Methodology of Scientific Research in the Field of Fine Art Marketing. Part 2. Gender and Demographic Determinants

Abstract

The purpose of the article is to provide a comprehensive analysis of gender and demographic aspects of consumer motivation (Veblen and Snob effects) in the art market and to substantiate methodological approaches to identifying gender inequality in expert evaluation and marketing promotion processes. Additionally, this publication aims to continue the study and development of new algorithms within the methodology of scientific research activity, focused on integrating interdisciplinary approaches to ensure an in-depth and objective analysis of fine art marketing. The research methodology. The study is based on an integrative approach that combines the following methods. 1. Comparative art historical analysis: Comparison of creative trajectories and market success of paired cases (Lee Krasner and Jackson Pollock) in order to identify the phenomenon of “institutional shadowing.” 2. Biographical-historical method: Examination of Artemisia Gentileschi’s career path as an example of overcoming seventeenth-century gatekeeping mechanisms. 3. Econometric approach: Analysis of price gaps (gender gap) within the segments of Abstract Expressionism and Old Masters. 4. Psychographic segmentation: Analysis of the motivations of Veblenian collectors and Snob collectors in relation to their selection of works by women artists. The research is grounded in the principles of a systemic approach and interdisciplinary synthesis, employing a complex of methods adapted to the specificity of the art market, including the comparative-historical method, econometric modelling, sociological content analysis, comprehensive technical expertise, and netnography. The scientific novelty of the research lies in the following. 1. For the first time, methodological tools of fine art marketing are examined at an interdisciplinary, synergistic level within the professional domains of art historians, sociologists, and psychologists of art. 2. For the first time, a cognitive differentiation of the Veblen and Snob effects is conducted through the prism of the artist’s gender identity, demonstrating that Veblenian consumption is more frequently oriented toward canonised “male” names, whereas Snob consumption may act as a driver for the rediscovery of women artists. 3. A model of “gender provenance” is proposed, which considers the artist’s gender not as a biological characteristic but as a socio-marketing variable influencing asset liquidity. 4. The case study of Lee Krasner is substantiated as an example of long-term institutional invisibility that was overcome only after shifts in the demographic and value priorities of buyers (illustrated by Generations Y and Z). Conclusions. The conducted research allows for the formulation of the following generalisations. 1. From the perspective of the art expert: Gender aspects often become obstacles to objective attribution and valuation. The case of Artemisia Gentileschi demonstrates that only through the restoration of scholarly provenance and active expert engagement can a “forgotten” female name be converted into a high-value art asset. 2. From the perspective of the sociology of art: The Veblen effect in the art market largely supports patriarchal structures. The high prices of Jackson Pollock’s works function as a social signal of belonging to the “historical canon,” from which Lee Krasner was artificially excluded for decades through mechanisms of institutional gatekeeping. 3. From the perspective of the psychology of art: The perception of “genius” remains demographically and gender-biased. Psychological discounting of women’s artistic production is overcome primarily within the Snob Effect segment, where collectors seek uniqueness and intellectual autonomy, stimulating interest in “undervalued” women artists. 4. Marketing dimension: Overcoming gender inequality requires the implementation of curatorial marketing strategies and social signalling aimed at younger generations of investors (demographic shift), for whom inclusivity constitutes an integral component of an object’s value. Overall, the research findings demonstrate that marketing in the field of fine art must take gender determinants into account as a critical factor of both risk and growth potential in the valuation of art assets.