Buying Original Art for Your Home: A Practical Guide
— Practical guidance from my studio
Buying original art for your home involves more than finding a painting that fits an empty wall. Size, colour, materials and placement all matter. But so does the work itself, and whether you want to keep looking at it. In this guide, I share a few practical considerations from my studio. I focus on paintings, although I also create sculptural work, which brings its own questions of scale and presentation.
1. Start with the artwork, not the empty wall
An artwork can introduce something unexpected into a room: a contrast, a different rhythm or a colour you might not have chosen for the interior itself.
“Begin by noticing which works continue to hold your attention”
2. Do not choose by colour alone
A painting does not have to match the sofa, curtains or rug. Sometimes a contrast is precisely what makes the work interesting in a room. Of course, colour matters. But I would first look at the painting itself. Does it hold your attention? Would you still want to see it if you changed the furniture or painted the wall a different colour? An original artwork can live with you through many changes in your home. It is worth choosing something you love looking at, rather than something that simply matches what is already there.
3. Size is about more than centimetres
When choosing an artwork, people often focus on the available height and width. These measurements matter, but they do not determine the entire presence of a work. A small painting can command a great deal of attention when it contains strong contrasts or a concentrated composition. A large work may feel calm when it contains open space and subtle transitions of colour.
A small work usually benefits from a place where you naturally come closer to it: beside a cabinet, in a reading corner, above a small table or as part of a carefully arranged group. A larger painting is usually viewed from a greater distance. It can therefore influence not only the wall, but the atmosphere of the entire room.
A simple painter’s-tape test
Use painter’s tape to mark the outer dimensions of the artwork on the wall. Then look at the shape:
- from the doorway;
- from the sofa or dining table;
- while walking through the room;
- during both daylight and evening light.
This gives you an impression of whether the format has enough presence and how much space remains around it. Bear in mind that a real painting will usually have more visual weight than an empty rectangle of tape. Colour, material and texture all make the work more present.
Give the artwork enough space
A painting does not need to hang on a completely empty, museum-like wall. It can work very well alongside furniture, ceramics, books or other artworks. However, some visual space helps the work to be seen properly. When a painting is immediately surrounded by many small objects, photographs and decorations, its details and layers may become less legible. This is particularly relevant with layered work. The eye needs enough calm to move across the surface.
Consider not only whether the work physically fits, but also whether it will receive enough attention in its chosen position. That does not mean everything around it has to be removed. The aim is to create a balanced relationship between the artwork, the wall and the other elements in the room.
4. What a photograph cannot fully show
A photograph can provide a useful impression of colour, composition and format. However, some qualities of an original painting remain difficult to convey through a screen. I build my paintings in layers, using oil paint, acrylic or mixed media. The texture of the paint, underlying lines and differences between matt and glossy surfaces are not always easy to see in a photograph.
Paint layers and texture
Thicker paint catches the light differently from a smooth surface. Brushstrokes, palette-knife marks and raised areas may cause the appearance of a painting to change throughout the day.
Matt and glossy areas
Oil paint and mixed media can have different levels of sheen. A dark area may appear closed from one angle and reveal more depth from another.
Underlying images and lines
In my work, previous layers, drawings and alterations often remain partly visible. Some details can be seen immediately. Others only emerge when you move closer.
The edges of the work
The sides and edges are also part of the painting. Sometimes they are fully worked; sometimes parts of the process remain visible. This may influence whether a frame is necessary or desirable.
The actual scale
On a phone screen, a painting measuring 70 × 100 cm may appear no larger than a work measuring 20 × 20 cm. It is therefore difficult to judge physical presence online. Always check the exact dimensions rather than relying only on the image.
5. Assessing an artwork online
When viewing an artwork online, do not look only at the main photograph. Also check:
- the exact height, width and depth;
- the materials and support;
- close-up photographs of the paint surface;
- photographs of the sides and edges;
- whether the work is framed;
- whether it is ready to hang;
- whether an interior image is shown to scale;
- how collection or shipping will be arranged.
