Let me give you a vivid example, when a painting with nudity is exhibited. Usually, the plot and presentation tear apart the consciousness of many viewers. Immediately there are options like "you shouldn't paint like this, look how it should be done, you shouldn't paint this topic, you should paint something else, you shouldn't show your works." Artists, those who are reading me now, you see these discussions in bundles. I feel your smiles. Moreover, pay attention, the authors of the posts are different, the paintings are different, and the commentators change, but the texts are almost identical. Be curious, read with thought, and compare. Enjoy.
If your goal is to pour out your negativity and pain, attract attention, then go ahead into a heated discussion, get involved in every statement. Yes, and the risk of encountering trolls is maximum. They love to humiliate, know how to, practice with pleasure and cynicism. If your goal is just to exhibit, and you didn't expect a heated debate, or you're testing the market, or analyzing the reaction to your works or the target audience of the group, then it's reasonable to take the position of an observer.
Abstract yourself from the discussion and the post. You have a ticket in the audience, not an engagement as an actor in a theatrical troupe. Respond to a comment only if you were asked a question. Specifically asked, with a tag on your name, or addressing you directly as the author. And only if you want to or feel it's necessary to answer.
Because if you were asked, it doesn't mean you have to drop everything and run to argue and justify. The responsibility for the other's reaction lies on their territory, not yours. In all other cases, keep silent. You're not being asked, so keep silent. keep silent. keep silent. If you're asked directly, think whether you need to answer at all.
Isn't the mechanism clear? Well, they want to pour out their inner turmoil. Why on you? And what's your role here? Let them choose someone else and pour out their song further. I'll repeat. If you're not asked, keep silent. If you're asked directly, think whether you need to answer at all.
What else affects the price of a painting?
What does the artist usually do? Looks at price calculators, prices for analogs on websites, from colleagues, calculates expenses, the list goes on. I've already written enough about this and discussed it in groups and on training courses. Now I'll show you another aspect of the commercial aspect of pricing. Tell me, how many paintings have you sold? And how many are on sale? What is the ratio of views to sales?