Understanding the effect of art infusion on product evaluation: the boundary condition of multiple art exposures

Abstract

What occurs in commodity markets that interfere with the effect of art infusion on consumers? This study examined the content-independent art infusion effect and consumers’ product evaluation in the context of the art infusion effect at different levels of art exposure. Three experiments were conducted in this study. Study 1 examined the art infusion effect of artwork from different sources by analyzing experimental data (N = 282) based on the art infusion theoretical model. Study 2 tested an art “fatigue” effect produced by multiple art exposures by analyzing experimental data (N = 30) based on the art “fatigue” theory. Study 3 tested a moderated mediation model with multiple art exposures as a moderator by analyzing experimental data (N = 527) based on Studies 1 and 2. Similar to Western artwork, Eastern artwork has an art infusion effect on products. Multiple views of visual painting artwork (multiple art exposures) moderated the influence of art presence on luxury perceptions. Increased art exposure resulted in an art “fatigue” effect, which reduced the positive impact of the art infusion effect on product evaluation. This study supports and enriches content-independent research on the effects of art infusion. Moreover, in art infusion research, this is the first time that the theory of art “fatigue” and the theory of art infusion have been integrated. The influence of art “Fatigue” on the effect of art infusion was examined. We empirically tested a moderated mediation model with multiple art exposures as the moderating variable for the first time, revealing the boundaries of the applicability of the art infusion effect. This expanded knowledge provides important insights for marketers in designing effective marketing strategies.

Introduction

Which would you prefer, a solid-colored square scarf with no artistic images or a square scarf embroidered with flowers? Louis Vuitton (LV) and Japanese contemporary artist Yayoi Kusama have once again launched a joint project, “LV × Yayoi Kusama,” with Infinity Dots, Figurative Flowers, “Faces,” and other artistic symbols incorporated into LV’s various products. The collaboration between Uniqlo and the Louvre in Paris enabled the world’s famous paintings to receive a new interpretation in the UT series, while showcasing the brand’s high esthetic standards in artistic co-branding. The Swatch Art Journey opened a NEW chapter in 2023 with its classic GENT and NEW GENT models, incorporating up to ten works of art in a playful and ingenious style.

Over the past few years, many brands have collaborated with contemporary artists and museums. An increasing number of brands have recognized that collaborating with the art world can have significant marketing power. Incorporating artwork indirectly enhances brand image while adding value to the brand. These phenomena have been summarized as the “art infusion” effect, for example, the effect of visual arts on the evaluation of consumer goods. This phenomenon is attributed to a content-independent spillover of luxury perceptions (Hagtvedt and Patrick, 2008b, p. 379). Since then, various empirical studies have expanded the understanding of the effect of art infusion. For example, (a) A series of studies on the art infusion effect and its influencing mechanisms were conducted (Cuny et al. 2020; De Angelis et al. 2020; Gupta et al. 2024; Gupta and Joshi, 2023; Hagtvedt and Patrick, 2008a, 2008b; Huettl and Gierl, 2012; Mantovani and Tazima, 2016; Park and Kang, 2022; Park et al. 2023b; Peluso et al. 2017; Quach et al. 2022a, 2022b; Septianto et al. 2023). (b) The various influences of art, consumer, and product characteristics in the art infusion effect are explored (Baumgarth, 2018; Dion and Arnould, 2011; Hagtvedt, 2022; Jung and Bae, 2019; Logkizidou et al. 2019; Madan et al. 2022; Mantovani and Tazima, 2016; Peluso et al. 2017). (c) Explored the effects of art infusion in situational features such as advertising, product design, service, retail store product display (Colagiovanni, 2024; Cuny et al. 2020; Hagtvedt and Patrick, 2008a; Lee et al. 2015; Logkizidou et al. 2019; Naletelich and Paswan, 2018; Oh et al. 2018; S. Park et al. 2023b, 2023a; Seo et al. 2022), responding in part to the needs of marketing practice.

Previous research has expanded to explore the boundaries and conditions of the art infusion effect, considering factors related to art, consumers, and product characteristics. However, many companies have introduced an increasing number of art-infused products in recent years, and the likelihood of consumers being exposed to such products multiple times has increased. In a market environment where consumer exposure to art-infused products is increasing, the impact of varying levels of exposure on the art-infusion effect must be addressed. One question naturally arises. What is the impact of multiple consumer exposure to art or art-infused products (we will refer to these as “multiple art exposure” hereafter) on the “art-infused” effect? Does multiple-exposure art (i.e., multiple exposures to artwork) reduce or enhance consumer evaluations of art-infused products?

It is essential to address this significant gap with the increasing use of art-infused products. At the same time, it can also respond to the academic question left by previous scholars as to whether pre-attentive exposure to artwork affects consumers (Hagtvedt and Patrick, 2008b, p. 388). On the practical side, companies face an increasing number of art-infused competitors, and a timely reassessment of the effectiveness of that type of art marketing is warranted.

This study examines the impact of multiple art exposures on the effect of art infusion on product evaluation. Based on the content-independent art infusion theory and previous research (Hagtvedt and Patrick, 2008b; Seo et al. 2022), we predict that Eastern artworks, like Western artworks, will produce an art infusion effect. We adopted the theory of art “fatigue” (Mikuni et al. 2022) as the basis for our integrated conceptual model. This theory suggests that repeated exposure to artworks, regardless of cultural background, leads to decreased attention and evaluation due to overexposure. Based on this theory, we predict that luxury perception and product evaluation will be affected to varying degrees at different levels of multiple art exposures. Higher levels of multiple art exposures will increase art “fatigue,” thereby weakening the positive impact of the art infusion effect on product evaluation. Accordingly, the core research question of this study is whether, in the context of multiple exposures to art, the art infusion effect still holds, and if its mechanism is attenuated.

Three experiments were conducted to this end. In Study 1, we compared the effects of artwork and non-artwork images on the art infusion effect, verifying this effect with two classic paintings (Hagtvedt and Patrick, 2008b). A pre-test was conducted prior to the main experiment to ensure the validity of the stimulus images (see the “Method” section in Study 1). Study 2 examined the impact of art “fatigue” effect after multiple art exposures (Mikuni et al. 2022). Finally, Study 3, based on Studies 1 and 2, explored the moderating effect of multiple art exposures.

The theoretical contributions of this study are as follows: (1) the integration of art fatigue theory into art infusion research; (2) the proposal and validation of a moderated mediation model with repeated art exposure as the moderator; and (3) the identification of the boundary conditions of the art infusion effect, thereby extending the trajectory of art marketing theory.

Our study supports previous content-independent research on the art infusion effect and the art “fatigue” effect. For the first time, we empirically examined how multiple art exposures affect product evaluation within the art infusion effect. Additionally, we expanded the conditions and boundaries of the art infusion theory by integrating the art fatigue effect.

