The financial rewards from teaching or art criticism are not great; in fact, the art historian rarely becomes wealthy unless he or she can already afford to invest in an art collection. However, the art historian works in the field of his or her choice and, unlike the studio artist, usually does not have to find work in unrelated fields. Under normal circumstances, the studio artist cannot make a living through the production of art alone. He or she must find work outside of the studio in order to make ends meet. Many visual artists do not sell pieces during their lifetime, and their talent may only be recognized posthumously. For example, Van Gogh sold very few of his pieces while he lived, which was one of the reasons the man was dissatisfied and depressed. Therefore, studio art offers more insecurity than security and can certainly lead to the individual becoming a "starving artist."
If a studio artist is lucky enough to be able to sell some pieces while alive and gain some recognition through display in prominent art galleries throughout the world, his or her fame may be short-lived. The visual artist is usually not financially stable because income is sporadic. For example, he or she sells once piece every year. The rest of the time, the artist must earn income by waiting tables or programming computer...
An art historian has a wider range of options for the future to ensure financial security and success.
The possible futures of an art historian and a studio artist differ on three main counts: intellectual stimulation, social stimulation, and financial security. First, the art historian thinks critically about art styles and artistic media, placing all art within a social, historical, political, and cultural context. The studio artist does not engage in as lively an academic debate but rather, focuses on the emotional and intuitive sides of creative expression as well learning how to work physically with the practical tools of the trade. Second, the art historian must meet and interact with a number of different professionals in fields as diverse as art installation and journalism. Art history offers a more socially vibrant future than that of the visual artist, who will generally remain in a studio working alone. Third, the art historian has a wide range of career options and the future is wide open with possibility. The studio artist must learn to live with financial insecurity because it is difficult to make a living solely through selling works of art. The possible future of an art historian is more intellectually, socially, and financially rewarding than the possible future of a studio artist.
