Mission: Commission!

"Cityscape 2020".  A commission for the brother of an old friend of mine.

Ply your trade in the art world long enough, and inevitably you'll be asked about doing commissions. Over the years I've done many.  Ultimately, I'm happy to do them.  So why then is there this niggling voice in my head that likes to say "you're not really enjoying this as much as doing one of your own, are you?"

We could just file that under "Dave, you're weird, STFU and do the work".   But there's evidence this is somewhat more of a universal thing.  Often potential clients themselves ask with trepidation if I do commissions, as if it's crass to imply an artist may be in it just for the money.  Plus over the years I've chatted with many artists about how they feel about commissions, and there's an odd vibe to those convos...as if to say "It's complicated".  So let's dive in...

"The Touchdown".  One of my earliest commissions, near and dear to my heart since the client was a former football teammate of mine.

Perhaps it's best to break this down into pros and cons.  And as a disclaimer...I want to be clear that for me, the cons lie firmly in the nitpicking category.  I'm always grateful for the work, and have long ago realized that there's a vital symbiotic link between the working artist and the patrons who support them. 

"Krakow Square"  At 40" x 48", a commission that was as large as it was detailed. 

 

Pro #1:

Commissions are essentially a guaranteed sale in a world where guarantees are hard to come by.  In fact, you'd pretty much have to completely blow it (and totally misread your client's concept) for the sale to not happen.  This is a better world monetarily than painting things of your own and trusting that someday, somewhere, a buyer will come by.  That routinely happens when you have a solid body of work, or something of a name...but it's also the case that paintings you think are sure fire sellers end up gracing your own walls for many a year.  I can personally attest to that one!

"Stephenville Station".  The hometown of my client's mother.

Pro #2

A commission will likely resonate with your client in a way that a general subject won't.  Often they are based on old family photos, or are set in places and time periods that the client grew up in.  I've had clients weep when they see the final result.  

The paintings below all emphasize how deeply personal these pieces can be.  

"Maman et Moi.  My client was the young girl in this 1940s Montreal scene.

"40 Cheritan Avenue".  The boyhood home of the painting's recipient.

"Neville Park Loop".  An historic scene from my extended family.

Pro # 3

Commissions push you to take on material you might not have otherwise.  For me, that might come down to something as simple as trying to accurately portray a particular person.  Or animals.  Also, I've done several that are contemporary scenes, something that isn't typically in my repertoire.  

"Cosmonaut Squirrel".  One of a series of squirrel paintings that my sister gifts to any new children born into her life.  

And now for...

Con #1

There's a strange ennui that seems to come over me once I've been awarded a commission.  I think that's perhaps because all the work now lies ahead.  With usual sales, you've already done all the work up front, and the best moment (the sale) comes at the end.  A good way to keep the motivation level up on a commission is to refuse any kind of payment until the piece is done and delivered.  

"Skaha Lake".  A painting of my late father and his dog, commissioned by my eldest brother.  

Con #2

Commissions become, to some degree, collaborative.  One of the reasons I lost my zeal for the television biz was that it was a collaborative art-making process.  This was particularly true because I worked in the service side of the industry, more often than not editing and directing with clients directly over my shoulder (armed with the authority to intervene in the process at any moment).  Now, painting commissions are more one-on-one and definitely not the same kind of circus that is commercial television (hence my "I'm nitpicking"disclaimer earlier in this blog).   But you do feel an obligation to 'run things by' the client as opposed to the complete creative freedom that comes with rendering your own idea.  

"Vimy Bridge"  Another commission from a former football teammate.  Great choice of subject matter on his part that lead to a challenging but I think ultimately successful piece.

Con #3

This is a bit of an off-shoot of Con #2.  While I'm working, I can't help but think about the painting's recipient the entire time, to the point where they begin to live in my head along with me.  I then start thinking about their potential reaction to everything I'm doing.  In a weird way, I stop feeling entirely like myself, and have to remember to tune out my cranial guest and trust my gut.  After all, if they're commissioning me, then they probably tend to like my judgement on matters artistic.

"Christmas in the Distillery District"  Commissioned as a surprise wedding gift from a woman to her husband, since they got engaged at the Christmas market.

So those are my discussion points for now.  I would love to hear commentary from fellow artists or patrons on this topic.

In the meantime, gotta go.  I have a commission to finish...and I'm not just saying that for dramatic effect. It's actually true!