Essence Of Art Research Articles

Research on the Notation of Folk Urtiin Duu

This paper deeply explores the notation of Mongolian folk Urtiin Duu, an intangible cultural heritage, and focuses on how to scientifically and rationally record their unique artistic characteristics. The study points out that the simplified notation has the advantages of being easy to learn and flexible in key changes, and is the preferred choice for notating folk Urtiin Duu. In view of the difficulty in recording the free rhythm of folk Urtiin Duu, a method of grouping a group of sound forms based on the combination of the internal rhythmic rhythm and speed changes is proposed to solve the problem of recording non-equal rhythms. For the notation of the core techniques of the decorative elements of folk Urtiin Duu, such as Tashilaga and Nogula, the concept of the music theory symbol system is changed to accurately express them in order to protect the artistic essence of folk Urtiin Duu. In addition, the importance of the backing words in the singing of folk Urtiin Duu is emphasized, and it is advocated to record the backing words in a comprehensive manner to protect the traditional charm of folk Urtiin Duu. This paper comprehensively considers the selection of musical notation, the processing of rhythm, the application of decorative symbols and the standardized recording of filler words, aiming to provide a more scientific and reasonable musical notation strategy for the educational inheritance of folk Urtiin Duu, and promote the inheritance, protection and development of this precious cultural heritage.

The Historical Expression and Aesthetic Trends of Lotus in Literati Painting during the Ming and Qing Dynasties

The lotus, celebrated for its cultural symbolism and aesthetic allure, has been a recurring muse for flower and bird painters in Chinese art history. This article explores lotus paintings during the Ming and Qing dynasties, pivotal periods of ideological liberation and societal complexities. Traditional lotus artworks across dynasties have woven a rich tapestry in Chinese painting. Focusing on the lotus, the article intricately combines symbolic meanings and historical contexts, unraveling the flower's intrinsic artistic essence. It sheds light on the evolving aesthetic qualities within lotus depictions, using this exploration as a lens to understand cross-cultural exchanges and clashes between Chinese and Western influences. Emphasizing the inherent artistic will of lotus-themed painting, the research delves into the nuanced development and aesthetic significance of this genre. By elucidating the beauty expressed in the evolution of lotus images, the study provides valuable insights with contemporary relevance. It highlights the symbolic significance of the lotus in Ming and Qing China, incorporating concrete examples of renowned lotus paintings and artists. This comprehensive approach aims to enhance reader-friendly comprehension and explicitly articulates the contribution of these findings to current artistic practices. The research not only deepens our understanding of lotus culture but also serves as a reference for contemporary lotus-themed creative endeavors, connecting historical expressions with modern artistic sensibilities.

До питання про концептипоетичної творчості Володимира Забаштанського

This article outlines the conceptual framework of Volodymyr Zabashtanskyi’s poetic work, particularly focusing on collections such as «Vaha slova (The Weight of the Word)», «Vira v liudynu (Faith in a Man)», «Zhaha zhyttia (Thirst for Life)», «Zapakh dalyny (The Scent of the Farness)», «Moia vuzkokoliika (My Narrow Gauge)», «Naikrevnisha ridnia (The Most Close Relatives)», «Nakaz kameniariv (The Stonemasons’ Order)», «Svichechkoiu slova (By The Candle of the Word)», and «Syni skeli (Blue Rocks)». The study concentrates on the peripheral aspects of Zabashtansky’s poetry, illuminating their ideological and artistic essence. Special attention is given to concepts viewed through solar motifs: the sun, stars, and sky. These motifs are projected onto the intimate world of the lyrical hero, revealing artistic and journalistic intentions and reflections related to the realization of national identity. The concepts of water and land further reinforce these themes, creating a foundation for outlining Zabashtansky’s creative evolution. They depict the essential realities of his small homeland, painting a vivid image of Mother Ukraine. The image-concept of the tree finds its highest embodiment in the concept of the family tree and the archetype of the World Tree, associated with the image of the mother, who brings the new birth of the world and rebirth, protection, and the renewal of the Ukrainian world. Conversely, the concept of flame and related images such as «fire», «blaze», «embers», and others hold significant contextual potential. These images are particularly crucial when transformed into the universal symbols for Ukrainian poetry: the fire of the soul and the fire of the word, which gained prominence at the end of the 19th century. While the industrial perspective is generally not characteristic of Zabashtanskyi’s artistic world, it sporadically appears in the 1980s. This is especially evident in the image-concept of metal, where its ideological and artistic role manifests in the motif of strength — physical, psycho-emotional, and creative. This motif serves as a critical factor in shaping the author’s figure against the backdrop of his era.

