“Price is what you pay. Value is what you get.” – Warren Buffett

The Universal Challenge of Art Pricing
The question of how to price art is a task that often feels overwhelming for visual artists. It’s easy to understand why. Prices for artwork span an enormous range, from multimillion-dollar pieces by established artists to affordable prints produced on home printers.
Since you’re reading this, you’re likely somewhere in the middle of those extremes. But regardless of your situation, you need to make important pricing decisions with minimal guidance.
Several factors complicate the art pricing process:
- No standardized information exists on how to price art
- You’re dealing with the subjectivity and emotions of pricing work you created
- You must rationalize your pricing to yourself while justifying it to potential buyers
- When you ask for advice, you get a broad range of answers, much of it neither helpful nor well-informed
Understanding the Art Buying Process
The visual impact of the work primarily influences art buyers. However, other factors such as marketing, artistic reputation, and mastery of technique also enter the equation. Understanding that there’s no single reason why someone purchases art is as important as understanding why someone buys your specific work. This knowledge empowers you to make informed and confident pricing decisions.
This complexity means there are no easy answers. The positive news is that pricing doesn’t need to be an everyday struggle. Once you develop a pricing scheme that feels right and follows logical principles, you can create a reliable pricing structure to use consistently. It’s like trying to figure out which type of art sells the best. It’s a mix of art and science.
Developing a Reliable Pricing Method
With this understanding, it makes perfect sense to invest time in developing a system for pricing your art. You’ll find artists engaged in lively debates over different pricing methods. Some swear by price per square inch, while others believe a markup on time, labor, and materials works better. Regardless of the process, the key is to develop a reliable pricing system that gives you a sense of security and control over your pricing strategies.
I’ve seen successful artists use both methods effectively. Because of this, it’s more important to get comfortable with a system you can use for the foreseeable future. Having a consistent approach can help close sales when buyers have questions about your pricing strategy, even though you are not required to explain it to them.
Robert Genn’s Time-Tested Formula
The late Robert Genn used a price-per-square-inch formula and set an annual date to raise his rates by 10% each year. This method simplified his pricing decisions and created selling opportunities in the weeks before each yearly increase. This approach works well if your work is already commanding top dollar within your competitive range.
Genn advised younger artists to start with lower prices, and I understand his reasoning. However, this advice should consider other factors such as work quality, existing reputation, and market positioning. Remember, pricing remains subjective, so your job is to maximize value at every career stage.
Robert Genn’s Ten Commandments of Art Pricing
- Start with accessible prices
- Publish your prices consistently
- Raise your prices regularly and incrementally
- Never lower your prices
- Maintain consistent pricing for all customers
- Price by size, not by talent or time invested
- Avoid easy discounting
- Maintain control over agents and dealers
- Work with those who respect your values
- Gradually reach premium pricing
Finding the Sweet Spot vs. Commanding Top Dollar
Suppose you’re not yet close to commanding premium prices. In that case, you need strategies to increase your rates before settling on a published 10% annual increase. Relying solely on 10% yearly increases takes too long to reach appropriate pricing levels.
There’s an important distinction between being in the “sweet spot” and getting “top dollar.” For this discussion, consider “top dollar” to mean hitting the high end of the sweet spot. This scenario usually happens when you’re an established artist with consistent sales. If you’re not there yet, it should be your goal.
The Masterpiece Theory for Rapid Price Growth
Use the Masterpiece Theory to elevate your price range quickly. Create something larger, more detailed, and more elaborate than your usual work. Price this “masterpiece” significantly higher than your regular pieces. This strategy expands your price range, making your regular work appear more reasonably priced while giving you opportunities for substantial sales when someone connects with your premium piece.
This approach works. Many artists report positive—sometimes surprising—results when they implement this method.
Know Your Competition—Be Realistic
Art isn’t sold in a vacuum—it exists in a competitive marketplace. Nearly always, comparable work exists to yours. While your art might be unique, it shares enough similarities from a consumer perspective to allow informed buying decisions. Since potential buyers judge your prices against other artists’ works, you need a working knowledge of your competition.
Aim for the sweet spot where your prices are neither the highest nor the lowest among comparable works. This positioning makes your pricing competitive and gives you confidence in presentations, helping you sell more work.
The Internet Changed Everything
The internet has fundamentally transformed art pricing. Thanks to smartphones and mobile access, people can instantly research prices, artist backgrounds, and market comparisons. Gallery owners report that buyers now research artists and prices while still in the gallery.
This immediate access to pricing information means you need a consistent pricing strategy and structure. Your integrity and reputation are at stake when you undercut yourself or your distributors.