Theoretical framework and hypothesis development

Art infusion effect

There has been growing recognition that incorporating the arts into organizational working mechanisms and business models can improve performance (Carlucci and Schiuma, 2018). Art infusion theory opens new horizons for marketing commodities from the visual arts. Broadly speaking, “art infusion” refers to “the overall influence of art on how consumers perceive and evaluate products that are associated with it, regardless of the specific content of the artwork” (Hagtvedt and Patrick, 2008b, p. 379). Its primary mechanism is based on classical conditioning theory, the halo effect, and the contagion effect, a special spillover effect (Gupta and Joshi, 2023). Art creates an initial perception through the halo effect (Balzer and Sulsky, 1992), influencing subsequent perceptions. The contagion effect permanently transfers specific art attributes from one object to another. This spillover effect, in turn, influences consumers’ product evaluation. Previous literature shows that numerous scholars have expanded and empirically studied the phenomenon of infusion from different perspectives. There were three main directions.

First, researchers have undertaken a multidisciplinary exploration of the effects of art infusion and its mechanisms of influence. Drawing on a wide range of studies, this comprehensive review examined the impact of incorporating art elements into non-art objects in brand marketing, advertising communication, product design, and other contexts. It also delves into the formation mechanism of this effect, offering a deeper understanding of the subject (Cuny et al. 2020; De Angelis et al. 2020; Gupta and Joshi, 2023; Hagtvedt and Patrick, 2008a, 2008b; Huettl and Gierl, 2012; Mantovani and Tazima, 2016; Park et al. 2023b; Peluso et al. 2017; Quach et al. 2022a; Quach et al. 2022b). Recently, Gupta et al. (2024) further revealed that supply-led scarcity cues enhance the purchase likelihood of art-infused products by increasing perceived prestige, whereas demand-led scarcity cues influence purchases of non-art products by reducing perceived risk. In addition, Park and Kang (2022) demonstrated in a service context that eco-friendly artwork in hotel interiors fully mediates the relationship between green perceptions and customer satisfaction. Septianto et al. (2023) found in the context of novel product advertising (e.g., clean meat) that illustrations (versus photographs) significantly boost consumers’ willingness to try by elevating perceived luxuriousness, confirming the applicability of the art-infusion effect across different media.

Several studies have reviewed and discussed the various theoretical foundations that explain and support the art infusion effect, including affective transfer theory and brain reward circuit theory. The use of art infusion in different application scenarios (e.g., luxury brands, sustainable brands, retail environments) and the issues to be aware of are also mentioned in some studies (Carlucci and Schiuma, 2018; Oh et al. 2018; Pino et al. 2017; Vukadin et al. 2018).

Second, several studies examined the art, consumer, and product characteristics of the art infusion effect. For example, the influence of different types of art elements (e.g., abstract art, figurative art), art styles, artistic attributes, recognizability of artworks and other art characteristics, as well as consumer characteristics (e.g., openness, sense of involvement), types of products, cultural differences, and other factors on the art infusion effect (Park et al. 2023a, 2023b; Baumgarth, 2018; Dion and Arnould, 2011; Jung and Bae, 2019; Logkizidou et al. 2019; Mantovani and Tazima, 2016; Peluso et al. 2017; Seo et al. 2022). Recent research has also highlighted the significance of individual differences and esthetic experiences. Hagtvedt (2022), from a multisensory esthetic perspective, explains how sensory cues, such as visual and tactile stimuli, drive differentiated brand experiences, while Madan et al. (2022) show that marketing communications integrating ethical rhetoric, national culture, and artistic elements sustainably enhance positive country-of-origin perceptions, highlighting the role of consumer characteristics and cultural context in art infusion.

Third, previous literature has researched contextual features such as advertisements, product design, services, retail stores, and product displays, which align with the actual situation of art used in business. At the advertising design level, Septianto et al. (2023) offered practical guidance for selecting ad visuals. In the service and retail contexts, Park and Kang (2022) validate the mediating role of eco‐friendly artwork in hotel green marketing. At the strategic level, Colagiovanni (2024) emphasizes that art‐based interventions have become a core component of luxury brand business models, both supporting cultural promotion and optimizing brand reputation and tax positioning, demonstrating the value of art infusion in top‐level decision‐making.

Table 1 presents the primary literature on art infusion effects, with numerous scholars focusing on art, consumers, products, and situational features, for in-depth exploration and expansion.

Table 1. Literature of art infusion effect.

Source	Independent variable	Dependent variable	Mediate variable	Moderate variable	Art characteristics	Product characteristics
Park et al. (2023a)	Art infusion type (figuration vs. abstraction)	Product attitude	Esthetic judgment	Consumers’ construal level	Visual artwork	Cheap commodity
Park et al. (2023b)	Art infusion type (abstract vs. figurative)	Product attitude	Esthetic emotion	Consumers’ income level	Visual artwork	Inexpensive product
Quach et al. (2022a)	Luxury brand advertising featuring an artwork (vs. no artwork)	Brand attitudes	Self-inauthenticity	Value-expressive	Visual artwork	Luxury
Quach et al., (2022b)	The advertisement features an artwork (vs. no artwork)	Brand attitude	Perceived incompatibility	Pro-environmental luxury brand	Visual artwork	Luxury
Peluso et al. (2017)	The presence of recognizable artworks (vs. non-recognizable) in luxury product	Willingness to buy the advertised product	Perceived luxuriousness	desire to signal status/desire for distinction	painter’s style (recognizable vs. non-recognizable)	Luxury
Lee et al. (2015)	Luxury brands with artwork (vs. no artwork)	Perceived prestige		Price difference	Visual artwork	Luxury
Huettl and Gierl, (2012)	Visual artwork	Purchase intention	Perceptions of luxury	Product positioning	Visual artwork	Utilitarian vs. Hedonic product
			Expensiveness	Price information
Cuny et al. (2020)	Experiential art	Behavioral intentions and brand evaluation	Immersion and esthetic experience		Music
Naletelich and Paswan (2018)	Consumer-centric factors (Hedonic, utilitarian, artistically open)	Purchase intentions		Art type	Visual artwork (realist, abstract, or no art)	Esthetics, functionality, symbolism
	Choice
	Environmental factors (atmosphere, social, lighting)
	Product factors (esthetics, functionality, symbolism)
Seo et al. (2022)	Brand-artwork CO congruence (vs. incongruence)	Brand Attitude	Perceived luxuriousness of the brand	Perceived brand authenticity	Visual artwork
Estes et al. (2018)	Presence of art	Product evaluation	Brand affect	Product type	Visual artwork	Utilitarian vs. hedonic products
Mantovani and Tazima (2016)	Art-included (vs. non-art) ad messages	Consumers’ evaluation		Regulatory (non) fit message	Visual artwork
Logkizidou et al. (2019)	Museological vs.non-museological	Purchase intentions	Perceptions of luxury	Cultural capital		Luxury
Hüttl-Maack (2018)	Art presence	Willingness to pay	Luxury perceptions, value for money	Art interest	Advertisement picture	Highly and moderately hedonic
Oh et al. (2018)	Art attractiveness	Behavioral intention expected consumption experience	Attitude toward the artwork, attitude toward the artist	Artist information, openness to experience	color (highly attractive vs. less attractive condition), art attractiveness (neutral vs. attractive)
Pino et al. (2017)	Dispositional greed	Store preference	Externalized luxury consumption tendency	Extroversion	Visual artworks (Iconic vs. non-iconic)	Luxury
Hagtvedt and Patrick (2008b)	Presence of art (vs. non-art)	Product evaluation	Perceptions of luxury		Visual artwork
Hagtvedt and Patrick (2008a)	Presence of art (vs. non-art)	Brand extendibility	Brand image, perceived extension fit		Visual artwork	A set of products

