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Sometimes Refusing a Commssion is Best

Q: I've been offered a pretty sizable commission by a private collector. I'm not sure whether to take it, though. One problem is that I tend to wait until the last minute to get started on these kinds of jobs and, as a result, I'm sometimes slow to complete the art. Another problem is that this collector wants me to paint a composition that I haven't had much experience with. He says that's OK-- he likes my work and he thinks that with his help, I can do it. I'm not thrilled about this, but then again, I can really use the money. What do you think?

A: You probably shouldn't take the job. From what you're saying, too many things can go wrong. All of the necessary ingredients are present for a bad outcome.

To begin with, waiting until the last minute to get started can get you into trouble. Not having the painting completed when it's supposed to be done makes a great excuse for the collector to turn it down if he's at all dissatisfied with it. In general, nobody likes their deliveries to be late so either get over your procrastination problem or forget about taking commissions altogether. At the very least, tell collectors about this habit of yours ahead of time so that they're fully aware that their art may arrive late. One additional point-- few galleries are interested in showing artists who don't deliver on time, so be careful not to get a reputation for tardiness or it could hurt your career.

As for accepting a commission that you're not sure you can competently execute, be aware that a good chance exists for the collector not to be satisfied with the finished product even though he's telling you otherwise. Worse yet, you might not like it either which could be doubly problematic. If you don't think you can accurately produce what the collector wants, watch out. Both of you are a little at fault here. You've let the negotiations proceed without advising the collector of how hesitant you really are; the collector seems to want too much control over the final look of the art.

Even if the commission does work out, it could still come back to bite you later. For example, I know a portrait painter who accepted a commission, early in his career, to do a series of farm animal paintings for a gourmet grocery store. He wasn't that good at painting animals, wasn't that interested in doing the paintings, but he wasn't interested in turning the money down either. He took the commission, rushed through the job and, as a result, turned over some pretty mediocre art to the store owner.

Several years passed and the painter began to get recognized for his portraits. He was written up in several art magazines, had a show at a regional museum, and had a catalogue of his portraits published. The store owner, meanwhile, heard of the artist's success and, to the artist's embarrassment, decided to put the "barnyard series" up for sale. The paintings, of course, reflected poorly on the artist's career. People wondered how he could have produced such low quality work and, to end the story quickly and mercifully, the artist is still having to live those paintings down. So think twice before you decide to step out of your comfort zone and do art just for the money.

Successful commission arrangements come from people or organizations who allow you to do what you do best and who place minimal restrictions on your creative impulses once the basic details of the works of art are hammered out and the jobs begin. The worst commissions come from those who tie your hands with too many restrictions, comments, and suggestions at all stages of the work in progress-- like this collector says he wants do. Imagine him standing over you and directing your every move. This is not a pleasant thought for any artist. If you decide to accept this commission-- which is not a good idea-- the collector should visit two or three times at the most while the work is in progress and make only minor suggestions.

Anytime you feel uncomfortable in a commission situation, negotiate all sensitive areas to the satisfaction of both parties before you get started. If you can't settle your differences, think seriously about backing off. Ignoring problems thinking that they'll somehow go away is not going to happen. Lastly, be honest with yourself about whether you're the type of artist who can work on commission in the first place or whether you'd rather work by yourself and on your own terms. To learn more about working on commission, read Working on Commission.