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Surprised at how easy it was to locate five-hundred-year-old bank records, he began reconstructing a more accurate timeline for how the most famous ceiling in the world came to be. With a PhD from Harvard, Professor Hatfield had begun his career at Yale in before moving to Syracuse University in , and in all that time of teaching art history, he had never encountered anything like this.
What he found in those records was not what you would expect to find digging around in the bank account of an artist, even one whose fame would grow with each passing century.
For centuries, this is what historians believed about the great Renaissance master. He was just another Starving Artist, struggling to make ends meet. Michelangelo himself embraced this image, living frugally and often complaining about money. He was not struggling at all. He was not poor, and he was not starving for his art—a fact we have been getting wrong ever since. Michelangelo was, in fact, very rich. One record Professor Hatfield found showed a balance of hundreds of thousands of dollars, which was a rare sum of money for an artist at the time.
When he saw those figures, the professor forgot all about the Sistine Chapel. With his curiosity piqued, he went to see if there were more bank records, and there were more—many more.
We are accustomed to a certain narrative about artists, one that indicates they are barely getting by. But Michelangelo did not suffer or starve for his work. He was a rainmaker. I think this changes everything. Two hundred years after Michelangelo died, Henri Murger was born the son of a tailor and concierge in France.
Living in Paris, he was surrounded by creative geniuses and dreamed of joining them, but he grew frustrated with his failure to find financial security. The result was some literary acclaim, persistent struggle, and an untimely end to a penniless life. To this day, it endures as the model for what we imagine we think of the word artist. Today, we find the remnants of this story nearly everywhere we look. It is the advice we give a friend who dreams of painting for a living, what we tell a coworker who wants to write a novel, or even the cautionary tale we tell our children when they head out into the real world.
Keep your art in your hand and your money in your pocket. Creators have never had more options to thrive. Then, there are affiliate links who generate commissions at no cost to the user, services, one-off products and little side gigs I take up here and there. The opportunities are endless. We live in an era of huge potential. Jeff even has a name for it: New Renaissance.
Let your artistic intuition take you wherever it leads — and bring your fans with you. Which is nuts. But sometimes, a book like this is a great way to tackle such a limiting belief. If you struggle with impostor syndrome or are just getting started in your creative pursuits, this is a good read.
Four Minute Books participates in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising commissions by linking to Amazon. We also participate in other affiliate programs, such as Blinkist, MindValley, Audible, Audiobooks, and others. The more stories I found, the more common threads began to emerge.
For the rest of this book, we will explore these rules in the context of three major themes: mind-set, market, and money. In each part, we will be taking a significant step that will us shift from Starving Artists to Thriving Artists.
First, we master our mind-set, tackling the internal challenges and conflicts we will face to break out of the Starving Artist paradigm.
Then, we master the market, exploring the importance of relationships in creative work and how to usher our art into the world. Finally, we master money, looking at what it means to not only make a living off our work but put money to work for us so that we can use it as a means to do better work. Each chapter is based on one of the twelve rules mentioned above, along with stories from history and original case studies from the hundreds of interviews I conducted with contemporary creatives, artists, and entrepreneurs.
The rules are not hard and fast as much as they are principles, proven strategies to help you succeed. The more of these you follow, the more likely your success will be, and vice versa.
This book is a manual designed to help you create work that matters. As you encounter the stories and lessons it contains, I hope you are challenged to follow in the footsteps of those who have come before you. I hope you realize that being a Starving Artist is a choice, not a necessary condition of doing creative work, and whether or not you starve is up to you. Pre-order the paperback edition of Real Artists Don't Starve and get the following bonuses at dontstarve.
How does rejecting the myth of the starving artist impact you? What will change about how you approach your craft? Share in the comments. Note: the video on the left provides an 8-minute overview to the product. If you'd rather read, just scroll down! Here's a shocking idea: artists are not destined to be poor. If you're an artist, you can actually make money from your art, feel good about it, and build up a following to support your independent career.
The problem is that many artists don't know how The bad news is that most artists will fail to make a living with their art.
Every year, more than 30, artists graduate from art school in the United States alone. Despite the strong talent and ambition of many of them, only a small fraction of artists manage to support themselves in the career they are passionate about. Worldwide, it's the same story -- a few people make it, but most don't. Naturally, not every artist wants to make money. Some are interested in art as an introduction to another career, and others pursue art as a passion or hobby.
There's nothing wrong with that, of course -- but the point is that many of the 30, chose to obtain professional training in the arts so that they could be professionals and make a living.
This unfortunate fact raises the question:. The good news is that most artists fail NOT because they lack talent but because they have not been trained to represent themselves, to build a customer base, and to actually sell their great artwork.
See, the old way for achieving fortune and fame as an artist or at least a working income was all about receiving the favor of gatekeepers. Beginning with the patronage system in Europe and continuing with the galleries and museums of modern times, the old way was all about groveling for the endorsement of outsiders, who then took a huge percentage of the artist's income in exchange for the 'privilege' of representation. It was very effective The old way still works for a small minority of artists, but the problem is that it's a zero-sum game and hard to break in.
Thankfully, there is a clear alternative. The clear alternative the new way involves taking your art and your future into your own hands. Instead of hoping for a big break or the favor of art critics, the new way allows artists to build up their own fan base and sell directly.
The new way won't work for everyone don't believe anyone who promises success for the whole world , but it will work for most people who are willing to take risks and work hard. My collaborator and I created this project for artists interested in going to the next level of sales -- regardless of where they're starting from. If you're an artist, the Unconventional Guide to Art and Money will help you sell more of your art without selling out.
Building on the knowledge of successful, working artists, the Unconventional Guide to Art and Money offers a range of materials to help you supersize your career in the arts if you want one or begin earning money from your art. All materials are delivered immediately after purchase by electronic download no shipping charges and will work on both PC and Macs. For centuries, the myth of the starving artist has dominated our culture, seeping into the minds of creative people and stifling their pursuits.
In fact, they capitalized on the power of their creative strength. From graphic designers and writers to artists and business professionals, creatives already know that no one is born an artist.
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