤞about that. Drawings akin to this have developed a significant role both in my artistic practice, and in the practicalities of my career.

(1/)
Let's talk about studies. Customs vary from artist to artist, school to school, but in general, you don't just put brush to canvas and knock out a complex painting in a fury of inspiration; first you do studies of individual elements.

(Bouguerau examples)

(2/)
This isn't invariable, but I personally--in my larger figures, which represent a good proportion of my work--generally will do a highly worked-up drawing in pencil & chalks before starting on a painting.

(3/)
Read 14 tweets
11 Oct
This is perhaps among my most basic opinions, but I rarely love a Bouguereau, I wish his work had gotten a little less... gauzy? than it did, but holy moley dude could paint.
I think it's possible, though hardly certain, that Bouguereau had this other amazing painting of a Prominent Jug in the back of his head, Velazquez's Waterseller of Seville. Image
Part of what I love about this Velazquez--aside from the fact that, speaking of dudes who could paint, wow--is how well it functions both as a literal depiction of a quotidian scene, but also works symbolically as a Three Ages of Man.
Read 5 tweets
5 Jul
A few words on keying a painting, as related to this wonderful Tissot:

When painting, you can't copy directly the value range in nature: the gap between the lightest light and the darkest dark. Your paints aren't bright enough or dark enough to do that. (1/)
Keying a painting is selecting a scheme for arranging your lights and darks such that it allows you to convey the light-effect you want. Consider this Emil Carlsen: he's pushed his darks dark, giving him space to make his midtones dark, leaving space for the highlight to pop (2/
Compare this Emil Carlsen. Objectively, the highlights are brighter than in the previous, but they don't pop in the same way: he's keyed this one such that most of his range of values is consumed by modulating halftones, so there's no space for the highlight to stand out. (3/)
Read 8 tweets

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