At the personal level, many painters carry traits that steer them away from publicity. Introversion, perfectionism, or fear of ridicule can make exhibitions feel threatening and interviews unbearable.

This fear of public scrutiny could burrow deep and ruin with self-sabotage. The realisation that intense exposure could distance them from the very thing that keeps it authentic. An ideal scenario would be that an artist works in obscurity but is completely outside the sphere of influence or scrutiny. A feat rarely achieved by artist.

These hesitations are amplified by cultural narratives that equate obscurity with authenticity. Since the nineteenth‑century slogan “art for art’s sake,” bohemian subcultures have elevated the unrecognised artist to heroic status, casting commercial success as moral compromise. Van Gogh’s posthumous image established the modern template: the misunderstood genius who dies poor yet triumphant in integrity.

Artistic reputation is never built alone; it relies on dense networks of curators, critics, peers, and collectors. Painters who juggle care work, battle social marginalisation, or simply lack time for networking miss the informal circuits where opportunities circulate.