THE POETRY BY MYKHAILO OREST: IDEAS AND FIGURATIVE STRUCTURE

The paper explores the structure of Mykhailo Orest’s poetry, delving into its main elements such as concepts of time, forest, silence, and word, as well as the motives of eschatologism and reincarnation. It focuses on the ideological and aesthetic originality of Orest’s poetry, examining his views on the nature of language and the essence of art. The distinctive feature of Orest’s poetry is a metaphor of time that comprises various philosophical meanings, including the eschatological understanding of time as “the world of the night,” the era of “the departure of God,” and “the end of things” as opposed to the concept of “the eternal day.” Orest’s eschatological poetics is rooted in medieval imagery and biblical metaphors. His poetic vision of the Apocalypse combines motives and images of diverse meanings and origins. Orest’s pantheism is seen as growing from romantic aesthetics, primarily the works of German romantics. The poet’s pantheistic ideas find expressive reflection through the cult of the forest, the symbolism of trees, particularly the archetype of the world tree. They are also related to the myth of birth and death, interpreted in Orest’s poetry, and the motive of metamorphosis. Medieval mythology takes a special place in Orest’s poetic world. In particular, the poet reinterprets the myths of Grail, Parsifal, Lohengrin, and Tannhäuser. The creative thought of Mykhailo Orest was constantly in search — a romantic inclination towards the irrational to a conscious interest in the world of things and the establishment of a complex system of relationship with it.

Innovative Cultural Transmission Paths Analysis for Local Opera Based on Data Mining

With the rapid development of society and cultural diversity, local opera, as a representative of traditional art, faces dual challenges of inheritance and innovation. The inheritance of traditional Chinese opera often relies on oral instruction, but in modern society, this method is no longer suitable for the rapidly changing cultural environment. The purpose of this study is to explore in depth the innovative cultural dissemination path of local opera through data mining techniques. This paper uses data mining techniques to explore and analyze the inheritance of innovative culture in local opera, and to study the inheritance paths. This paper proposes a data mining-based method for analyzing and identifying the paths of inheritance of innovative culture in local opera. This paper focuses on two aspects of technology clustering and technology theme association, and the research paths are divided into flexible clustering based on data enhancement and technology evolution path identification based on theme extraction. Firstly, the heritage changes of dating tunes are discussed. Secondly, the unique artistic esthetics of the dating tune is compared with the artistic characteristics of Henan opera and the three-stringed book. Through the research and learning experience of the Dai Yongqu, it is easier to thoroughly understand the artistic essence and cultural connotation of the Dai Yongqu, and that exposure to the Dai Yongqu is a process of touching traditional culture. In the text clustering section, the data co-occurrence frequency matrix is constructed based on the results of multiple clustering, transforming the problem of determining the number of clusters into a co-occurrence frequency problem with semantic information of the text, thus achieving the purpose of flexible clustering on demand. In a comparison with existing methods, the text representation method using data-enhanced coding achieves better semantic coding results. The flexible clustering method can differentiate the data better than the clustering method with a defined number of clusters and obtains clustering results with high intra-class similarity and high inter-class differentiation.

Exploring the Use of LiDAR in Smartphones: Documenting the Frontispiece of Saint Francis of Assisi Church in Ouro Preto, Brazil

ABSTRACT The recent integration of LiDAR into smartphones has become a catalyst for digitizing the built environment, presenting novel opportunities for documenting architectural heritage or its components. This article delves into the application of LiDAR technology in Apple devices, specifically integrated into iPhones. The study elucidates the most relevant applications, characteristics, best practices, advantages, and disadvantages through a Systematic Literature Review. Later, it takes as a case study a highly significant monument, the frontispiece of the 18th-century baroque Saint Francis of Assisi Church, which carries the artistic essence of Aleijadinho, a prominent Brazilian sculptor. The study examines two different scanning mobile applications and compares the point cloud obtained in the process. This approach has facilitated the 3D scanning and acquisition of the upper part of the frontispiece, subsequently strengthening the dissemination of its cultural heritage and enhancing the efficiency of preservation initiatives for this UNESCO World Heritage-listed monumental church.