As more companies embrace the art-infusion effect, the market is witnessing a surge in art-infused products. However, a crucial question remains unexplored: How do consumers evaluate a product after repeated exposure to such artwork? Our research aims to fill this gap, providing valuable insights that can guide companies in producing and marketing art-infused products. By understanding the potential for “diminishing returns” from overusing the art-infusion effect, companies can develop diverse strategies to engage consumers effectively.

This study broadens the research on the effect of art infusion in several ways. First, we examined the effect of art infusion on product evaluation using two classic artworks from the East and West, confirming the existence of the art infusion effect and validating our experimental materials. This enriches the study of artistic characterization and content independence in the art infusion effect. Second, we investigated the impact of multiple viewings of artworks on pleasure evaluations (e.g., beauty), confirming the existence of the art fatigue effect and contributing to the understanding of changes in consumers’ state characteristics induced by viewing artworks. Finally, our study aims to propose and demonstrate the intervening role of multiple art exposures in the relationship between art and luxury perception, thereby deepening the understanding of the art infusion effect and the art “fatigue” effect, and enriching the research on the influence mechanism of the art infusion effect. Figure 1 shows our research model.

[See PDF for image]

Fig. 1

Research model.

The research model was generated by the authors based on the proposed hypotheses.

Theory of “fatigue” after multiple art exposures

This study employs the theory of art “fatigue,” which posits that repeated art viewing can lead to decreased attention and appreciation, irrespective of cultural background. This theory is not just an academic concept but a practical reality that can significantly impact art appreciation. Our study found that viewing times and evaluations decreased with overexposure to art (Mikuni et al., 2022). The “fatigue” phenomenon is complex, with many explanatory principles (Robinson et al. 1928). “Fatigue” can be caused by physical or mental exhaustion; however, it is only one of several phenomena that can lead to fatigue (Bitgood, 2009a). While “fatigue” has been studied in small numbers in the laboratory, most research on “fatigue” comes from museum studies. “Fatigue” is “characterized by aching muscles, tired neck and eyes, and the vague but insistent desire to escape from too many pictures or too much sculpture” (Robinson et al. 1928, p. 31). The exact causes of art “Fatigue” are not particularly clear. In the current shopping environment, which is rich in visual images, consumers often receive a certain amount of visual artwork stimulation during purchasing, which may cause an individual cognitive burden (Mikuni et al., 2022). Information overload can accelerate fatigue. Information overload occurs when a person cannot process inputs due to an overwhelming number at once or too many over time (Bitgood, 2009a). Mikuni et al. (2022) suggested that the most likely cause is satiation, defined as a decrease in attention after repeated exposure to homogeneous stimuli (e.g., a series of similar artworks), often leading to boredom (Bitgood, 2009a; Robinson et al. 1928). From this perspective, we predict that the more art-infused visual information consumers receive over time, the more likely they are to develop art “fatigue.”

The art infusion effect is a pervasive, content-independent influence derived from a work of art’s sense of luxury. Richness literature on the art infusion effect and its influencing mechanisms was tested (Cuny et al. 2020; De Angelis et al. 2020; Gupta and Joshi, 2023; Hagtvedt and Patrick, 2008a, 2008b; Huettl and Gierl, 2012; Mantovani and Tazima, 2016; S. Park et al. 2023b; Peluso et al. 2017; Quach et al. 2022a, 2022b). However, Lacey et al. (2011) found that this effect results from the activation of the reward circuitry triggered by the status of images as art, leading to a more positive evaluation of the associated product regardless of its content. Therefore, we propose the following hypothesis:

H1: The art-infusion effect exists in Eastern and Western artworks.

Multiple art exposure

The mere exposure effect suggests that repeated exposure to a stimulus enhances a person’s attitude toward it (Zajonc, 1968). However, a meta-analysis found that the effect follows an inverted U-shaped curve, where preference increases initially but decreases with continued exposure (Montoya et al. 2017). Pleasantness ratings also declined throughout the 20-stimulus experiment, not only with exposure to simple stimuli but also heterogeneous stimuli (Leventhal et al. 2007). In an actual shopping environment, visual artwork as stimuli often changes. Other visual art stimuli that the consumer has been exposed to multiple times before selecting the target visual art product (such as goods featuring visual arts) are referred to as multiple art exposures.

The perceived luxury of art spillover causes consumers to evaluate art-infused products favorably. However, if consumers are constantly exposed to such art products in their environment, according to the art “fatigue” theory, consumers with numerous stimuli may experience a greater cognitive load or higher fatigue due to satiation than those exposed to fewer stimuli. Similar to the negative effect of “museum fatigue” on visitors’ behavior and feelings (Bitgood, 2009b), “fatigue” from multiple art exposures can diminish the favorable impact of artwork spillover luxury on product evaluation. The overflow of luxury products infused with art of all kinds can lead to “affective habituation” in the consumer (Leventhal et al. 2007). Based on the above discussion, we constructed a moderating effect based on the art infusion effect, with the following hypotheses:

H2a: The positive effect of art presence on consumers’ perceived luxury diminishes as the frequency of art exposure increases.

H2b: Under repeated art exposure, the indirect effect of art presence on product evaluation via perceived luxury is attenuated.

Study 1

In this study, two similar products were chosen as experimental materials, containing oriental painting artwork and western painting artwork, to test whether they possessed an art infusion effect. A product with an ordinary pattern (without artwork) was used as control material. The purpose was to lay the foundation for the conduct of Study 2 and Study 3. In addition, we pretested the effect of contrast between a pair of artwork images and a non-artwork image. The pre-test results supported the differentiation of the images’ artistic attributes (t = 15.24, p < 0.001), showing that people generally possess the ability to perceive the presence of art.

In our online experiment, the visual stimulus pictures and questionnaire content were similar to those in the traditional laboratory. The only difference is that in a traditional lab, participants are monitored and guided by the researcher, which is not possible online. However, we took measures to eliminate distractors. We describe the specific measures used in each experiment.

