SOURCES OF STUDYING THE UKRAINIAN ART MARKET: FROM ARCHIVES TO DIGITAL PLATFORMS

Abstract

The aim of the article is to analyse and classify sources for studying the Ukrainian art market (from archives to
digital platforms).
Research methodology. The study reviewed thirteen major publications on the subject, including scientific journals,
books, and reviews. The materials were analysed through historical and cultural methods, focusing on the interconnection
between artistic practices, institutional development, and digital transformation of the Ukrainian art market.
Results. The study systematizes the sources for researching the Ukrainian art market, classifying them into four main
categories: primary records, secondary interpretations, legal frameworks, and digital media. This hierarchy enables a comprehensive
reconstruction of market dynamics, where economic indicators intertwine with cultural meanings, and crises such as those of 2014–
2022 act as catalysts for innovation. Primary sources – auction and gallery catalogues – trace the transition from local trade to
international circulation, while secondary literature provides theoretical tools for understanding the post-Soviet transformations of the
art industry. Legal acts establish the institutional basis for protecting and circulating artworks, and digital platforms reflect current
processes of globalization and resilience amid war. The integration of archival and online materials ensures methodological
completeness and highlights the art market as an indicator of Ukraine’s cultural sovereignty and adaptability in the global context.
Novelty. The article analyses research on the Ukrainian art market and proposes a classification of sources
(archival, primary, secondary, and digital), determining their role in the reconstruction of the history of the Ukrainian
art market. This approach allows filling the gap between the cultural and economic vision of the topic and creating a
holistic analytical model of the source base.
The practical significance. The results of this research can be applied in art management, cultural policy, and
museum studies to improve strategies for documenting, preserving, and promoting Ukrainian art. The proposed
classification of sources provides a methodological foundation for further analytical and educational work in the
humanities, helping researchers and curators to systematize archival and digital data. The findings are also valuable for
developing digital archives, catalogues, and online databases of Ukrainian art, supporting transparency, accessibility,
and international recognition of Ukraine’s cultural heritage in the global art market.