At the frontier of the metaverse: NFTs, artistic expression, and digital immersions

<strong><strong></strong></strong><p>This paper explores the multifaceted landscape of Non-Fungible Tokens beyond their role in digitizing artworks. It delves into the intersection of art, utility, and cultural preservation within the NFT realm. The discussion revolves around the duality of “art for art’s sake” and functional utility, sparking ongoing debates about the essence of art in both the analog and digital realms. The convergence of contemporary aesthetics with practical token utility challenges conventional definitions, offering an alternative to narrative retrieval and contributing to cultural preservation in the virtual sphere. As one enters the NFT ecosystem, a utopian quest for autonomy in healthy production becomes evident, albeit not without formidable obstacles. The paper examines the promise of NFTs to liberate creators from intermediary control and the entwined complexities accompanying their evolution. It sheds light on the cautious and ethical approach required for the mass adoption of these technologies, contrasting this with the current global context characterized by rampant consumerism, individualism, and the relentless pursuit of easy financial gains.<strong></strong></p>

Analysis of Distribution and Content of Music Industry in the We-Media Era

The We Media Era has revolutionized the music industry, transforming both distribution and content. Music, a universal language that transcends cultures, has found new avenues of expression and connection through the internet and self-media platforms. Independent artists have gained unprecedented access to global audiences, challenging the dominance of traditional record companies. Nevertheless, concerns have arisen regarding the balance between distribution and content. In the quest for online visibility, there is a risk of compromising the quality and substance of music. This essay traces the evolution of the music industry from its inception to the We Media Era, emphasizing the profound impact on both distribution and content. While democratized distribution opens new horizons, safeguarding the integrity and artistic essence of music remains paramount. As the industry continues its evolution, it must navigate the delicate equilibrium between accessibility and quality, ensuring that music endures as a vibrant and indispensable form of human expression.

Features of the discursive representation of the image of the Chinese in the play «Zoyka’s Apartment» by M. A. Bulgakov

The object of the study is Bulgakov’s play “Zoyka’s Apartment”, and the subject was the images of the Chinese, created by the author. The discursive representation of foreign cultural elements in Russian literature of the 1920s, the role of Chinese images in the plot, their place in the structure of characters are studied. “Chinese” theme is examined, an analysis of characters belonging to a different culture is provided, their ideological and artistic essence and the author’s manner of creating ethnic flavor are revealed. The author of the article connects the images of the Chinese created by the writer with his understanding of the historical and cultural events in the Soviet Union in the 1920s, with stereotypical and historically based ideas about the Chinese. The research is conducted on the general scientific methods of analysis and synthesis, as well as comparative, contextual, and interpretive methods. The main approach has become a comprehensive one, which allows us to consider images of the Chinese as components of the discursive structure of the work. The scientific novelty of the study is the identification of the special discursive representation that foreign cultural specifics received in Bulgakov’s play. In the depiction of Chinese heroes the author uses the techniques of grotesqueness, parody, sarcasm, and irony. Such qualities of the Chinese as love for the Motherland, the desire to demonstrate strength and defend their own honor, readiness to sacrifice, adventurous thinking, activity, being in constant motion, are depicted in close connection with the Soviet historical and cultural context of the 1920s. It is concluded that the images of the Chinese are paradoxical, ambiguous, contradictory: they participate in the author’s creation of illusory, borderline space and at the same time help to depict it accurately, taking into account historical, cultural, and temporal realities.

Artistic Essence of Generative Adversarial Networks: Analyzing Training Data’s Impact on Performance

Generative adversarial networks (GANs) are powerful deep learning models for synthesizing realistic data. However, their performance critically depends on curating optimal training data. This research conducts a comprehensive study analyzing the impact of sample size, class balance, and heterogeneity in training datasets on GAN image and text generation quality. Through extensive experiments on CIFAR-10, it has been demonstrated that insufficient samples, imbalanced classes, and lack of diversity cause degraded sample quality, coherence, and mode collapse. The analysis conducted in this research work provides unique insights into data-GAN interplay. Models trained on balanced subsets with adequate samples per class produce superior Inception Scores and BLEU, avoiding limited variety in outputs. The techniques presented enable developing more generalizable and creative GANs. This work proves to be the first of its kind to rigorously evaluate the role of data characteristics like size, balance and heterogeneity in stabilizing GAN training and improving output fdelity across modalities. The data-centric findings would be valuable for researchers to curate optimal datasets that can unlock GANs’ full potential for diverse, realistic generation with wide applications in graphics, vision, language and beyond.