Method

Stimuli

The target stimuli were images of a small square scarf with different patterns on the front face. They came from a merchant on the Chinese e-commerce online platform, Tmall, and the patterns represented actual small scarf design images (Appendix A). Three images we chose for the face of the small square scarf were Emperor Huizong’s painting five-colored parakeet on a blossoming apricot tree (painted in 1119; depicting a colorful parrot perched on an almond blossom branch, henceforth referred to as Huizong), Vincent van Gogh’s painting The starry night (painted in June 1889; depicting the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an idealized village; henceforth referred to as Van Gogh), while the remaining one had an ordinary pattern without any artwork (henceforth referred to as No-art) (for stimuli, see Appendix A).

To accurately assess the impact of the two images (“Huizong” vs. “No-art”), a pre-test was administered through the Sojump website (www.wjx.com). Participants were recruited if they were over 18 years of age and had no academic qualifications. Individuals with experience in art studies or art practice were purposely excluded to increase the study’s accuracy.

The participants were invited to complete an online questionnaire to collect baseline information and perform a conformity check. A total of 122 eligible participants from China (50% female, M_age = 30.04, SD = 5.77) completed the test, which included attention checks and screening questions on artistic studies and experiences in the field. We displayed the target images side-by-side and used this online platform to gather participant feedback. A seven-point Likert scale (1 = “not at all,” 7 = “definitely”) was used, and subjects were asked to report their ratings of whether each image contained an artwork. This approach was designed to obtain quantitative data on subjects’ perceptions of artistry and provide a solid foundation for subsequent analyses. The pre-test revealed that the art image (Huizong) was identified as art to a greater degree than the no artwork image (M_Huizong = 5.68 vs. M_no-art = 3.43, t = 15.24, p < 0.001).

Participants and experimental design

A total of 677 participants submitted responses. After excluding 395 participants due to attention checking and screening questions on art learning and practitioner experience, 282 participants (50.7% female, M_age = 32.92, SD = 7.41) provided valid responses, resulting in a valid response rate of 41.65% using Sojump (www.wjx.com). Study 1 employed a one-way between-subjects design, with the presence of art (art vs. no art). Participants were randomly assigned to one of three experimental conditions: 109 participants in the art group, having an Oriental visual artwork condition with the Huizong painting, 97 participants in the art group, having a Western visual artwork condition with the Van Gogh painting, and 76 participants in the no-art group, with an ordinary pattern condition.

Procedure and measurements

Participants were exposed to the image from an experimental condition to which they were randomly assigned, and then answered a series of questions about the small square scarf. As the dependent variable, participants rated product evaluation using five bipolar items (“unfavorable–favorable,” “negative–positive,” “bad–good,” “unpleasant–pleasant,” and “dislike very much—like very much;” α = 0.89) (Hagtvedt and Patrick, 2008b, p. 382) measured on a 7-point scale. Four items measured the perceived luxury: “luxurious, ” “prestigious,” “attractive,” and “high class” (1 = “strongly disagree”, 7 = “strongly agree”; α = 0.86) (Hagtvedt and Patrick, 2008b, p. 382).

Results and discussion

Preliminary analyses

Product evaluation

One-way analysis of variance (ANOVA) was performed to determine differences in product evaluations across conditions. As expected, participants in the artwork condition rated higher product evaluations than those in the no artwork condition (M_{Huizong/Eastern} = 5.59, M_{Van Gogh/Western} = 5.30, M_No-art = 4.96; F(2, 279) = 10.8, p < 0.001, ${\eta }_{\mathrm{p}}^2$ = 0.07). Contrast analysis confirmed the significant difference between Huizong and No-art conditions (F(1, 183) = 26.33, p < 0.001) and between Van Gogh and No-art conditions (F(1, 171) = 5.34, p < 0.05) but not between Huizong and Van Gogh conditions. Thus, the study’s results indicate that product images incorporating Western and Eastern artwork have a favorable impact on product evaluation compared to those without artwork.

Perceived luxury

ANOVA on perceived luxury indicated that respondents in the artwork condition reported significantly more luxury than those in the no artwork condition (M_Huizong = 4.58, M_{Van Gogh} = 4.67, M_No-art = 3.53; F(2, 279) = 24.76, p < 0.001, ${\eta }_{\mathrm{p}}^2$ = 0.15). Contrast analysis revealed a significant difference between Huizong and No-art conditions (F(1, 183) = 39.01, p < 0.001) and between the Van Gogh and the No-art conditions (F(1, 171) = 39.67, p < 0.001), which provides preliminary evidence that the two products with paintings have an art infusion effect, supporting H1.

The data were assessed for normality, with skewness and kurtosis within the recommended ranges of ±2 and ±7, respectively. No multicollinearity issues were detected, as all variance inflation factors (VIFs) were below 10.0. Internal consistency was confirmed, with Cronbach’s alpha values >0.7, as shown in Tables 2 and 3.

Table 2. Correlations and descriptive statistics (the Huizong vs. the No-art).

Research variables	1	2	3
Presence of Art (1)	1
Perceived Luxury (2)	0.42**	1
Product Evaluation (3)	0.36**	0.61**	1
Mean	–	4.15	5.33
SD	–	1.24	0.88
Skewness	−0.37	−0.09	−0.73
Kurtosis	−1.89	−0.52	0.65
VIF	1.21	1.21	–
Cronbach’s alpha	–	0.88	0.84

VIF variance inflation factor.

**p < 0.01.

Table 3. Correlations and descriptive statistics (the Van Gogh vs. the No-art).

Research variables	1	2	3
Presence of Art (1)	1
Perceived Luxury (2)	0.43**	1
Product Evaluation (3)	0.17*	0.62**	1
Mean	–	4.17	5.15
Standard Deviation	–	1.31	0.98
Skewness	−0.25	0.00	−0.89
Kurtosis	−1.96	−0.57	0.80
VIF	1.23	1.23	–
Cronbach’s alpha	–	0.90	0.87

VIF variance inflation factor.

*p < 0.05, **p < 0.01.

Main empirical analysis

This study used Process Macro (Hayes, 2022; Model 4, 5000 samples) to test the mediating effect of luxury perception. The presence of art (1 = art, 0 = no art) was the independent variable; perceived luxury was the mediating variable; and product evaluation was the dependent variable. The experimental results demonstrated an infusion effect in both pieces featuring different artworks, reaffirming the findings of previous studies (Hagtvedt and Patrick, 2008b). As indicated in Table 4: (a) the product with art (Van Gogh and Huizong vs. no-art) elicited more extraordinary perceived luxury, leading to a more favorable product evaluation (${\mathrm{R}}_{\mathrm{Van\; Gogh}}^2$ = 0.40, F(2, 170) = 56.30, p < 0.001; ${\mathrm{R}}_{\mathrm{Huizong}}^2$=0.38, F(2, 182) = 55.53, p < 0.001). (b) the perceived luxury fully mediated the influence of the presence of art on product evaluation (Coeff_{Van Gogh} = −0.12, p = 0.08 > 0.05; Coeff _Huizong = 0.22, p = 0.06 > 0.05). These results laid the foundation for us to carry out the following experimental study.