Why Discounting Direct Sales Hurts You
Some artists argue it’s acceptable to reduce prices for direct sales since they’re avoiding gallery commissions. This action is misguided for several reasons:
First, you’re giving yourself a pay cut. Why take money from your own pocket?
Second, inconsistent pricing damages your reputation and undermines pricing integrity, especially for customers who paid full price.
Third, you risk making your best customers feel betrayed or foolish for paying more, leading to ill feelings and lost trust.
Practical Alternatives That Work
Instead of discounting, try these approaches that maintain your price integrity:
Offer payment plans. Many collectors appreciate the option to pay for larger pieces over the next 3–6 months. Doing this makes your work accessible without cheapening it.
Consider a trial period. “Take it home for a week and see how you feel about it” works surprisingly well. Most people who live with a piece for a few days end up keeping it.
Show genuine interest in their connection to the work. If someone seems drawn to a piece, you might say something like, “I’m curious where you’re picturing this—do you have a spot in mind?” or “It’s exciting when someone connects with a piece like you seem to. Where were you thinking it might live?”
Practice saying the questions you have reframed in your own way, then repeat them out loud so that when the moment comes, you will recognize the opportunity and respond naturally. This approach makes you appear helpful rather than pushy and confident instead of desperate. These conversations often reveal whether price is really the issue or if they need help envisioning the piece in their space.
Sometimes buyers need reassurance, and you’re the only one who can provide it. When someone is clearly connected to a piece but hesitating, try something like, “I can see this piece speaks to you—it’s one of those works that really came together for me. I think you’d get much joy from living with it.”
If someone isn’t ready to buy at your price, that’s information, not a problem to solve with discounting.
Getting Started: A Practical Approach
Are you prepared to formulate your pricing strategy? Here’s how to approach it realistically:
Do Your Homework First
Start by researching 8-10 artists whose work is genuinely comparable to yours in style, medium, and market level. Don’t aim too high or low—find artists who are actually your peers. Please review their pricing across various platforms and observe any patterns. This research phase happens when you have time, not on a forced schedule.
Pick a System That Feels Right
Choose either price-per-square-inch or cost-plus-markup pricing based on your personality and how you evaluate your work. If you’re methodical and like consistency, square-inch pricing works well. Choose cost-plus-markup if you take materials and time investment into account. There’s no wrong choice—consistency matters more than the specific method.
Test Your Pricing Gradually
Don’t overhaul everything at once. Start with new pieces using your chosen system, then gradually adjust existing work as opportunities arise. Pay attention to buyer reactions. If you’re getting immediate “yes” responses to every price, you might be too low. If you’re getting crickets, reassess your positioning or presentation.
Create Your “Masterpiece” When Inspiration Strikes
The masterpiece theory works, but don’t force it. When you feel motivated to create something more ambitious than usual—whether that’s larger, more detailed, or technically challenging—that’s your opportunity to expand your price range. Let the work guide the strategy, not the calendar.
The Bottom Line
Effective art pricing isn’t about finding the “perfect” formula—it’s about creating a system that reflects your work’s value, remains consistent across all sales channels, and grows strategically with your career.
Your pricing communicates as much about your professionalism as your artwork does. When you price with confidence and consistency, collectors respond with trust and respect. Start with the research, implement a system that feels right for your situation, and remember: you can constantly adjust your approach as you grow, but you should never undervalue your creative work.
The art market rewards artists who treat their practice as both a passion and a business. Your pricing strategy is one of the most critical business decisions you’ll make.
I am interested in learning more about how to price my artwork and to market my artwork. Thank you.
Sincerely,
Carole Bentley
Thanks for your comment. A great place to start is by downloading the free How to Price Art report. Besides the useful information in the report, it has links to additional resources to further assist you with your pricing. CLICK HERE to get your free download.
I am a background painter in animation. I am transistioning myself from animation to fine art. Pricing my painting is kind hard for me. I will appreciate if you can help me out.
Thanks for your comment. A great place to start is by downloading the free Top Ten Tips How to Price Art infographic. Use the search box at the bottom of this page to find more useful information. CLICK HERE to get your free infographic download.
A very interesting and usuful article. Thanks.
I agree with Robert Genn. The Ten Commandments are great!
Thanks, Barney
thank you for your article. I saw by accident. I had this question for a long time. now I relieved that I have your insight.