Un análisis de la esencia de la ópera China y la música vocal desde la perspectiva de la hermenéutica y la estética de la recepción

Abstract: The development of Chinese opera art, in modern times, has greatly changed with the times. Explaining the essence of Chinese opera and vocal music art from the Western modern hermeneutics and reception aesthetics theory is conducive to sorting out the development context and characteristics of Chinese opera in different times. At the same time, providing a systematic analysis method for modern opera and vocal music aesthetics promotes the aesthetic development of the art and contributes to the form innovation and technical refinement of domestic opera and vocal music art. The research starts with the theoretical analysis of hermeneutics and reception aesthetics and verifies and explores the development history of Chinese opera. The analysis of the artistic essence of opera and vocal music will be summarized mainly from the perspective of the object of the opera text and the subject of the aesthetic audience. The purpose of this research is to explain the essential characteristics of opera and vocal music art from the relationship between the subject and the object. Besides, it aims to examine the relationship between the understanding behavior of the masses and the creators and performers’ summary behavior for opera and vocal music art.

PECULIARITIES OF THE FORMATION OF PUBLIC ART IN THE LATE 20TH AND THE EARLY 21ST CENTURIES: CONCEPTUAL CONTENT AND TERMINOLOGY

The article is devoted to the study of the conceptual and terminological essence of public art, an artistic phenomenon in the art of the late twentieth and early twenty-first centuries. The article reveals the characteristic features of public art and related areas of “street” art, primarily street art and graffiti art, phenomena that share a common space with public art in the city and at the same time use identical artistic mechanisms of addressing the audience. The universality of public art’s position in the extremely saturated visual field of contemporary art is comprehended. The constant growth of forms and development of public art techniques significantly actualizes the issue of studying its conceptual and terminological nature. The author of the article proposes to consider public art as a synthetic artistic phenomenon, the formation of which is associated with attempts to interpret various aspects of urban culture and give it an artistic assessment. Based on the analysis of the historiography of the problem, two stages can be traced in the definition of public art. At the first stage (the1980s – 1990s), there were attempts to define the main conceptual field of public art, to coordinate its coexistence with other forms of urban artistic practices. During the second stage (the 2000s – 2010s), the analysis of the internal genealogy of public art and the study of its artistic properties continues. The historical genealogy of public art shows constant attempts to define its own artistic boundaries. This process has a mediative form, as it requires reconciliation of various points of view: artists, customers, city authorities, and viewers. From our point of view, this feature gives grounds to define the artistic essence of public art as an art of mediation. The materials in this article provide many different examples of public art that clearly reveal some of the artistic features of this artistic phenomenon

Discovery of art-based distillation: Doctoral inquiry of the one-canvas method

The one-canvas method is heavily oriented to the interplay of images that transform over a sustained period. Art-based inquiry that explored how compositions were created and transformed was led by two core assumptions of Shaun McNiff’s vision: art-making communicates differently from linear and logical comprehension and language, and an aesthetic focus generates unique ways of understanding and creating knowledge. This article reflects on the distillation of artistic evidence, an ongoing refining and discovery process through which outcomes emerge, that required a continual return to the one-canvas art and art-making as centres of discovery. Illuminating McNiff’s commitment to art as evidence, the primacy of the artist-self fostered empirical exploration that felt honest, alive and generative. McNiff’s curiosities about multiple perspectives with attention to whole-body multi-sensory observation, engagement as researcher-participant and reflection using digital media were integral to a research design that culminated in artistic essence as discovery.

The Man of Action of French Romanticism. Aesthetic Views of Victor Hugo and their Embodiment in Poetry and Dramaturgy