Table 4. Mediation results.

Variables	Perceived luxury (M)				Product evaluation (Y)
	Coeff	SE	t	p	Coeff	SE	t	p
The Huizong vs. the No-art
Constant	3.53	0.13	27.28	<0.001	3.57	0.18	19.78	<0.001
Presence of Art	1.05	0.17	6.25	<0.001	0.22	0.12	1.91	0.06
Perceived Luxury (M)	–	–	–	–	0.39	0.05	8.59	<0.001
Model summary	R2 = 0.18, F(1, 183) = 39.01, p < 0.001				R2 = 0.38, F(2, 182) = 55.33, p < 0.001
The Van Gogh vs. the No-art
Constant	3.53	0.14	26.03	<0.001	3.18	0.20	16.28	<0.001
Presence of Art	0.57	0.09	6.30	<0.001	−0.12	0.07	−1.79	0.08
Perceived Luxury (M)	–	–	–	–	0.50	0.05	10.20	<0.001
Model summary	R2 = 0.19, F(1, 171) = 39.67, p < 0.001				R2 = 0.40, F(2, 170) = 56.30, p < 0.001

Study 2

Study 2 replicates and extends the findings of Mikuni et al. (2022) (hereafter referred to as “MSPLK”) using an online experiment instead of laboratory experiments. This study aimed to determine if multiple viewings of visual art influenced appraisals, measured by beauty ratings. Beauty, a general measure of art appreciation, overlaps with other hedonic assessments such as liking and interest and is commonly used in various scales. This metric aligns with some in the product evaluation index from Study 1 (e.g., “dislike very much-like very much”). This serves as a basis for further studies to determine if repeated viewings of visual art affect the evaluation of art-infused products.

Methods

Stimuli

Following the “MSPLK” method, we collected 120 paintings from the online archive WikiArt (http://www.wikiart.org). These paintings span various styles and periods from the 17th to the 20th century (Mikuni et al. 2022, p. 348). We selected a diverse range to minimize the influence of any specific art style.

Participants and design

The questionnaire was administered using Sojump (www.wjx.com). Recruitment information was posted on this online platform; anyone over 18 could participate by completing the questionnaire. There were 51 participants, of whom 21 were excluded after attentional checking and screening questions on art learning and practitioner experience. The remaining 30 participants (50% female, M_age = 29.9, SD = 3.78) submitted responses; the valid response rate was 58.82%.

We used 120 artworks, half of which were landscapes and half of which were life scenes. All artworks were displayed in a questionnaire on Sojump, and each subject was asked to review 120 different artworks on the webpage.

Procedure and measurements

Each artwork was displayed individually on a questionnaire page. Participants were told that they would view several artwork drawings and rate the beauty of each image on a 9-point Likert-type scale (1 = “not at all beautiful”, 9 = “very beautiful)” after viewing. Participants were not informed of the number of drawings they would look at. The participants were not informed of the exact end time.

We set a total time limit for viewing and scoring each artwork. The questionnaire answering time was controlled and used to screen those who did not answer it seriously. The time limit for viewing and scoring each painting was a minimum of 4 s and a maximum of 30 s. The rating scale is shown at the bottom of the image.

After the participants clicked on the rating and pressed the next page, they were taken to the rating page for the next artwork. However, after 30 s, the page automatically jumped to the next page in the artwork chart. This procedure was repeated until all 120 artworks were viewed and rated. Because 120 paintings appeared randomly, the participants viewed different primary paintings during each trial. A total of 30 participants completed the viewing and scoring trial through a pre-screening program that excluded art majors and participants with experience in the arts.

Results and discussion

Preliminary analyses

Multiple exposures to the artwork affected the participants’ beauty ratings. Data was processed using SPSS 26.0. The scatterplot and linear regression fit in Fig. 2 show participants’ mean beauty ratings of artwork from the first painting to the 120th painting, indicating a downward trend.

[See PDF for image]

Fig. 2

Average beauty rating scores for each trial with fixed total study duration.

Main analysis

To statistically evaluate this relationship, we used a linear mixed model (LMM) with beauty score as the outcome variable and trial number (1–120, coded as a continuous variable) as the independent variable. LMM was conducted in the R environment (version 4.3.0) using the lmerTest package. We included random intercepts for both participants and images. The results show a significant main effect of this test (Table 5).

Table 5. LMM analysis retults.

		95% CI
Fixed effect	Estimate	Lower	Upper	t	Pr(>|t|)
(Intercept)	6.069	5.738	6.399	36.408	<0.001
Condition	−0.002	−0.003	−0.001	−2.685	<0.010

Discussion

Study 2 showed a decreasing trend in esthetics ratings as the number of artwork exposure trials increased, extending the applicability of the findings of a previous study (Mikuni et al. 2022). This time, we used an online experiment. The study’s results suggested that multiple viewings could impact the beauty ratings of visual artworks. Based on this, we designed Study 3 to test Hypothesis 2a and 2b, the moderating effect of artistic multiple exposure.

Study 3

This study phase blended the methods and procedures of Studies 1 and 2. Using a shorter version of the stimulus set, we scaled down the number of stimuli employed in Study 2 to more closely resemble a realistic consumer scenario. This study aimed to investigate whether multiple viewings of products featuring artwork (art exposure) could moderate the relationship between the presence of art and the perception of luxury, thereby influencing product evaluation.

Method

Stimuli

The artwork gallery from Study 2 was used. However, only 20 artwork images were selected.

To enhance the ecological validity and simulate a more realistic shopping context, participants were first presented with a written shopping scenario before the main task. The scenario instructed them to imagine themselves browsing in a lifestyle concept store (e.g., an ASTRO pop-up shop) that features artist-collaboration fashion products and designer accessories. Scarves were introduced as highlighted items within the store by blending artistic patterns with stylish designs to create a contextually immersive setting for product evaluation.

The visual stimuli were optimized to resemble realistic retail presentations. In addition to the primary scarf image, each product was paired with a styling or display photo and presented within a store-like environment (e.g., on wooden display boards, mannequins, or fabric tables). Visual elements such as brand logos, recommendation tags, and limited-time collaboration labels were added to simulate in-store promotional cues. All images were presented in high resolution, with consistent esthetic quality and no extraneous text, ensuring that the artistic design of each scarf remained the visual focus. The brand product name presented throughout was ASTRO (Appendix C-2).

To ensure that the influence of artistic imagery on product evaluation was not confounded by participants’ prior brand preferences or attitudes, a brand familiarity pretest was conducted before the main experiment. The goal was to identify a brand with moderate familiarity and low recognition rate to serve as an experimental stimulus. This approach is widely adopted in art infusion and branding research. As Hüttl-Maack (2018) noted “Unknown brands are used to avoid confounding effects of prior brand attitudes or experiences.”

