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This study aims to determine the influence of relationship marketing on consumer behavior in the fine arts sector. Specifically, it examines the relationship marketing dynamics that significantly impact art enthusiasts' intention to purchase and their satisfaction with the artist.

The proposed model was tested through the “structural equation modeling” technique to explain how and to what extent each variable affected purchase intention and satisfaction. Using a paper-based and online survey method to gather data, the authors analyzed 303 responses from art students, art collectors and art dealers in Mongolia. Eight hypotheses, including two mediating hypotheses, were developed and tested.

The results indicated that relationship investment and communication significantly influence trust, satisfaction and purchase intention, while trust significantly influences satisfaction and purchase intention. The study also assessed the vital role of trust as a mediator.

The study's results provide insights that may help artists, art collectors and art dealers promote and improve the sales of their art products. The interactions demonstrated between the construct reveal essential implications for art marketers interested in relationship marketing strategies.

This study is the first to explore the application of relationship marketing in the fine arts industry.

While the motivation for collecting art has received considerable attention in the literature, less is known about the characteristics of the typical art collector. This paper aims to explore these characteristics to develop a typology of art consumers using a mixed method approach over several studies.

This is achieved by analyzing qualitative data, gathered via semi-structured interviews of art collectors, and quantitatively by means of natural language processing analysis and automated text analysis and using correspondence analysis to analyze and present the results.

The study’s findings reveal four distinct clusters of art collectors based on their “Big Five” personality traits, as well as uncovering insights into how these types talk about their possessions.

In addition to contributing to the arts marketing literature, the findings provide a more nuanced understanding of consumers that managers can use for market segmentation and target marketing decisions in other markets. The paper also offers a methodological contribution to the literature on correspondence analysis by demonstrating the “doubling” procedure to deal with percentile data.

In addition to contributing to the arts marketing literature, the findings provide a more nuanced understanding of art collectors that managers can use for market segmentation and target marketing decisions. The paper also offers a methodological contribution to the literature on correspondence analysis by demonstrating a non-traditional application of correspondence analysis using the “doubling” procedure. Buyer behavior in the fine art market is not exhaustively studied. By understanding the personality traits of consumers in the art market, sales forces can better provide assistance and product to consumers. Further, understanding the personalities of consumers is better for art retail spaces to better serve consumers.

This paper demonstrates a unique mixed methods approach to analyzing unstructured qualitative data. It shows how text data can be used to identify measurable market segments for which targeted strategies can be developed.

The purpose of this paper is to visually map the arts marketing journal literature.

An extensive title and abstract search was carried out to identify literature on the relationship between art and the market. Papers were then classified by topic. Visual maps were drawn showing topic coverage in relevant areas.

The literature dealing with the relationship between art and the market is found to be extensive and multi‐disciplinary. The search found just over 1,500 papers.

This was a mapping exercise rather than an analysis of the issues. Many different disciplines have a stake in understanding the art‐market relationship. Arts marketing scholars can benefit from engaging with research in this area, which is outside the marketing academy.

The maps provide a visual guide to the work, which has already been done across a wide range of disciplines and journals. They enable academic and professional readers to see where knowledge and insights may already exist and where work remains to be done.

Given the recent growth in arts marketing research, the paper provides a timely map of the territory.

The purpose of this paper is to highlight the importance of the field of visual arts marketing in the development of wider branding theory and practice. Drawing on examples from visual artists and the art mechanism that connects them, the paper reveals how artists and art professionals foster various types of capital (social, cultural, symbolic) as a way of developing a brand name, ensuring longevity in the field, and gaining financial value on the market.

As a conceptual paper, the authors draw on a range of published works as well as examples from the world of visual arts in order to provide fresh theoretical insight into how branding in the arts may be applied to other industries.

The key findings are the importance of the consideration of the development and nurturing of social and cultural capital in developing brand identity. Additionally, visual art brands are required to be innovative and dynamic, and lessons learned regarding these processes have relevance for mainstream brands. The paper also found that creativity is often collective and that looking to methods for developing work in the visual arts can be utilised by brand managers more broadly in the age of social media and user generated content.

This paper follows on the developing body of work, which indicates what mainstream business can learn from looking at the visual arts. The paper highlights the collective nature of creativity in building the art brand as well as the importance of non-economic measures of value in the realm of branding.

In this study, art is considered as a product subjected to marketing activities. In this context, this study aims to present a conceptual framework covering the research areas related to art marketing, the relation of art product with brand and consumer and how internet technologies can transform the art market. Finally, the situation of art marketing and its progressing process in a developing country and its potential horizons was discussed.

This study uses a literature review to present a conceptual framework about art marketing activities and their potential horizons in an emerging country.

Globalization, digitalization, democratization of access to art products, art becoming a subject for marketing, open up new horizons for western markets as well as for developing countries. Developing countries constitute a new market segment for the art market. Addressing the changes and the transformations in art market in terms of these markets will provide important opportunities for marketing researchers and practitioners.

This study elaborates the art marketing concept in a developing country. The marketing of art is a subject studied and elaborated mostly in western countries. It is thought that this study is differentiated in terms of addressing these dynamics from a developing country point of view.