The subject of the study is the fundamental philosophical and aesthetic problems in the romantic aesthetics of one of its leaders in France - Victor Hugo. The evolution of his aesthetic views is traced - from adherence to the aesthetics of classicism and royalist views to the established theory and artistic practice of romanticism, colored with democratic pathos. The core of Hugo's aesthetics is revealed - the original concept of the grotesque, which has found a convincing embodiment in his poetry, drama, historical novels. Such main themes as the correlation of the tragic and the comic, the beautiful and the ugly, the sublime and the base, content and form, freedom and order, historical truth and fiction in art, romantic symbolization in the context of the formation of the concept of the artistic essence of romanticism by Hugo are considered. The features of his artistic and aesthetic concept related to the national specifics of art, local color, the problems of artistic taste, inspiration, imagination, aesthetic pleasure, artistic style, genius, talent are analyzed. The main conclusion of the study is the conclusion that all these topics form the basis of Hugo's judgments about the nature of romantic drama as the pinnacle of 19th century poetry and its differences from classic tragedy. The multidimensional nature of this study predetermined the use of a number of methodological approaches: philosophical and aesthetic approach, art history analysis, comparative, interdisciplinary methods. The author's special contribution lies in the fact that the study of Hugo's aesthetic theory and artistic practice is based on original material. The article provides a comparative analysis of the embodiment of Hugo's aesthetic views in various types and genres of art. Such a study was undertaken for the first time in domestic science.

Disputation on the Five Paradoxes of “ToiletPoetry” with a Prologue and an Epilogue

Among the works of Taras Kermauner, probably the biggest expert on Slovenian drama and its first theoretician, one can also find a single dramatic experiment: a courtroom debate on the value of avant-garde poetry, based on the case of the accusation against the poet Tomaž Šalamun. While Kermauner develops the genre of judicial disputation in a theatrically fitting and interesting way, he undermines the disputation with an anticlimactic, anti-dramatic conclusion that postpones the decision on the matter to another space-time. A closer examination of the text reveals several conceptual inconsistencies that can be better understood as paradoxes. Thus, the five points that might be defined as paradoxical could be traced in the text itself concerning substantive categories such as the essence of art, the meaning of a nation for art, art and Marxism, and life as the supreme aesthetic category, while the last paradox is a more formal one, since the courtroom debate, with its conclusion, does not reach any point whatsoever. Regardless of the sufficiently clear and pointed presentation of the positions of the two protagonists, the Prosecutor and the Defender, Kermauner decides, rather than escalating the conflict to a (theatrical) climax, to dilute the disputation based on the inclusion of the audience and the conclusion that the latter, in its role as jury, cannot decide for either side. The (dis)solution of the dilemma of the (national, artistic) quality of avant-garde poetry is thus left – despite the fireworks of Kermauner’s theatrical courtroom debate – to the future and literary theory.

Disputation on the Five Paradoxes of “ToiletPoetry” with a Prologue and an Epilogue

Among the works of Taras Kermauner, probably the biggest expert on Slovenian drama and its first theoretician, one can also find a single dramatic experiment: a courtroom debate on the value of avant-garde poetry, based on the case of the accusation against the poet Tomaž Šalamun. While Kermauner develops the genre of judicial disputation in a theatrically fitting and interesting way, he undermines the disputation with an anticlimactic, anti-dramatic conclusion that postpones the decision on the matter to another space-time. A closer examination of the text reveals several conceptual inconsistencies that can be better understood as paradoxes. Thus, the five points that might be defined as paradoxical could be traced in the text itself concerning substantive categories such as the essence of art, the meaning of a nation for art, art and Marxism, and life as the supreme aesthetic category, while the last paradox is a more formal one, since the courtroom debate, with its conclusion, does not reach any point whatsoever. Regardless of the sufficiently clear and pointed presentation of the positions of the two protagonists, the Prosecutor and the Defender, Kermauner decides, rather than escalating the conflict to a (theatrical) climax, to dilute the disputation based on the inclusion of the audience and the conclusion that the latter, in its role as jury, cannot decide for either side. The (dis)solution of the dilemma of the (national, artistic) quality of avant-garde poetry is thus left – despite the fireworks of Kermauner’s theatrical courtroom debate – to the future and literary theory.

Disputation on the Five Paradoxes of “ToiletPoetry” with a Prologue and an Epilogue

