With many years of experience in art collecting and collectors, I know there are advisors aplenty out there, all waiting for you to pay for their services or purchase their wares. It's business after all. And yes, art IS a business. During the creative process, artists put their expertise, talent and creativity to work making paintings. After that, off to market the pieces go.

But why do people buy art? Generally speaking, there are two major reasons. I will list, then examine each:

1. Buying For Investment
Of the two, this is the least of all reasons people purchase paintings. Although in the minority, investment art takes place among those with and without financial means. Nevertheless, most folks who purchase for investment still consider...

2. Buying Because They Like a Painting
This is actually known as the number one reason people buy art. Simply put, they like it! Whether a work goes with their sofa, office or other, most buy a piece of art; then find a place to put it. Later, I will discuss "objectivity" vs. "subjectivity". But for now, suffice it to say, most of us buy things because we are somehow emotionally tied to or like this or that item, whether a chair, house or painting.

I MUST EMPHASIZE the opportunities you as a collector have at this time for purchasing some of the finest art available, at excellent prices. Many new, "emerging artists" are on the march...painters who are paving the way for our heritage in both portraiture, landscape and abstract work yet to be passed on. Whatever you purchase will contribute to the preservation of today's culture and history for generations to come.

Where can you find these painters, sculptors and other artisans? First, I recommend you seek artists' work who you admire, via the Web, periodicals, visiting artist studios, brick-and-mortar galleries and more. Word of mouth is still one of the best sources of information available. A trusted friend's opinion can be helpful while deciding on a piece of art.

Visit your local gallery, or utilize the services of an art consultant or designer. Or, you can purchase directly through an artist. Simply call to arrange a studio visit. Painters are delighted to work with you directly. They want to know your desires and needs. Even if you are seeking the work of someone else, many artists can help give you direction. They know what is a value - they also know what is not. They know what it takes to please a client.

Indeed, you still need the expertise and resources of a fine art dealer or gallery to secure the work of deceased or living masters. Oh how wonderful it would be to meet with Edgar Payne, Claude Monet, or any one of thousands of artists of the past. You can change that by meeting the artists of today - those others will wish they had had an opportunity to meet!

Whether you purchase directly though an artist or gallery representative, the price will be the same.

NO MATTER your budget for artwork, there is a price you are willing to pay for a painting. What is that price? For some, money is no object. But if you are like most folks, there is a price range you know you can afford or will pay for art.

Earlier I stated the fact that most people purchase art because they like it, not as an investment. Even if you buy for pleasure or to meet the need of a particular spot in your residence/office you still want to know what you buy is a good value.

How to do know what you are about to purchase is a good value and that the price is right?

First, find out where else the artist's work is selling and compare the price of like paintings wherever they are available - whether in a gallery, on the Web, through other galleries, through a dealer, etc. You can discover this information by calling or writing the artist directly. Secure a copy of their biography and artist's statement and published reviews written by newspapers and magazines. If the artist has high integrity, their artwork will be priced the same wherever it is sold. This is one of the best ways to know if you are about to pay the right price for a particular work.

Second, view the work of other artists whose work is of comparable quality and size even if their style is somewhat different.

Third, compare the artist's credentials. No two artists are alike, nor is the path they have taken to become artists. However, if both have won awards, have had several solo shows; if their gallery representatives tell you the artist's work sells well - with this information, you can buy more confidently.

Fourth, if the artist is very widely known, search sites online like ArtPrice.com or others that offer auction and sales records of artists.

Fifth, if you are serious about your purchase consult with an art consultant specializing in appraisals. They have the ability to find exactly the information you are seeking, although there will be a fee associated with this route. Given a good consultant, their fee is worth the information. If the work is of very high value as in the case of a masterwork, try to get two appraisals on it before making a move. You want to authenticate that what you are considering is what it claims to be.

Sixth, request to try-out the painting. Most fine galleries will be happy to bring the art to your location and even leave it with you for a time for evaluation. Live with the art and see if it grows on you as it hangs in your home or office.

Sixth, walk away for a few days. If the image of that painting is still on your mind, that is the true test of it's real value to you and worth the price. A word of caution however. If you see a painting at a show and are really moved by it, put a hold on it immediately. I have seen many instances where a collector has hesitated, then someone else quickly purchased the work. I am not advocating impulse buying, but be aware that others are looking for that "perfect" piece too!