Love the Ten Commandments! I’m a newbie when it comes to pricing, started selling my card stock bookmarks to friends for $1, Sold out in an evening. Hmmmm, did the product and labor equation and came up with $2.50. A year later I’m selling them plus more paper products for $5-$8 each. One area won’t tolerate aka no sales the $5 each, so price becomes $4 or 3/$10, sell out. Found the sweet spot, now to find a bigger customer base.
This will be useful, thanks.
I believe you need to be the same in your pricing and go up once a year when products go up and so on.
When I paint in oils or acrylics I can use a stretched canvas which doesn’t require framing. When using watercolours, mount boards, glass and framing is required. Any tips on how to standardise a “June Orr original” please?
It doesn’t matter how you set your pricing. It just needs to be consistent and to make sense to a potential buyer. Come up with a formula that works for you. Add your framing costs in after you set the price for your original.
If you sell to Interior Designers, framing your art will often kill a sale. IDs usually custom frame for a client to fit the space and blend with the decor. They are used to seeing art with splashes of paint, pin holes in the margins. Won’t affect their judgement. They won’t pay for a frame that doesn’t fit their project.
Thank you for the article. Look forward to receiving your new ebook.
I am interested
i have an old computer.. and prob can’t download the e-book.. any other way of getting it?? also, i have been told (by a gallery owner..)that pricing by square inch..the formula should go down as the paintings get larger..
The pricing guidelines are helpful, I follow all of them except not every piece is priced by size only, but by complexity as well. Have you heard of other artists with that approach? Thanks!
Very helpful information!!
One must first have a place to sell art. With a place may come lookers, then shoppers and then buyers.
Without an audience to see your art, pricing strategy is useless. First, find an audience who will appreciate your work. Don’t put the cart before the horse.
I already sell my work at a fairly high price compared to others doing similar work/style. Recently my industry has been under scrutiny and as a result of necessary changes, prices on my raw product will increase between 12.5% – 40%. I can’t absorb a 4O% price increase, but I’m not sure my customers can either.
You are an idiot and your advices are silly.
Duly noted. Thank you for taking your time from your busy day to insult me.
Hi Barney, if that statement were true, you wouldn’t have a wide-following and many years of success. Your answer is perfect.
Hi Lori —
You’ve always been a generous and grounded voice in this space, so I truly appreciate the kind words. Over the years, I’ve come to realize that confidence in pricing grows not from formulas, but from conversations like these—ones grounded in real experience and mutual respect. Thanks for chiming in.
I would like to know more about pricing landscape artwork!
Thanks Terry
Start with research. Who are your competitors? What are their price ranges? Who do you see as above you in the marketplace? What are they charging? How are they able to get the prices they charge. What can you do to uplevel your marketing strategy and reputation to move into competition with them?
The higher your price anything the more value people thank your house. Sarasota 34236 is a very wealthy community I found it the same leather bag or leather briefcase that I can get let’s say at eBay for $125 is actually $850 on main street. Those leather briefcase is sell like crazy. Unfortunately people think that the higher the price the more the value. I say start at the top the cheapest giclée that I have is $1800 that’s it no questions asked. Is a Rolex really worth $8500 for the stainless steel model I don’t know some watches go up to million dollars It’s just a matter of perception of value
Successful pricing revolves around buyer perception and the collector’s mentality.
Thank you for the timely article. Although not a new artist, I am new to FineArtAmerica.. Again,bringing up the on going issue of pricing. I learned some good things from your post. Basia
Thanks for your reply. It is gratifying to know you learned something from the post.
Difficult situations arise for me when I must make price adjustments to compensate for very high consignment percentages added to my bottom line. I am often giving in to keep my price “reasonable”.
Sorry to hear about your difficulties. Sounds like it’s time to move on and find yourself a better set of consignors and buyers. Don’t remain stuck. You might not have the ability to control them, but you can change your circumstances. Best wishes!
you are always helpful. thanks…………….sg
I enjoyed reading your article on art sales. I have been painting for over 45 years, a luxury I appreciate at the highest level. Life, in general, can interfere with this process. For me, the
cost of being an artist was great. I had to give up many things and people in order to be able to have the momentum.
Pricing was always a question and I would have preferred not to be involved in that end of the
profession.
To my surprise and happiness, I have been following the rules mentioned in your article quite innately.
Thanks for your comments and observations. For many artists I know, the money would be nice but the cost to get it isn’t worth it. So, they find another way. You express keen clarity about your life experiences as an artist. Consider joining the Older Artists Facebook group. It’s a place to hang out. Share your art and get to know a few folks.