Trompe l’oeil as a novel art technique can not only promote art tourism but can also transform the landscape of a city into a platform for negotiation. Furthermore, trompe l’oeil aims to create a joyful, entertaining, new experience and an interactive environment for tourists in the cities. This paper highlights the introduction of trompe l’oeil as a new tourist attraction in Shiraz (Iran). Moreover, the goals of this study are to explore the role of trompe l’oeil (three-dimensional [3D] street painting) in promoting art tourism, to investigate the tendency of tourists toward experiencing art tours and trompe l’oeil and to determine the priority of trompe l’oeil themes from the domestic tourists’ perspective.

Qualitative and quantitative methods were used in this research study.

On the basis of the results of this study, it can be concluded that domestic tourists are eager to experience art tours and trompe l’oeil attractions and activities, except for buying and wearing 3D-printed clothes. In addition, trompe l’oeil on street floors and walls with funny, joyful and cultural-artistic and national-historical themes is more attractive for them.

No significant academic work has been undertaken in the field of art tourism to evaluate the attitude of tourists toward the trompe l’oeil attractions and activities.

The purpose of this paper is to carry out a longitudinal review of arts marketing research.

The paper looks back at the origins of arts marketing research, identifying the initial areas of interest and traces its development as a recognised research domain.

Arts marketing research has evolved from being an application of marketing using long‐held principles into a discipline where critical and creative approaches are now being used to generate more meaningful and actionable arts marketing theory.

Although arts marketing research has developed in terms of rigour, depth and reach, there is still much unexplored potential to be realised.

The paper shows that effective arts marketing consists of a balance of addressing artistic needs and customer expectations. The marketing involved must acknowledge the merits of artistic philosophy, while also addressing the commercial realities of today's arts world.

Only a very small number of assessments of the state of arts marketing knowledge have been carried out. The paper develops both a longitudinal analysis of the origins and growth of this knowledge and provides suggestions for future research.

The valuation of artworks is challenging since their value encompasses economic, social and cultural values. This study examines two specific questions about the economics of Indian art market: first, the determinants of the price of paintings by Indian artists and second, the risk and return characteristics of investment in Indian paintings. The authors also analyze the role of local context for both questions.

This study uses 8,865 paintings that are auctioned between January, 2000 and June, 2018. A generalized additive model (GAM) is employed to identify the determinants of auction prices and estimate art market price index.

The results indicate that the price of paintings in the Indian market is impacted by both global and local factors. Consistent with the previous research, this study finds that provenance, literature, living status of an artist, artist reputation, auction house, location and gender determine prices. However, the unique behavior of artwork medium and art movement affiliation in the Indian art market signifies the importance of local context in the valuation of artworks. An analysis of the second aspect of the study, i.e. risk and return characteristics of art investment, suggests that though overall art market returns are not lucrative, there are sub-sections in the market that outperform stocks and other assets. Further, the Indian art market shows a weak or negative correlation with other assets, thus making it a good candidate for a diversified portfolio. One of the important findings of this study is that artworks created by artists associated with the Bombay Progressive Artists' Group (PAG) command a significant price premium over all other artworks. Moreover, the average return on investment in paintings by artists affiliated to the Bombay PAG is not only significantly better than other art movements but also higher than all other art assets.

This study contributes to the growing literature on the economics of art market by providing a comprehensive analysis of the economics of Indian paintings. This research highlights the importance of local factors in price determination and on the risk and return characteristics of art investment. To the best of the authors’ knowledge, it is the most comprehensive study of the economics of Indian painting market and the first study to identify the relationship between Indian art movements and prices of paintings and returns on investment in paintings.

This paper aims to review, systematize and integrate existing research on alternative investments. This study conducts performance analysis comprising production timeline, country-wise contributions, analysis of sources, affiliations, the geography of authors and citations of studies on alternative investments.

This study adopts a thematic and bibliometric analysis methodology on 570 papers identified from mainstream literature on alternative investments. This study provides an analysis of science mapping, including co-citation analysis, bibliometric coupling, word analysis and trending topics on alternative investments. In addition, the study presents thematic analysis by classifying existing studies into nine themes.

Alternative investments provide diversification benefits and play a critical role in portfolio construction, and the research on alternative investments has gained momentum in recent times. This study finds that hedge funds, private equity, artwork, collectibles, commodities, fine wine and venture capital have remained prominent themes in the field. Investments in cryptocurrencies are an emerging area in the research on alternative investments.

This study limits itself to the papers published in the area of finance and economics listed on the Scopus database.

This study provides quantitative bibliometric analysis and thematic analysis of the extant literature on alternative investments and identifies the areas that could be developed to advance research on alternative investments.

While the spread of mass media culture in the United States has often been measured in terms of the number of television sets in each home, the camera and the photograph have been almost as pervasive. Once the province of the professional photograher or the special studio, cameras of the same type are found today in all but a very few homes in the United States. Even rarer would be a home without its collection of photographs to record the family's events, joys, triumphs and tragedies as well as the everyday mundane record of events.