Five candidate brands were initially selected for the evaluation: Astro, Lumos, Simple Human, Lofree, and Lava. Each brand was paired with a representative scarf product image, presented in a consistent visual style and sourced from original designs or royalty-free public materials to avoid triggering strong emotional or cultural associations. All images featured either square silk scarves or styling photos, with the brand name placed uniformly at the bottom left corner (Appendix C-1).

The pretest adopted a within-subjects design. Each participant sequentially viewed five brand images presented in random order and responded to three items adapted from the brand familiarity scale by (Machleit et al. 1993): (1) “How familiar are you with this brand?” (1 = “Not at all familiar”, 7 = “Very familiar”); (2) “What is your level of usage experience with this brand?” (1 = “Never used”, 7 = “Frequently used”); (3) “How well do you understand this brand?” (1 = “Not at all”, 7 = “Very well”).

In addition, participants answered a multiple-choice question—“Which of the following brands have you heard of?”—to determine brand recognition (binary, 0/1). Demographic information, including gender, age, and whether the respondent had taken any art-related courses, was also collected. The pretest was administered online using the Sojump survey platform.

A total of 106 valid responses were collected (66% female, M_age = 33.08, SD = 6.45), with complete and usable data. The mean score of the three familiarity items was computed for each brand to form a brand familiarity index, and recognition rates were calculated from the multiple-choice item. The Cronbach’s α for all five fictitious brands exceeded 0.90 (ASTRO = 0.96, LUMOS = 0.95, Simple Human = 0.96, LOFREE = 0.95, LAVA = 0.94). Descriptive results were as follows: ASTRO (M_{Brand Familiarity} = 3.26, recognition rate = 32%), LUMOS (M_{Brand Familiarity} = 3.24, 41%), Simple Human (M_{Brand Familiarity} = 3.36, 27%), LOFREE (M_{Brand Familiarity} = 3.40, 52%), and LAVA (M_{Brand Familiarity} = 3.80, 64%).

Based on the combined criteria of moderate familiarity and low recognition, ASTRO was selected as the brand used in the main experiment. As the participants had limited experience and no strong existing attitudes toward ASTRO, this helped to more clearly identify the impact of artistic images on product evaluation, aligning with the theoretical and methodological principles of art infusion research.

Participants and design

The experiment was conducted in April 2025 via the Wenjuanxing platform (www.wjx.com) and the Qualtrics platform. Recruitment information targeted individuals over 18, and convenience sampling was used. A total of 1078 participants responded to our recruitment. Participants were recruited from China, the United States, and Southeast Asian countries. After a series of screening processes, including attention checks and reviews of art education and professional experience, 527 participants (69.4% female, M_age = 31.8, SD = 8.28) completed the questionnaire, resulting in an effective response rate of 48.89.

The experiment employed a 2 (Art Presence: Art vs. No Art) × 3 (Multiple Art Exposure: 1 artwork vs. 10 artworks vs. 20 artworks) between-subjects design. Unlike Study 2, the 20 visual artworks in this experiment were presented as realistic product images and served as art‐exposure stimuli in the online surveys administered via the Sojump.com and Qualtrics platforms. Depending on their assigned experimental group, participants were exposed to different numbers of art images (1, 10, or 20).

At the end of the exposure, participants rated product images containing “Hui Zong” artworks and control condition “No Art” product images using the same product evaluation and luxury perception scales as in Study 1.

Procedure and measurements

The procedure for this experiment was essentially the same as in Studies 1 and 2. All stimulus images were presented in random order to simulate a real‐world consumption context. The specific steps were as follows:

1. Esthetic rating: Participants viewed each product stimulus image in sequence and rated its esthetic appeal on a 9-point scale (1 = “not at all appealing,” 9 = “extremely appealing”).

2. Perceived luxury and product evaluation: Using the same scales as in Study 1, respondents rated each scarf image for perceived luxury (1 = “not at all luxurious,” 7 = “extremely luxurious”) and for product evaluation (1 = “strongly dislike,” 7 = “strongly like”).

3. Fatigue self‐report: After the product ratings, participants reported the degree of fatigue on a 9-point Likert scale (1 = “not at all fatigued,” 9 = “extremely fatigued”).

4. Control variables.

   Brand familiarity. Measured with Machleit et al. (1993)’s three‐item scale, assessing familiarity, usage experience, and knowledge of the brand on a 1 (“not at all”) to 7 (“very much”) scale (Cronbach’s α = 0.90).

   Art Interest. Assessed with a single item, “How interested are you in art?” on a 1 (“not at all interested”) to 7 (“very interested”) scale.

All scale scores were mean‐centered and entered as covariates in the regressions predicting perceived luxury and product evaluation to control for potential effects of brand preference and art disposition on the main pathways.

Manipulation checks

Multiple art exposure and “fatigue”

We asked participants to report feelings of fatigue (mainly mental fatigue) after viewing the 1st, 10th, and 20th product images (stimuli) on a 9-point Likert scale 1 = “very unfatigued,” 9 = “very fatigued”). One-way ANOVA was performed. The results showed that the increase in fatigue after an increase in the number of art exposures was significant (F(2,524) = 5.88, p < 0.01). The independent samples t-test after viewing one vs. ten images was significant (M_{fatigue_1} = 3.43, M_{fatigue_10} = 3.95, t = −2.90, p < 0.05) and between viewing one image and 20 images (M_{fatigue_1} = 3.43, M_{fatigue_20} = 4.00, t = −3.50, p < 0.01). These two results suggest that as the amount of art exposure increased, participants’ fatigue increased accordingly. The increase in fatigue was statistically significant, suggesting that our manipulation (i.e., increasing the number of art images viewed) was effective.

Artwork image vs. non-artwork image

After completing the product evaluation and luxury perception ratings, we asked participants to view images of Hui Zong’s artworks and ordinary non-art pattern images. Participants used a 7-point Likert scale (1 = “not at all,” 7 = “definitely”) to rate whether each image contained an artwork. Results showed that artistic images were recognized as art more than non-artistic images (M_art = 5.03, M_no-art = 4.17, t = 12.65, p < 0.001), suggesting that manipulating art product images versus non-art product images is compelling.

Results and discussion

Preliminary analyses

There are no normality issues (skewness and kurtosis values are within the range of the data) or multicollinearity issues (the VIF of all variables is <10). Cronbach’s alpha supported internal consistency values >0.7 (see Table 6).

Table 6. Correlation analysis and descriptive statistics.

