Commissioning an artwork, from first conversation to finished piece
A commission gives you a work no one else owns. How to find the right artist, write a brief, agree the terms in writing and leave room for the artist’s own ideas.
Many of the works in today’s museums began as commissions. Altarpieces, portraits and the large group portraits of Dutch civic guards were all made to order. Commissioning an artist is still one of the most personal ways to bring art into your life, and it works best when both sides agree clearly what is being made, by when and on what terms.
Why commission a work
People commission art for many reasons. Some want a portrait of a person, a family, a house or a much loved animal. Others want a work made for a particular wall, staircase or garden, sized and coloured for that space. Companies commission works for offices and lobbies, and public bodies commission art for squares, schools and hospitals.
Commissions also suit occasions: a work to mark a wedding, a birth, an anniversary or a company milestone. Some people commission a series rather than a single piece, such as a set of drawings of the places a family has lived.
A commission gives you something no one else owns, and the experience of watching it take shape. It also asks more of you than buying a finished work: time, clear communication and trust in someone else’s judgement.
Finding the right artist
Start with the artist’s existing work, not with your idea. A commission will almost always resemble what the artist already does, in style, scale and material. If you love their recent pieces, you are likely to love what they make for you. If you hope they will change their style for your project, look for someone else.
Ask whether they take commissions at all, since many artists prefer to work only on their own ideas. Look at any earlier commissions and, if possible, speak to someone they have worked with before. Galleries can arrange commissions for the artists they represent, usually in return for a share of the fee. Open studios and degree shows are good places to meet artists in person.
When you first make contact, be open about your budget and your timeline. A clear range helps the artist judge whether the project is possible, and suggest what can be done within it, such as a smaller format or a different medium.
From brief to finished piece
A is a short written description of what you hope for. It should cover the purpose, the location, the approximate size, the light in the room, your budget and timeline, and what is fixed or open. Photographs of the space help. Leave room for the artist’s ideas: the brief describes the problem, the artist proposes the answer.
- A first conversation about the idea, the space, the budget and the artist’s way of working.
- A written brief, agreed by both sides.
- A site visit, or detailed photographs and measurements of the location.
- A proposal, sketches or a small study, often paid for separately or as a first instalment.
- Approval of the design in writing, after which the main work begins.
- Progress updates at agreed points, without daily interference.
- Completion, final approval, delivery and installation.
Keep the number of review points small and agree them in advance. Some artists prefer to show a design once and then work undisturbed; others like to share progress photographs along the way. Ask which way the artist works best, and respect it.
The brief describes the problem, the artist proposes the answer.
Put the agreement in writing
A clear written agreement protects both you and the artist. It does not need to be long, but it should be specific. arisano gives no legal or financial advice; for larger or public commissions, ask a lawyer to review the document before anyone signs.
Rights deserve particular attention. In many countries the artist keeps the in a commissioned work unless it is transferred in writing. Owning the object usually does not give you the right to reproduce it on cards, websites or products, so agree any such uses in advance. Many legal systems also give artists , such as the right to be named as the author and to object to distortion of the work, which matter especially for pieces.
Note also whether the artist may photograph the finished work and show it in exhibitions, publications or a portfolio, and whether you would consider lending it to an exhibition in future. Many artists value this, and it is easy to agree at the start.
Agree, too, what happens if you do not like the result. A common approach is to make approval at the design stage the main decision point, and to pay for work already done if the project stops. Discussing this at the start is awkward for five minutes and helpful for months.
Artistic freedom and installation
You are commissioning an artist’s judgement, not a product made to specification. Give feedback at the agreed points, honestly and specifically, then step back. The best commissions often surprise the person who asked for them. Where possible, see the finished work in its intended place before final approval, because light and distance change how a piece reads.
Plan the installation early. Heavy or large works may need advice on walls and fixings, and outdoor works may need permissions and a maintenance plan. Ask the artist for care instructions, photographs of the finished piece and a short written description for your records, and keep these with the agreement and invoices.
Terms in this article
- Brief
- A short written description of what the commissioner hopes for: purpose, place, size, budget and timeline.
- Site-specific
- Describes a work made for one particular place and designed to respond to it.
- Copyright
- The right to reproduce a work, which in many countries stays with the artist unless transferred in writing.
- Moral rights
- Rights of the author, such as being named as creator and objecting to distortion of the work.
- Kill fee
- A payment due to the artist if a commission is cancelled before it is completed.
Readers ask
How much does a commission cost?
It depends on the artist, the size, the materials and the complexity of the project, so there is no standard figure. Ask how the fee compares with the artist’s finished works of similar size, and what extra stages such as site visits, sketches or installation add. Request a written quote that lists exactly what is included and what is not.
What if I do not like the finished work?
This is why approval stages matter. If you agreed a design in writing and the finished piece follows it, the artist has generally done what was asked. Agree in advance how disagreements are handled and what is paid if the project ends early. Honest feedback at each stage makes an unhappy surprise at the end much less likely.
Can I reproduce my commissioned artwork on cards or my website?
Only if your agreement allows it. In many countries the artist keeps the copyright unless it is transferred in writing, and buying the object does not by itself include reproduction rights. Many artists will agree to reasonable uses, such as a family greeting card or a company website, if you ask at the start.