For my available works, I provide information about size, materials, year of creation and other relevant details. Each original artwork is also supplied with a certificate of authenticity. When you are uncertain about the scale, a photograph of the work in the studio or beside a recognisable object may provide more clarity. A digital impression of the painting on your own wall may also help, provided that you treat it as an indication rather than an exact representation.
6. What I want to know before advising someone
When someone asks me which painting might be suitable, I like to know where it will hang, from what distance it will be viewed and which dimensions are possible. But I am just as interested in the works they keep returning to. I have often seen someone return to the same painting before any practical considerations have been discussed. I always take that difficult-to-explain attraction seriously.
7. Choosing between two artworks
If you are torn between two paintings, try looking at them separately rather than constantly comparing them side by side. Give each work your full attention before making a choice. Look at the first work, then step away. Repeat the process with the second. Afterwards, ask yourself three questions:
- Which work do I continue to think about?
- Which work do I want to see again?
- Which work would I miss if it were no longer available?
During a studio visit, I can also place works in different positions. A painting may look quite different against a light wall than against a darker or warmer background. The viewing distance also makes a difference.
8. Buying original art online or viewing it in the studio
You can explore my available works online, compare paintings and take your time. But seeing a painting in the studio is a different experience. You can look closely at the surface, judge its actual size and see how it changes with the light. You are welcome to ask questions about the work, its materials, framing or practical arrangements. Sometimes it also helps to see two paintings next to each other before deciding which one stays with you.
There is no obligation to make an immediate decision during the visit. When you do choose a work and immediate collection is possible, it may be taken home by arrangement. Payment can also be arranged during the visit. Read more about a studio visit >
9. What is included with an original artwork
When you purchase an original artwork from my studio, I provide the following information and arrangements.
a certificate of authenticity
Every original artwork comes with a signed certificate of authenticity.
clear arrangements regarding collection or shipping
Collection or shipping is arranged clearly in advance, including the practical details and any applicable costs.
practical information about placement and care
You’ll receive practical guidance on where to place your artwork and how to care for it over time.
advice about framing where relevant
If a work benefits from framing, I’m happy to advise on an approach that suits both the artwork and its character.
Whether an artwork is ready to hang depends on its materials and construction. A painting on canvas can often be displayed without a frame. Works on paper generally benefit from protective framing, although the most suitable presentation depends on the materials and the individual artwork.
10. Frequently asked questions about choosing art
– How do I know whether an artwork is too small?
A work may appear too small when it becomes lost on a large wall or when it is usually viewed from a considerable distance. Use painter’s tape to test the format and assess the proportions from different positions in the room.
– Can I send a photograph of my wall?
Yes. A straight photograph of the wall, preferably including a piece of furniture or another recognisable element, can help with assessing the scale. Include the width and height of the available space as well.
– Can a painting be displayed without a frame?
Absolutely. Some paintings can be hung directly on the wall, while others look beautiful simply leaning against it. You can also combine several smaller works into a composition of their own. A floating frame can sometimes enhance a painting, but it is not always necessary. Whatever you choose, consider how the artwork is lit. Good lighting can bring out its colours, textures and details without exposing it to prolonged direct sunlight.
– Is a studio visit only intended for people who are already planning to buy?
No. A studio visit is an opportunity to view works in person and ask questions. You do not need to make an immediate decision.
– How should I protect a painting in my home?
Avoid hanging a work in prolonged, strong direct sunlight. Also avoid highly fluctuating temperatures and very humid spaces. Do not touch relief or textured paint surfaces unnecessarily, and never use household cleaning products on the artwork.
A limited number of my works are framed to museum standards, with a presentation specifically chosen to suit the series. When this applies, it is stated in the artwork description. A museum-framed work should still be protected from prolonged direct sunlight, moisture and major temperature fluctuations.
11. The most important question
Measurements, materials and practical considerations all matter. But in the end, I think the most important question is whether you want to keep looking at the work. Not just today, but years from now.
See more work in the studio
Would you like to see the works in person, compare them and also view work that is not available online?
Original paintings, available from the studio
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