Variables	1	2	3	4	5	6
Presence of Arta,b (1)	1.00
Perceived Luxury (2)	−0.02	1.00
Product Evaluation (3)	−0.14**	0.64**	1.00
Multiple art exposure (4)	−0.02	−0.02	0.06	1.00
Brand familiarity (5)	−0.08	0.17**	0.16**	−0.03
Art interest (6)	−0.08	0.28**	0.41**	−0.07	0.35**	1
Mean	–	4.33	4.81	–	2.92	4.24
Standard deviation	–	1.23	1.16	–	1.57	1.36
Skewness	−0.13	−0.15	−0.52	0.03	0.56	−0.18
Kurtosis	−2.00	−0.91	−0.44	−1.39	−0.79	−0.68
VIF	1.00	1.00	–	1.00	1.16	1.21
Cronbach’s alpha	–	0.85	0.89	–	0.92	–

VIF variance inflation factor.

**p < 0.01.

^aDichotomous dummy variable.

^bSingle item variable.

Main analysis

We employed PROCESS Macro Model 7 in this study and utilized 5000 bootstrap samples (Hayes, 2022) to conduct a moderated mediation analysis. This analysis aimed to explore the influence of art presence as a categorical independent variable (coded as 0 = No Art, 1 = Art) on product evaluation (dependent variable) through luxury perception (mediator) while examining the role of multiple art exposures as a first-stage moderator. Participants’ recognition rate of the ASTRO brand was 27.5% (n = 145/527), with a non‐recognition rate of 72.5% (n = 382/527), aligning with our design intent to use a relatively unfamiliar brand. Art interest (Mint = 4.24, SD = 1.36) reflects a moderately high level of interest in art. We included brand familiarity and art interest as covariates in the model, and the pattern and significance of the indirect effect remained unchanged after controlling for these variables (Table 7).

Table 7. Moderated mediation analysis.

Variable	Perceived luxury (M)				Product evaluation (Y)
	Coeff	SE	95% CI		Coeff	SE	95% CI
Constant	2.95	0.22	2.52	3.39	1.77	0.17	1.44	2.09
Presence of Art (X)	0.40*	0.18	0.05	0.75	−0.27*	0.07	−0.42	-0.13
Perceived Luxury (M)	–	–	–	–	0.55*	0.03	0.49	0.61
Multiple art exposure (W)	0.02	0.01	−0.00	0.04	–	–	–	–
X*W	−0.03*	0.01	−0.06	−0.01	–	–	–	–
Brand familiarity	0.07	0.03	0.00	0.14	−0.03	0.03	−0.08	0.02
Art interest	0.23*	0.04	0.15	0.31	0.21*	0.03	0.16	0.27
Model summary	R2 = 0.09, F(5, 521) = 10.90, p < 0.001				R2 = 0.48, F(4, 522) = 122.76, p < 0.001
Meditation index
Moderated mediation index	Index = −0.02, SE = 0.01, 95% CI = [−0.03, −0.01]

SE standard error, CI confidence interval.

*Statistically significant.

Moderation

Art presence (art; 0 = No Art, 1 = Art) had a significant positive effect on perceived luxury, as its 95% CI [0.05, 0.75] did not include 0, indicating that the initial introduction of artistic elements reliably elevates consumers’ luxury perceptions. The main effect of repeated art exposure was not significant (95% CI [–0.00, 0.04]), showing that exposure frequency alone did not directly boost luxury perception. Critically, the interaction term was significant and negative (95% CI [–0.06, –0.01]), demonstrating that the luxury-enhancing influence of art presence diminishes with increased exposure, consistent with the art‐fatigue or diminishing‐marginal‐returns phenomenon (see Fig. 3). Among the covariates, brand familiarity was not significant (95% CI [−0.00, 0.14]), whereas art interest positively and significantly predicted perceived luxury (95% CI [0.15, 0.31]).

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Fig. 3

Interaction effect: presence of Art × exposure on Perceived Luxury.

This figure presents the moderation effects.

Mediation

Perceived luxury showed a strong positive effect on product evaluation (95% CI [0.49, 0.61]), indicating that higher luxury perceptions translate directly into more favorable product appraisals. When controlling for perceived luxury, the direct effect of art presence on evaluation was significant and negative (95% CI [–0.42, –0.13]). Brand familiarity remained nonsignificant (95% CI [–0.08, 0.02]), whereas art interest again exerted a significant positive effect (95% CI [0.16, 0.27]).

Moderated Mediation

The bootstrapped moderated mediation index was –0.02, 95% CI [–0.03, –0.01], confirming that repeated art exposure significantly attenuated the indirect effect of art presence on product evaluation through perceived luxury (see Fig. 4).

[See PDF for image]

Fig. 4

Moderated Mediation: Indirect.

Conditional indirect effects of the Presence of Art on Product Evaluation via Perceived Luxury at low (1 image), medium (10 images), and high (20 images) levels of Multiple Art Exposure. Bars represent bootstrapped indirect effect estimates (5000 resamples) and vertical error bars show 95% bias-corrected confidence intervals (CI). Numeric labels above each bar denote the effect size; asterisks (*) indicate CIs that do not include zero (1 image: Effect = 0.201, CI [0.032, 0.384]; 10 images: Effect = 0.023, CI [–0.087, 0.138]; 20 images: Effect = –0.175, CI [–0.350, –0.016]). The dashed horizontal line at zero denotes the null effect boundary.

These findings support H2a—namely, that the positive impact of art presence on perceived luxury weakens as exposure frequency increases—and H2b—that under repeated exposure, the indirect effect of art presence on product evaluation via perceived luxury is significantly reduced. Together, the models validate the applicability of the art-fatigue theory within art infusion research and provide practical guidance for optimizing exposure strategies in art-based marketing. Figure 5 provides a summary of the results.

[See PDF for image]

Fig. 5

The results of the proposed model.

This figure presents the summary of empirical results.

Discussion

The results of Study 3 indicated that multiple art exposures influence the art infusion effect. This addresses a question previously raised in the literature (Hagtvedt and Patrick, 2008b) about the impact of initial versus repeated art exposure and expands the scope of research on the effects of art infusion and art “fatigue.” For the first time, we tested the intervention of the art fatigue effect on the art infusion effect. Additionally, we used a repeated scoring paradigm to collect data, expanding the methodology in the art infusion effect research field.

Through these pioneering research methods and findings, Study 3 addresses existing literature discussions and paves the way for future research on the art infusion effect and its moderating factors. The results underscore the importance of considering the frequency and context of art exposure in marketing strategies that incorporate art elements, offering valuable guidance for optimizing consumer engagement and product evaluation in art-infused marketing practices.

General discussion, implications, and limitations and further works

General discussion and implications

In the current market environment, the art infusion effect is widely recognized as an effective strategy for enhancing product appeal and strengthening consumer preference. For instance, compared to ordinary square scarves, consumers often prefer those embroidered with floral patterns. However, as more square scarves with various floral patterns flood the market, the uniqueness of this appeal may gradually diminish, becoming a common feature. This study examines the phenomenon of “art fatigue” that may arise when the art infusion effect is widely adopted in the market, as well as its potential negative impact on corporate competitiveness.

