Chapter 1: Introduction; References; Chapter 2: New Challenges for the Artist-Enterprise; 2.1 The Figure of the Artist; 2.1.1 Bohemianism; 2.1.2 Art for Artś Sake; 2.1.3 The `Modern ́Artist as Defined by Mirbeau; 2.1.4 The Artist as a Trendsetter; 2.2 Reorganization of Artistic Activities; 2.2.1 Examples from the Renaissance; 2.2.2 Painting by Proxy; 2.2.3 The Idea Takes Precedence; 2.3 Breaking Up Space; 2.3.1 Producing in Display Areas; 2.3.2 Consumption in Private Space; 2.3.3 Overlapping of Roles and Spaces; 2.4 Distancing Contents from Containers

2.4.1 Digital Art: Has Hollywood Become Hollyweb?2.4.2 Pricing in the Digital Age; 2.5 Changing Values; References; Chapter 3: Cultural Products; 3.1 Economic, Artistic and Cultural Goods; 3.2 Mediatization of Things and Thingification of Media; 3.3 Are Brands Associated with Products or Identities?; 3.4 Dual Aesthetics? From Kant to Nietzche; 3.5 Is Luxury Creative?; References; Chapter 4: The Economic Footprint of Artist-Enterprise; 4.1 From Masterpieces to Cultural Products; 4.1.1 An Initial Analysis of the European Union

4.1.2 A Contemporary Analysis of Culturally Creative Sectors: The WIPO Model4.1.3 Comparison of Perspectives: France; 4.2 Are Artist-Enterprise a Driver for Development?; 4.2.1 A Partially Common History; 4.2.2 What Are the Causal Links?; 4.2.3 Can the Emergence of Artist-Enterprises Be Explained?; References; Chapter 5: A Permanent and Polymorphous Figure; 5.1 Hokusai; 5.2 Louis-Comfort Tiffany; 5.3 Emile Gallée; 5.4 Sergueï Diaghilev; 5.5 Coco Chanel; 5.6 Walt Disney; 5.7 Andy Warhol; 5.7.1 Entry into Pop Art; 5.7.2 Industrialization of Production; References

Chapter 6: Fitting Artistic and Economic Dynamics6.1 The Two Perspectives; 6.1.1 Artistic Densification; 6.1.2 Economic Sustainability; 6.2 Two Dynamics to be Maintained Side by Side; 6.2.1 Preventing Time-Lags; 6.2.2 Is It Possible to Bring the Two Components of Economic Viability Closer? The Double Risk Principle; 6.2.3 Should Aesthetic Value and Functional Utility be Linked More Closely to Overcome the Viability Risk?; 6.3 Between Artistic Improvement and Economic Viability: The Example of Decorative Crafts; 6.3.1 Separating the Artist from the Craftsman

6.3.2 Is the Craftsman an Artist-Enterprise?6.3.3 Do Artists and Craftsmen Share a Common Aesthetic? The Japanese Example; 6.4 Between Artistic Improvement and Economic Viability: Design Studios; 6.4.1 Ideation; 6.4.2 Visualization; 6.4.3 Narration; 6.4.4 Making Prototypes; 6.5 Is It Possible to Go beyond Arts Management?; References; Chapter 7: Trust as a Market Driver; 7.1 Environment Required for Creating Value; 7.1.1 The Logic Underlying the Production of Value; 7.1.2 Trust as the Logic for Validating Value; 7.2 Building Trust; 7.2.1 Sharing a Common View: From Criticism to Marketing 3.0