IT IS NOT the price placed on an original painting that dictates the value of a work. It is the price someone pays for it!!!! And if the piece is in someone's collection over time, it can be appraised for current estimated value. If a painting comes into the secondary market (already sold once and now being sold again) the new value will be what the next buyer pays for the piece.

For example, if an emerging artist prices a framed painting at $50., it is not actually "worth" $50., until someone purchases the piece.

ONCE WHILE I was delivering paintings to a gallery, a woman came in, but lingered by the entrance. The owner offered to assist her with what she was seeking in the way of an art work. The potential client glanced around the elegant showroom and said, "I'm looking for an oil painting." The owner responded by saying that they offered a wide range of oil paintings both in the gallery and in a large private area.

Reluctantly, the woman ventured into the gallery as the owner pointed out just a few of the many paintings available in oil. She briskly bypassed everything, then exited the gallery. This customer was determined to have an oil painting, but could not articulate what she wanted in terms of subject, artist, or even colors for which she was searching.

When shopping, most of us can usually size things up pretty quickly and move on to another store. When hunting for art however, it is easy to glance through a gallery, artist's studio, or show and miss many incredible works that could be "the one".

If you frequent galleries they have great resources for locating just the right piece you are looking for. A fine art gallery owner will assist you personally or provide a knowlegable on-staff/private art consultant.

One tip is to take a "wish list" along with you when shopping. Note all of your desires as well as concerns, including approximate size of art you need (finished framed size), swatches from your home for color matching, subjects you prefer (as well as those you don't care for), the name(s) of artists' work you like (if known), pictures of paintings that appeal to you, and list whether you prefer a contemporary or traditional look, etc. No need to show it to anyone - the list is just for you.

Have fun shopping...and enjoy the "thrill of the hunt".

IT IS A FACT. Art is one of the most subjective arenas in life. Curators, gallery owners, dealers, other artists and even collectors go beyond the scope of any work of art by attempting to address the artist's -

Motive. Unless an artist is present to discuss the reasons why they created a particular piece, no one - no one can know or do anything but speculate on the artist's motivation for their art making. Additionally, deceased artists, unless they have written specifically about why they painted a given piece of work, cannot be faithfully translated to us.

Scholars who spend a lifetime studying the life and body of work by an artist at times step beyond the bounds of their knowledge. Conjecture about why the artist created, even professionals attempt to speak for the artist. One person cannot speak for another as it relates to motive.

Subjectivity in and of itself is not bad. Our opinion matters. Moreover, subjective remarks are just that - our opinion on any given topic. "I don't care for this dress because..." "This house is not what I am looking for because..." "This painting by [artist's name] works for me because...". These are subjective statements and fine when deciding what is good and right for you. But when it comes to guessing why someone created what he or she did (whether praising or demeaning) can be harmful.

Harmful? Yes. In the sense that we have strong opinions come across more as a fact than what it truly is - speculation. And speculation as heard through the ears of youth or the uninitiated in art, somehow sticks and is absorbed as fact rather than considered to be...

Theory. In terms of subjectivity, theory is a better word that gives us more leeway to delve into why someone may have created this or that painting. We all have the right to be subjective, and it's our nature. However, when it comes to art let us theorize rather than speculate as factual.

Again, unless a deceased artist has documented their in writing or on film, or a living artist can tell you why they made a piece of art it's best left to us to purely appreciate the art as it is for ourselves. Avoid the guesswork behind the artists' reasons why they create and revel in the work's effect it has on you alone. Instead of subjectivity, let's stick to - Art appreciation.

NOW WE TACKLE OBJECTIVITY. For some, it is difficult to separate objectivity from subjectivity in visual art. However, there is a clear demarcation between the two. This separation has repeatedly helped me to define when I am being subjective (judging a piece of art as it relates to my likes and dislikes) or objective which we will now address.

Objectivity is examining the facts in a non-judgmental way while looking at an individual piece of art. If you find yourself using adjectives and certain verbs ("It's pretty", "It was probably painted with sadness in mind", etc.) then you are not examining the art objectively, but subjectively instead.

So how do you view with objectivity? Simply put, it is describing what you see without making judgments. As an example here are several things I can say about the painting thumbnail above:

- This is a pastel painting on archival museum board.
- It is a snow scene with trees in the foreground and mountains in the background.
- It has lots of white with a blue sky and brownish-orange trees.
- There is an opening between the trees revealing distant mountains.
- There are no people or animals in the painting.
- The painting has a wide range of dark to light colors.
- This piece has a painterly appearance.
- This is a representational painting, not an abstract painting because the subject looks real and is not simply abstract in design.
- Etc.

