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The history of Chinese art is more consistent, and even more persistent, than the art of Egypt. It is, however, something more than national. It begins about the thirtieth century B.C. and continues, with periods of darkness and uncertainty, right down to the present century. No other country in the world can display such a wealth of artistic activity, and no other country, all things considered, has anything to equal the highest attainments of this art.

Chinese technique is amazingly simple: it involves the knowledge of the use of one brush and one color—but that brush used with such delicacy and that color exploited with such subtlety, that only years of arduous training can produce anything approaching mastery. As is well known, the Chinese normally write with a brush, and a brush is as familiar to them as a pen or pencil is to us. The first fact to realize about Chinese painting is that it is an extension of Chinese handwriting. The whole quality of beauty, for the Chinese, can inhere in a beautifully written character. And if a man can write well, it follows that he can paint well. All Chinese painting of the classical periods is linear, and the lines which constitute its essential form are judged, appreciated and enjoyed, as written lines.

Throughout its history, then, Chinese art conceives nature as animated by an immanent force, and the object of the artists is to put themselves in communion with this force, and then to convey its quality to the spectator.

Too Similar: A gallery looks at the group of artists they represent, much like an artist looks at a painting. It is not so much the individual artist that is considered, but, rather, how that art fits into the existing group. Often galleries are reluctant to take artists that are too similar to an artist they already represent. Too Different: All galleries try to create a niche for themselves by representing artists that are stylistically similar and would appeal to their core group of collectors. If your work is outside the arbitrary parameters they have established, you are out of luck. Too Far Away: Unless you have already established a reputation elsewhere, galleries are reluctant to work with artists outside their regional area. Issues surrounding shipping costs and the inconvenience of getting and returning work in an expedient manner make it often not worth it. Too Fragile/Difficult to Store: Regardless of how big a gallery is, there is never enough storage space. Galleries shy away from work that is 3 dimensional, easily breakable, heavy or hard to handle. Too Expensive: Most artists undervalue their work. But, occasionally I will come across an artist with a totally unrealistic sense of how to price their work. Prices are established by the law of supply of demand (Read Pricing Your Art). If a gallery feels they can not price your work fairly and still make a 50% commission, they will not be willing to take a chance on you. Too Cheap: Artists who only do works on paper, photographers, etc often can not generate enough income from sales to make an exhibition worth it to a gallery. If you have 20 pieces in a show, and each piece sells for $500, and your show completely sells out…your gallery has only made $5000… barely enough to cover the costs of the postage, announcement and opening reception. Too Difficult: Entering into a relationship with a gallery is in many ways similar to entering into a marriage. It's a relationship that needs to be able to endure candid dialog about the things that are often the most difficult to discuss with anyone…your artwork and money. Both the artist and the gallery need to have a level of trust and comfort that will guarantee honest communication. If a gallery perceives you as being a difficult person to work with, they tend to veer away. Too Inexperienced: Many artists start approaching galleries too soon, before their work has fully matured. Most critics and curators say it takes an artist several years after college for their work to fully develop stylistically. Galleries want to make sure that once they commit to you, your work will not make radical and/or unpredictable changes. Even if a gallery LOVES your work, they may want to watch your development over a period of years to confirm their initial opinion. Artists must also have enough work of a similar sensibility to mount an exhibition. Too Experienced: The gallery fear of failure is strong, particularly in this economic climate. Careful to be sensitive to a price point that is right for their audience, galleries may not be financially able to risk representing artists who are farther along in their career, therefore demanding higher prices, than emerging younger artists. Artists with a long sales history of gradually appreciating prices may find themselves priced out of the current market.

In general, I recommend artists price their work as low as they can possibly bear to start out. Remember, it is more important to cultivate on-going relationships with dealers and consultants than to sell one piece.

Ultimately, it is better for the work to be out there than sitting in your studio. I believe art is a process, a verb, not a noun. And, part of the process necessitates that the work be exhibited, purchased and appreciated by others.

Remember, this is just a starting point. If you are fortunate enough to have a gallery representative, they should work with you in helping to determine a realistic price for you work. Ultimately, your prices will establish themselves as you start showing your work and getting a reaction.