Based on the art infusion effect and art fatigue theory frameworks, this research employed a repeated scoring paradigm and empirical research methods to explore how multiple art exposures influence the art infusion effect. Through three meticulously designed experiments, we not only confirmed that (a) both Eastern and Western artworks can generate the art infusion effect but also discovered that (b) consumer evaluations of artworks decline with increasing art exposure. Furthermore, our experimental results revealed that (c) multiple art exposure plays a critical role in moderating the impact of art presence on luxury perception. The findings illustrate how multiple exposures to visual artworks, or multiple art exposures, lead to the art “fatigue” effect, which diminishes the positive impact of the art infusion effect on product evaluation.

This series of discoveries enriches the theoretical foundation of the art infusion effect and provides significant insights for marketing practices, particularly in today’s context, where the combination of artworks and products is becoming increasingly prevalent. This study extends the art infusion literature in two meaningful ways. First, by introducing multiple art exposures as a moderator, we empirically demonstrate that the frequency of esthetic stimuli can significantly influence the magnitude of the art infusion effect. This finding reveals a previously underexplored boundary condition, advancing theoretical understanding of how artistic elements interact with consumer perception. Second, by integrating the concept of art fatigue, the study bridges art perception research with cognitive resource theory, offering a more nuanced account of how repeated exposure to esthetic content may lead to diminishing returns in perceived luxury. Together, these contributions refine and expand the theoretical scope of art infusion, emphasizing its contextual and cognitive limitations.

Our findings confirm and extend previous research on the effect of art infusion. First, this study enriches the literature by confirming the existence of a content-independent art infusion effect (Hagtvedt and Patrick, 2008b). We demonstrated that artworks from different sources influenced product evaluations and expanded the study of art infusion in the context of art style characterization (Cuny et al. 2020; Hagtvedt and Patrick, 2008b; Naletelich and Paswan, 2018; S. Park et al. 2023b, 2023a; Peluso et al. 2017; Pino et al. 2017; Seo et al. 2022). Second, this study reveals that multiple art exposures reduce product evaluation, validating the art “fatigue” effect (Mikuni et al. 2022). Our findings indicate that as the number of art exposures increases, consumer fatigue increases, weakening the positive impact of art presence on product evaluation through luxury perception. This result extends the art infusion literature by identifying multiple art exposures as a new moderating factor influencing the art infusion effect (Naletelich and Paswan, 2018; Oh et al. 2018; Pino et al. 2017). Additionally, this study enriches the theory of exposure effects and affective habituation, as well as the concepts of museum and art “fatigue” (Zajonc, 1968; Leventhal et al. 2007; Mikuni et al. 2022; Bitgood, 2009a, 2009b; Robinson et al. 1928). These theories predict a decline in pleasure ratings after multiple art exposures. Previous research primarily focused on psychology and museum visitation, with few studies combining these aspects in the context of art infusion. This gap is significant, as all these theories involve viewing behavior and can explain cognitive evaluation after repeated visual stimuli.

In contrast to earlier research, this study addresses the question posed by Hagtvedt and Patrick (2008b, p. 388) about whether pre-attentive exposure to artwork affects consumer evaluation. It expands art infusion research from an art presence perspective to an art exposure perspective, verifying that art exposure significantly influences the relationship between perceived luxury and evaluation. This study provides a new framework for understanding the relationship between perceived luxury and consumer evaluations, deepens the exploration of the mechanisms behind the art infusion effect, and broadens the application of art infusion and art “fatigue” theories.

The findings provide practical insights for firms. Companies should tailor their marketing plans for art-infused products based on the market saturation of such products to maximize their marketing impact. Current research indicates that when art-infused products are few, the art-infusion effect can lead to favorable product evaluations and successful marketing outcomes. However, when many art-infused products flood the market, high consumer exposure may lead to art “fatigue,” reducing the product’s attractiveness. Therefore, it is crucial to consider the volume of art-infused products in the market when planning marketing strategies. Companies can regularly gather data on art-infused products’ online and offline market presence. If art exposure is increasing, companies should employ other strategies to counteract the “fatigue” effect, such as emphasizing cultural aspects, location, brand attachment, and enhancing overall product appeal to consumers.

Limitations and future directions

First, this study collected experimental data through an online platform. Although the ecological validity of the experimental scenario has been enhanced (Appendix C-2), it is uncertain whether the real market will have the results of our experiment. Second, since we used an online experiment, some interfering factors could not be controlled (e.g., participants were watching TV and talking on the phone). In the future, the experiment can be transferred to a traditional laboratory, or a field experiment can be conducted. Third, our participants were primarily drawn from the United States, China, and Southeast Asian countries; whether similar effects hold among consumers from other cultural backgrounds worldwide remains to be tested in future research. Additionally, in Experiment 3, participants with art education and professional art experience were excluded, and the potential mechanisms behind these individual differences were not thoroughly explored. Future research could investigate how product evaluation changes after art exposure in a broader cultural context and explore the potential impact of individual differences on the art infusion effect. Finally, the art-exposure stimuli we examined were focused on paintings. It is unknown whether multiple exposures to non-flat pictorial artworks would have a similar moderating effect on the flat art infusion effect. Future research can expand in these directions to address these gaps.

Author contributions

All authors listed have made substantial, direct, and intellectual contributions to the research. In addition, all authors have read and agreed to the published version of the manuscript, which has been approved for publication.

Data availability

Due to ongoing research and analysis, the datasets generated and analyzed during the current study are not publicly available. However, they are available from the corresponding author upon reasonable request.

Competing interests

The authors declare no competing interests.

Ethical approval

All procedures performed in this study involving human participants were in accordance with the ethical standards of the institutional and/or national research committee and with the 1964 Helsinki Declaration and its later amendments or comparable ethical standards. This study was approved by the Ethical Committee of the Changzhou Vocational Institute of Textile and Garment, Changzhou, China (No. CZTGI-JY20230201; Approved data: February 1, 2023).

Informed consent

All participants provided informed consent to participate in the study. Information regarding the study (including the project name, purpose, procedure, and assurance of confidentiality of personal information) was presented via an online survey form. During the experiment, only limited demographic information (age, gender, education, and nationality) was collected and no identifiable personal information was obtained. Anonymity was granted. Prior to the experiment, participants indicated their agreement with the informed consent statement by selecting the “Accept” option; otherwise, they were automatically exited out from the experiment (the consent forms for Study 1 Stimuli Pretest were collrect during July, 2023; those for Main Study 1 were done from July 2024 and April 2025; those for Main Study 2 were collectred from May 2023; those for Main Study 3 were collected from April 2025).

Supplementary information

The online version contains supplementary material available at https://doi.org/10.1057/s41599-025-05380-z.

Publisher’s note Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

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