When someone buys an original work of art for the first time, I often notice that the uncertainty doesn't necessarily start with the picture itself. Often, there are very practical questions first: How does such a purchase even work? Will the work be delivered or shipped? How do I pay? And how do I know if the picture will actually fit into my space later?
These questions are completely understandable – after all, you don't buy an original work of art every day. Nevertheless, the actual decision for me begins at a different point: with the work itself. So, when I'm asked what one should look for when buying art, my answer is quite simple: A picture should interest me from the start and captivate me for a long time. It should evoke something, even if that "something" cannot be immediately put into words. The only decisive thought is: I want to live with this work – in my living room, in the doctor's office, or in the office.
Only then do the practical questions arise: Does the format fit the intended wall? What role do space and light play? How much should existing furnishings influence the decision? And how are the payment and shipping of a work of art handled? That's exactly what this blog post is about – and also why I would give more importance to my own feelings than to perfect coordination with the interior when buying art.
Why the decision when buying art doesn't start with the furnishings
Especially when buying art, people quickly think a lot about the space. Does the blue in the artwork match the sofa? Does the picture go with the rug? Are the furnishings perhaps too minimalist or too colorful? I would make the decision as independently as possible.
Of course, the format should fit the intended wall. And of course, the perception of a picture changes with its surroundings. Nevertheless, I have often experienced that people think a lot about individual colors of their interior before buying and then realize after a test hanging: The artwork fits into the room. That's why I wouldn't orient myself too much by interior design trends. Because a trend can change – the relationship with a picture should ideally last longer.
For me, the more interesting question is therefore not: Does the work perfectly match my interior? But: Do I want to see this picture again and again?
A picture can appeal immediately – but it doesn't have to stop there
I am convinced that first impressions are important. At art fairs, I see it again and again: someone stops in front of a picture, moves closer, looks at it longer, and at some point starts asking me questions: What kind of technique is that? How was the work created? Is there a specific story behind it?
Especially with my works, the question of technique often comes up because I work with my own approach and various materials. When someone is interested in a work, the desire to learn more about it often arises quite naturally. A picture doesn't have to be exclusively "beautiful" for that. It may initially please, but at the same time have something that holds attention. Perhaps details are only discovered later. Perhaps the perception changes with distance, with different light, or simply by living with it longer.
Why hesitation when buying art is often a good sign
I particularly often experience one situation at art fairs: someone discovers a work and is obviously interested. Nevertheless, the decision is not made immediately. This is understandable, as an original work of art is a larger purchase for many people. So they first move on through the fair. Sometimes they come back a few hours later. Sometimes the next day. And sometimes they only get in touch later because they realized that exactly this picture hadn't left their mind.
For me, this is a very understandable decision-making process. You don't have to buy an original within five minutes just because the first impression was strong. On the contrary: some distance can be helpful. If a work is still present after this distance and the desire to see it at home, in the office, or in the doctor's office remains, that is the best sign from my point of view.
Size, space, and light: What should be clarified before buying art?
As personal as the decision to buy art is, some practical points naturally still play an important role. The most important point is the format: a work must fit the place where it will later hang. If sufficient wall space is available, I would personally tend to consider a larger format. For a smaller area, a smaller work may be the more suitable decision.
Anyone who finds it difficult to imagine dimensions based solely on centimeter specifications can visualize the picture in the room with technical support. On my website, there is a tool for this that digitally projects a selected artwork onto the desired wall. This makes it easier to estimate how a format looks on a wall and answers a very practical question: Does the size work in exactly this spot?
Light, of course, also influences how we see a picture. A bright room with daylight offers different conditions than a rather dark room with artificial lighting. Nevertheless, I would not fundamentally make the choice of a work dependent on this. If a room has little light, the lighting can be changed or specifically supplemented.
What to do if two artworks are in question?
It also often happens that you waver between two artworks and find it difficult to decide on "the right" work. If two works are appealing and both space and budget are available, there is of course a straightforward solution: you buy both artworks. But if only one is an option, I wouldn't make a complicated pro and con list out of it. In such a decision, I believe your own feelings help more than trying to "calculate" two artworks against each other based on rational criteria.
These two questions can help with the decision: Which of the two works keeps reappearing in my thoughts? Which one am I drawn back to?
Where can I buy abstract art if I don't even know what I like yet?
Anyone who has had little contact with art so far doesn't need to know which style or which artists are an option. I find art fairs very helpful for a start. In one central location, you can view different positions and styles. You quickly notice whether, for example, abstract, figurative, or completely different works interest you more. Galleries are also good places to get an overview and start a conversation. In addition, there are online platforms and artists' websites.
For me, personal exchange with artists is also part of buying art. If someone wants to know more about the working method, materials, or a specific work, a conversation can help with the decision. For example, if someone wants to see my works in person, they can visit me at my studio near Würzburg by prior arrangement and view my current works as well as works that are still in progress.
How exactly does the purchase of an original work?
Once you have finally decided on a work of art, the organizational part is much simpler than many expect for their first art purchase.
For a direct purchase, artists usually issue an invoice. After payment is received, the artwork is handed over or delivered. I prefer to handle it personally: Depending on the distance, I prefer to deliver works myself to their new owners. I particularly enjoy doing this because I get to see where a picture will later hang and meet the people behind the inquiry in person. If that is not possible, the works can be safely packed and shipped. Shipping within Europe is easily possible; shipping to other countries is also generally not a big effort, although shipping costs will change accordingly.
And if there is still uncertainty before the purchase, it makes sense to talk about it. Many questions about size, space, delivery, or the work itself can be clarified directly and easily with the artists.
Conclusion – An original does not have to be perfectly explainable
Anyone who wants to buy an original painting does not need to have studied art history or be able to explain why exactly this one picture is the right one. In fact, I believe that this part of the decision should not be overly rationalized. In conversations and at fairs, I constantly meet people who first simply stop in front of a work of art and are captivated. Only then do the questions come. Sometimes the decision follows immediately, sometimes only a few days later. For me, the crucial point is not whether a picture fits a current interior design concept. Much more important is whether the desire to have it around remains.
Anyone who wants to find out if one of my works evokes this feeling can view my works here on the website or make an appointment for a studio visit. If you have questions about a work, its format, or its effect in your own space, please feel free to contact me directly.