I wonder about prices a lot—what’ll be fair and what’s not, what works for me as the artist as well as for potential purchasers.  What’s value for money.  What’s value for time.  What’s value for originality and devotion—a piece of my spirit translated to and revealed on canvas.  I try not to think about the middle (wo)man—a gallery or dealer who could jump in and take 50% with an "easier sale."  It can be more prestigious to have that middle person—kind of like having an agent as a writer.  It means you’ve already been weeded out, approved, validated, or regulated and relegated—sometimes, even put your soul on the auction block.  But, just as there are iterary agents who will work with you and those that only have their own profit margins in mind, there are artists’ representatives who are like that too.  Everyone needs to make a living.  At the end of the day, consider who’s starving and who’s not.  These are thoughts constantly floating in my head, as I find it difficult to put energy into trying to get noticed, bought, and valued, while still trying to create.  This isn’t a hobby anymore!  Creating takes soooo much time and skill perfection.  Then, why do potential purchasers insist on bargaining down, like they were in a shuck haggling over a (mass-produced) souvenir memento? Do they realize the time, energy, and dedication put in to what’s been painted?  Could they ever have the skill, talent, or perseverance to make anything similar?  Do they know the real worth of the object created beyond what’s a good deal to them?   Do the bargainers respect the creations or take advantage of an artist’s need for cash to keep up the métier? Ironically, many potential buyers get paid 10 times the dollar rate for work that’s less demanding, and think nothing about submitting invoices to their clients to be paid in advance.  My rambling thoughts on this subject are not about bitterness or jealousy—they’re about others knowingly trying to take advantage.  Of course, there are some artists who let their comrades down by producing inferior work that secures higher prices, just because of hype.  This happens in fashion and other fields too.  Then there’s experience and earning your price point.  But, again, no set path is clear.  Look at Google and YouTube—how quickly they become major monetary successes.  The artist’s path is hard to juxtapose.  For some, networking is everything.  Others don’t have to network.  Regardless, most artists know when they’re doing a good job and the details don’t matter.  The work speaks for itself.  While it’s important for potential purchasers to be prepared to pay appropriate prices, it’s also important for artists to know and expect their true worth—not forget what went into the pieces they’ve made.  Those who slop things out and get big bucks for so-doing—no heart in their work—let down more serious folk.