What else can you say objectively to describe this painting? Now find a piece of art you already own, in a book, or periodical. List as many things as you can about the art. The more you practice looking the more you will find you are observing.

Try to find more works by the artist you own and see what similarities or differences there are between other of the pieces.

Why bother doing this exercise? You don't really have to. However, if you do this each time you look at art in a museum or gallery it will help you see better, appreciate more types of art (especially if you subjectively do not like a particular piece), and help you discover why you may like this or that painting (subjectivity.)

This may seem rather dry, but actually it can make a painting, sculpture or whatever type of art you see come alive as never before.

How can you use both objectivity and subjectivity to analyze to conclude whether the art you're viewing is a good buy, whether you like it or not, whether it is a good or weak piece of art?

Art by nature is born out of subjectivity. Painters want to say something (motive, which we took a look at earlier) whether to interpret for beauty, to make a statement, or other reason for creating.

We look at and buy art subjectively because we like it for it's beauty, it may remind us of a place we have been, we like the color, the textures, the design or a host of other reasons. We judge or deem the piece good or weak, likeable or distasteful, etc.

We've seen how looking at the piece objectively, that is, without judgments, simply describing the facts about it can benefit our appreciation, ability to see and understand any painting better - even without knowing the artist's motive for making it.

AFTER SELECTING a piece of art happens comes the decision to "buy" or to pass. Whether you are a new or experienced art collector shopping in a gallery, using a dealer, or consultant - if you feel uneasy for any reason, do not make the purchase.

However, if this work of art grabs you emotionally, buy it. I have seen firsthand people who see a painting - take a walk to think about it - only to return to an empty gallery wall where moments before it was hanging. "Sold" - to another buyer!

By the way, when you purchase or are given your first original work of art, it is the beginning of your art collection!

ADDRESSING THE USE OF YOUR ART collection is a very simple but much overlooked topic.

You purchase a few pieces of art (perhaps many), hang them in your home or office - and there they stay! You continue to add lovely art or sculpture to your home or apartment because you love it.

Most of the time, simply rotating the existing pieces you have will solve the problem! Your art collection, large or small is YOUR collection. Move it around! Even if you remove paintings from the walls and place them in different rooms against a wall to "test" the look, you'll be amazed at what you'll discover.

Remember, your art is hanging on hooks (or is placed on a pedestal or on a table), NOT glued down. ENJOY what you have - feel free to move it around. Many find it wonderful to switch a collection between two locations - they place their vacation home art in their primary residence, and visa-versa.

I am guilty of this myself, and I'm an artist! Moving things from your walls seems like a LAST resort for freshening a room, but can be one of the first - without having to move any furniture!

COLLECTORS, FRIENDS AND STUDENTS alike have asked me about how I can possibly start with a bare canvas or paper and produce a painting! "How is it that you can create a painting from a mess of paint initially thrown on the surface?"

The answer is not an easy one. Nevertheless, here are some clues...

Any trade or profession requires technical skill, as well as thinking, emotion, and talent combined. All of these elements (except our natural God-given talent) require an enormous investment in "time" to develop. It takes time to learn, to practice, or to produce something, including a work of art. I am just beginning to realize the role time plays in being a painter. Not the time spent in executing an individual painting, but rather, life experience in total. Creating art is a life-long process.

So how do I answer the above question? I don't really know. What I do know is that nothing comes easily. Each painting I create is challenging yet deeply rewarding. But I no longer worry or think about the finished product. If I concentrate on rendering what I am observing as I paint the final result takes care of itself.

It's not really a question of "how I did" this or that, but rather, what comes as a result of the whole creative process. As many have said, "painting is like handwriting." No matter what skills are gained or attained, each person's signature is unique. So it is with painting.

"There is something in painting which cannot be explained, and that something is essential. You come to nature with all your theories, and she knocks them all flat." - Pierre Auguste Renoir

Over the years, many clients have brought me old paintings or frames. They've asked my advice about how to protect, reframe, inquired about an artist, how to clean a painting, whether it is of "value", etc. While I can sometimes tell what type of paint or paper was used or how to protect a work of art, often I cannot answer questions requiring specialized expertise.

Except for questions regarding how to stop the advancement of further damage or about the provenance/relative value of a painting I cannot answer, I can direct people to those in the business of researching artists or experts in restoration.