I put my photography on a sellers website, and they handle all the production for a sold piece. They have posted prices for finished prices, and the artist adds what they want. Their recommended prices are really, really low – like in some cases $1 or $5, with the price customers end up pay being in the vicinity of $45 or more depending on the product purchased (printed piece, tote bag, phone cover, shower curtain, etc.). I haven’t sold anything on their site (except to myself), but life interferes so I can’t advertise myself in a consistent manner – which is why I’m on this site.
What are your thoughts on sites like this, and their recommended pricing?
What are your thoughts about sites like this?
Thanks for your question. Sites such as you mention, fill a role for artists and consumers. The price suggestions are just that. Price your work the same there as everywhere. As far as selling on sites with tens, or hundreds of thousands of artists, they can’t direct traffic to your site. Whether you sell your work from your site or studio or sell it on a site with other artists, getting traffic to your page on the site is your responsibility. In the long run, I recommend sites such as these as secondary to your main site. That is, drive traffic to your main site where you are not in competition with other artists. Good luck to you.
Lots of “collectors” get a big kick out of collecting deceased artist only., There by saying their work is “more valuable” . I throughly disagree, it’s the living artist that needs to make a living and that’s the way that is. No matter how valuable or attached to your “cave paintings”, they may be, they can put that attitude where the “sun don’t shine”, and yes staying away from their myopic intelligence is good.
Thanks so much for your suggestions, I agree with most all of your points…98-99%!
Thanks for your comments. Collectors come in many varieties. Some, especially at the top of the food chain, go after Old Masters because those artists are not making any more. Here is an excerpt from the Ultimate Guide to Art Marketing,
“Contemporary Art Embraces Graffiti Art and Branding.
Some of the artists who enjoyed the most remarkable growth in auction house interest and sales since 2005 include KAWS, Mr. Brainwash, and Banksy. Many of the top 50 artists, as ranked by Artnet in this period, were born in the last half of the 20th Century. It is difficult to imagine that the dealers and collectors of the 1980s who were engaged in acquiring Van Goghs could have foreseen how street art would become a market mover powered by the rise in appeal of younger artists in the 21st Century.
Changes in the American art market and the global art market mirrored those in culture and society. The most monied collectors who bought the top of the market sought artworks representing diverse genres that held substantial price premiums. That left the next level of affluent buyers to pursue the next best pieces available.”
Interpretation is the super rich go after what they perceive as the cream of the crop leaving the nouveau rich to battle over contemporary artists born after 1946. The interesting thing is for most artists such things have little influence over their art business. Successful artists today grow their own, which frees them from worry over what other artists are doing. Artists need a relatively small group of loyal buyers to make a nice living from their art. That is an advantage nearly exclusive to visual artists.
I have read lots of articles on pricing,And think that it’s a good method is good. But falls a bit flat if it’s a large painting that has large areas of negative space.
Yep, there is no perfect one-size-fits-all solution.
If you were going to sell at a gallery in a town you were thinking might be one where you would enjoy living, then if say, a home there were priced around $1M, it could be reasonable to sell 5 paintings for $200K each, and buy a home there. That would make more sense than telling yourself you could sell 500 paintings for $2K each, as you might not sell any. What are your thoughts on being cognizant of the town you are selling in; you might be in Santa Barbara and the homes were $10M each, or you might be in Lordsburg where homes could not be given away. Rather than putting all the emphasis on the artist and his work, how about the gallery and their work and location? Doesn’t pricing depend rather quite upon the town and country? I have seen garbage offered as art in Switzerland. I have seen price differentials for the same artist’s equivalent kind of work in two towns, Albuquerque and Santa Fe, and Santa Fe has a price premium of around 100% over Albuquerque. Considering whether you’re selling where the people are poor, homeless and drugged up (Scott’s town), or driving million dollar sportscars (Scottsdale) is an important consideration, in my opinion, and maybe I am wrong on that.
Hi Philipp,
Thanks for your comment. I’ll be direct: pricing art at $200K per piece as a casual benchmark isn’t realistic for the vast majority of working artists, regardless of location. Galleries are professionals—they set prices based on their market, clientele, and reputation, whether local or international. It’s not about the price of homes in the area; it’s about the gallery’s positioning and the artist’s resonance with their audience.
In today’s digital-first art world, consistency matters. Your pricing, presentation, and positioning need to hold up across platforms and geographies. That means knowing your competition—not just vaguely, but specifically. If you can’t name the artists whose work, audience, and pricing overlap with yours, that’s a strategic blind spot worth fixing.
Pricing isn’t guesswork—it’s alignment. The sweet spot lives where your work, your audience, and your market meet. That’s where sustainable careers are built.
Best, Barney
Well said Barney!
Thanks, Lori.