Discipline and motivation. And it already comes from within you. It's not treated or learned until you're pushed against the wall so hard it's impossible not to do it the way you should and want to. Almost all artists start thinking and doing only when they're really pressed to avoid disaster and have something at least. So on all sorts of training for the trained, they scare them and shove their noses into what's been done. I hope this isn't about you.

And only a very small fraction of artists think and do, even when they're doing well. To make it even better and even more. Preferably not just for themselves, but for others, and even strangers. That's why they are their own motivation, happiness, and joy. That's about me. Maybe it's about you too.

You need to be able to take photos of paintings, write descriptions, choose tags again and again. You can redo them endlessly. Quickly compose and type texts, watch successful masters, set prices, communicate with curators and clients. Know how to attract and retain attention. Monitor exhibitions and galleries. Understand how customer flows on websites work.

If you come up with the bright idea to hire a specialist and you don't understand the essence of the process, you'll just quickly throw away your money. So you'll have to figure it out yourself. Even if you're one of those who say, "I'm an artist, a creative person, I'm a girl." Constantly do this. Do and analyze. And do it again. You need to be able to ask the right questions. And be honest with yourself.

As you can see, there's nothing complicated about selling your paintings. And also, for those who haven't been scared off, offended, or run away so far. Business isn't about "learning," and it's not about "how to sell 10 paintings in a month" and not about "believe in yourself and positive thinking." It's about putting everything through your actions, drawing conclusions, engaging your brains, and applying it to yourself.

When I'm asked how to become a highly sought-after artist, I say that it's difficult. And it really is very tough. It will take the perseverance of a hereditary librarian and the ability to draw on demand. And in terms of stress tolerance, you must confidently compete with the potholes that drivers curse on the roads every day.

A successful artist is a hardworking, persistent person. Ready for constant improvement and endless criticism from colleagues. Very hardworking. Extremely persistent. And the brighter you are, the deeper the criticism. If you want to avoid all of this on your way to fame and wealth, then you're out of luck. You'd better go look for oil.

The ideal contract between an art dealer, let's call them a savvy producer, seller, manager, or curator, and an artist looks something like this.

The art dealer says, and the artist does quickly and correctly, on time. Without disputes and ambitions, but by enhancing the proposed. With all their novelties at the level of good nonsense, they first come to the art dealer. Often these are quite workable ideas. The themes, style, technique, and other attributes of the works are monitored by the art dealer. What and how to present to the public is also up to them. Prices too. And now the most interesting part. In case of attempted dumping and cheating on the part of the artist, draconian fines and penalties come into play.

Let me explain what's going on here. Sometimes, due to their narrow-mindedness, the artist thinks they're the smartest. They believe that they've come from scratch and are already a master of selling art, while the art dealer just came to stroll around the art business territory. And the artist decides that they'll negotiate a high price with the art dealer, and the art dealer will exhibit the paintings on good platforms at a decent price. And not just publish them for sale but also promote them. And they'll also set the price, write descriptions for each piece, and find the top tags themselves, which they'll add to the title and all the texts.

And the artist will show links to lots and listings, and quietly offer to buy directly from them at a low price. Then they'll come with complaints that they were bought directly from them, but not from the dealer. They'll shift the responsibility and present themselves as innocent fluffy bunnies. Ignoring prices and backstage games. Well, what can I say. It's interesting how some people's brains work.

That's why the art dealer takes money for everything, including the mere fact of publication. And adds their commission to all of that. Artists, blinded by their uniqueness and incomparability, overlook the most important thing. The art dealer has plenty of artists to choose from. Pick any. And the customer base also belongs to the dealer.

Many artists, especially beginners, look at this ideal contract and say, "Yuck, I don't want that. I want to be a star of auction houses, I want to focus on creativity!" And then they list a dozen objections and grievances. Because they're attracted not by real professional activities but by external romanticized attributes.

And you forget or don't suspect because of your naivety, stereotypes, or the illusion of genius. You don't know that along with creativity, you need to apply skills in effective communication. The ability to persuade and influence. Sales and promotion skills. The ability to organize people and situations. You asked for it harshly, without reverence. But it clears out the garbage from your brain. What do you think?