Collector: ask many questions, do not attempt to remove art from original frames, keep the art in a safe, dry place away from direct or diffused lighting, and as with severe heath problems get several opinions before taking any action. If restoration is required, see examples of restoration professionals and obtain a written estimate before making a commitment to have any of your items touched.

Most of all, when in doubt, do not do a thing. Once a painting or drawing is out of it's frame or unprotected, more damage can be done. The goal is to preserve and enjoy the art for as long as possible and retain it's value for future generations!

Here is further information and actual cleaning and restoration sites:
Restoration & Conservation Reference
Lucky Cat
Stour Gallerys
Minimizing Light Damage
Art Cellar Restoration Services
Old Print Restoration

I have been asked dozens of questions about prints - which I call "printland". It has become confusing even for those in the production field of print reproductions to keep up with their own technology and offerings. Here are a few brief repies to a few questions I have received:

1. What's the difference between a giclée print and an inkjet print?
Giclée's use the same inkjet technology that we are used to on our home printers, however, on a much more refined and permanent level. In addition to the better quality printers for giclée, pigmented dyes that are resistant to light changes and fading rather than inexpensive inks are used. There has been and still continues to be much research going on related to these dyes. Until recently, the dyes were unreliable, and did not work well on particular surfaces. Now, there are some that have a longevity estimated at 120 years and beyond Of course, the paper or canvas surface the dyes are applied to plays a large role as to how long the image is estimated to last.

2. Is one archival and one not?
Absolutely. Inks used in consumer inkjet printers are purely ink...will not last but a very short time. Pigmented dyes on the other hand, are just that, pure pigment, combined with a carrier agent to apply to paper and canvas surfaces. Just as with painting pigment, dyes are only as good as the amount and quality of the pigment delivered to the surface.

3. Or are they the same thing and one just has a fancy name?
Excellent question. This is one of the reasons why it is so difficult to get a handle on the process and all of the jargon. So many people (even the "experts") are throwing around terms that are either incorrect or misleading. That's why it is vital for any buyer entering the arena of prints should at least understand the printing process. You'll sometimes see incredible prices posted on prints. You want to be confident you are getting what is being touted. Ultimately, the artist (I believe) is responsible for what is put out in the marketplace no matter who does their printing.

4. Are "giclées", "lithos", "silk screen" printing different terms for the same thing?
No, they are absolutely three different printing methods, therfore exclusively different products at dramatically different price-points.

5. Is a giclée only be printed on canvas or can it be done on paper?
Either one. Many kinds of paper as well as canvas are used. Here again, knowing which surface works best with the ink AND what type of surface best reflects the original work is recommended. For instance, I would not print a pastel painting on canvas, simply because you would not normally see pastel on canvas. Purchase a print on a surface that most closely matches the look and feel of what the original was painted on, or on high-grade, archival paper.

And the most asked question:
6. Is a giclée an original piece of art?
No, no and no! It is original in the sense that each print is made as a stand alone as opposed to using a printing press upon which each print degrades as the press runs. But, a giclée is not an original piece of art. It is still a reproduction of an original painting. Don't be fooled by galleries who claim otherwise.

There are MANY online sites where you can read more in-depth information regarding this topic. Before you enter into collecting prints, educate yourself as to what is of value what is not, and what is worth your money and what is not.

Current economic forecasts find many collectors confused about whether to wait or to purchase art at this time. We have all been deeply impacted by the changing financial climate, and indications are that the uncertainty will continue for the foreseeable future.

When is the best time to purchase art for your collection?

As I discussed earlier, the time to buy is when you find something you like! From my observations, there has never been more art that is original available in the marketplace than right now - and purchasing has continued! It may not seem so, but buyers are attracted to the variety and availability of beautiful works in galleries, through consultants and especially through artists directly (either in-person or online).

If you have been waiting to purchase art for your home or office, perhaps now is the prime time to buy. Yes, the auction houses are not moving as many classical pieces at this moment in time. But for the majority of buyers, these works are out of reach in any event. Today's originals will be tomorrow's "classics"! Great works are available at all price levels and are extremely affordable at this time.

So when it's so whether it's raining or sunny outside, why not visit your local galleries, or a even a painter's studio to find just that right piece for you! Even consider purchasing now for anniversary and holiday gift giving. An original painting is one of the most personal, thoughtful gifts you can give to a loved-one or friend.

I hope these tips help you in confirming what you had hoped -- that the artwork you are seeing is truly a good buy!