An analysis of the creation and marketing of fine art prints
The mass marketing of fine art reproductions and art prints aimed at multiple collectors has been a hotly debated topic since its inception in the late 19th century. The development of lithography in 1798 by Alois Senefelder created the potential to make duplicate art creations; however, it took another hundred years of extensive technical development before quality reproductions could be produced.
These advances in lithography were combined with the growing awareness of art dealers that a new, untapped (and highly profitable) art market had opened up, while a work of art could be sold over and over again, exponentially inflating prices. earnings and exposure for both the dealer and the artist. which attracted even more collectors from all over America and Europe.
The intrinsic value of an art print, and its subsequent appreciation in financial value, was a fortuitous occurrence that occurred with the almost immediate induction of limited edition prints: I’m sure dealers would have liked to create endless runs of art prints based on each popular original in his possession, but technical limitations (copper and zinc printing plates gradually wore down) forced a production limit, as eventually the quality of each print deteriorated.
Except in rare cases, an art print has never and never will have the high collectible value of an original painting and the use of limited editions (usually a run of 1000 prints or less and each individually numbered) compensates for this problem. to some extent by creating inflated value using the old supply vs. demand marketing strategy. There is a segment of the population that will buy an art print simply because they enjoy the look of that particular piece and want to hang it on their wall for personal enjoyment. The rest consider themselves modest or serious art collectors and want a piece that they not only appreciate visually, but also have investment potential.
It’s human nature to strive to own something your neighbors don’t, and this desire can only be satisfied by offering your customers rare and rare items: in this case, ending a print run at a certain point and selling those numbered limited copies. . editions. It goes without saying that the smaller the edition, the more valuable the series: Less is more in this case. It is up to the individual artist to weigh the potential financial gain against distribution numbers and decide on a reasonable and attractive total number of copies to release in each pressing.
Modern 21st century technology has muddied the waters a bit, fusing lithographic quality art printing that was once distinct in the realm of art reproduction. Originally shunned by purists, the artwork recreated with high-end inkjet printers has finally come to life, now widely accepted by the public and art dealers alike due to its understandable practicality and extreme level of detail. artistic represented. Again, to maintain their appeal and create intrinsic value and investment potential, artists rely on the practice of limited editions.
The modern world offers a bright future for the advancement and distribution of art prints, something that previous generations could never have predicted. Telecommunications are the artist’s best friend, opening up vast international consumer markets previously unavailable to his predecessors in the late 19th century.
Following non-traditional routes, there is a growing market for limited-edition art prints in public areas such as lobbies and executive offices and as high-end gifts, where the gifter wants to make an impression at specific major events, passing on their sophisticated taste and knowledge of the viability for the growth of the investment for the recipient.
All of this may seem appealing to the novice artist, but it must be emphasized that when it comes to limited edition prints, artwork is not alone to be judged strictly on its own merits. The artist is just as important (perhaps more) than the art print, as an art print is as valuable as the reputation that precedes the name scrawled in the corner of the canvas.
A limited edition art print produced by a highly regarded and successful artist is far more valuable than an original painting by an unknown or up-and-coming talent. You may have great potential as a painter, but today, marketing yourself successfully is the key to adding long-term value to your work and creating the opportunity for your limited edition pieces to be sought after, not just for their obvious appearance. . beauty and technical application presented by the artist, but for consumer investment opportunities presented years in the future.
You need to develop a full disclosure attitude, exposing your process and thus allowing art buyers and dealers to understand that you are fully involved in the preparation of each piece (the more hands-on, the better) and entangled in the final artistic result. Being aware of the artist’s technical involvement gives the art buyer the confidence to invest their time and money in you, with the added benefit that an ongoing artist/collector relationship will develop and extend to other parties in art circles. buyer.
If you, as an artist, are seriously considering making art a long-term, self-sufficient occupation, you will need to reflect on the advantages of creating fine art prints and then lay out a plan of action that will enable you to compete on both a national and international scale. world. You are an artist, but also a salesperson. Gone are the days of the tortured and penniless painter, creating great works of art in the dark and lamenting a cold and cruel world that still does not fully understand the genius of him. You have the tools and the opportunities: Time to get down to work.