Among the works of Taras Kermauner, probably the biggest expert on Slovenian drama and its first theoretician, one can also find a single dramatic experiment: a courtroom debate on the value of avant-garde poetry, based on the case of the accusation against the poet Tomaž Šalamun. While Kermauner develops the genre of judicial disputation in a theatrically fitting and interesting way, he undermines the disputation with an anticlimactic, anti-dramatic conclusion that postpones the decision on the matter to another space-time. A closer examination of the text reveals several conceptual inconsistencies that can be better understood as paradoxes. Thus, the five points that might be defined as paradoxical could be traced in the text itself concerning substantive categories such as the essence of art, the meaning of a nation for art, art and Marxism, and life as the supreme aesthetic category, while the last paradox is a more formal one, since the courtroom debate, with its conclusion, does not reach any point whatsoever. Regardless of the sufficiently clear and pointed presentation of the positions of the two protagonists, the Prosecutor and the Defender, Kermauner decides, rather than escalating the conflict to a (theatrical) climax, to dilute the disputation based on the inclusion of the audience and the conclusion that the latter, in its role as jury, cannot decide for either side. The (dis)solution of the dilemma of the (national, artistic) quality of avant-garde poetry is thus left – despite the fireworks of Kermauner’s theatrical courtroom debate – to the future and literary theory.

Disputation on the Five Paradoxes of “Toilet Poetry” with a Prologue and an Epilogue

Among the works of Taras Kermauner, probably the biggest expert on Slovenian drama and its first theoretician, one can also find a single dramatic experiment: a courtroom debate on the value of avant-garde poetry, based on the case of the accusation against the poet Tomaž Šalamun. While Kermauner develops the genre of judicial disputation in a theatrically fitting and interesting way, he undermines the disputation with an anticlimactic, anti-dramatic conclusion that postpones the decision on the matter to another space-time. A closer examination of the text reveals several conceptual inconsistencies that can be better understood as paradoxes. Thus, the five points that might be defined as paradoxical could be traced in the text itself concerning substantive categories such as the essence of art, the meaning of a nation for art, art and Marxism, and life as the supreme aesthetic category, while the last paradox is a more formal one, since the courtroom debate, with its conclusion, does not reach any point whatsoever. Regardless of the sufficiently clear and pointed presentation of the positions of the two protagonists, the Prosecutor and the Defender, Kermauner decides, rather than escalating the conflict to a (theatrical) climax, to dilute the disputation based on the inclusion of the audience and the conclusion that the latter, in its role as jury, cannot decide for either side. The (dis)solution of the dilemma of the (national, artistic) quality of avant-garde poetry is thus left – despite the fireworks of Kermauner’s theatrical courtroom debate – to the future and literary theory.

Problematyka autonomii dzieła w świetle prywatywnej teorii sztuki

The purpose of this paper is consideration about issues of work of art’s autonomy in regard to its creator and issue of artistic freedom according to privative theory of art connected to Aristotelian-Thomistic philosophy. Presented philosophy of art emphasizes analogical feature of art, and it includes in art’s domain every intentional type of creation in unlike modern tendency to unification arts around idea of beauty whilst distancing from twentieth-century anti-essentialism. The main function of art understood in this way is replenishing privations found by man in the world. The essence of art is realization by creator his concept. From this point of view the aim of whole creation is good of work for itself which leads to recognition of autonomy and self-sufficiency of work of art.

Assessing the notion of art as a product: entrepreneurial marketing insights from the visual arts

Purpose The purpose of this paper is to assess the notion of art as a product. This paper develops a detailed understanding of how established visual artists engage with the notion in their art making and market interactions, drawing insight from the longitudinal debate on the essence of art, including its connection with entrepreneurial marketing. Design/methodology/approach The authors uses a conceptual framework involving artists’ and other stakeholders’ philosophical positions, artists’ career stages, reputation (including branding), market associations and the forms of value generated by artists and consumers to help shape their qualitative research design involving in-depth interviews with 16 established Australian artists. NVivo software aided data analysis to improve theory building. Findings Market orientation, entrepreneurial market creation, co-creation, co-production activities and sharing value among interested stakeholders are important factors in viewing art as a commercial product. Sustainable value creation is also crucial. Key emergent themes were motivation to create, engagement with the market and artists’ attitudes towards art as a product. This paper identifies a fluidity in the relationship between an artist and their art. Research limitations/implications Co-creation, co-production and sharing value among interested stakeholders are important factors as are market orientation versus entrepreneurial market creation activities. Sustainable value creation is also crucial. Key emergent themes were motivation to create, engagement with the market and artists’ attitudes towards art as a product. Practical implications Established artists have made a conscious decision to engage, or otherwise with the marketplace. This research uncovers the merits of adopting a product approach in engaging with the market and artist centred creation which avoids marketplace interaction. Originality/value This research has the potential to contribute to policy decision-making in the sector and in stimulating future comparative research. There are wider implications for the cultural and creative industries where entrepreneurial market creation can stimulate creativity and innovation.