The dissertation’s title „Digital Art History and Artists’ Networks in Croatia in the 1990s and 2000s” indicates the two main goals of the research: the first goal refers to the development of methodology that is based on a combination of quantitative and qualitative data analysis i.e., to the application of network analysis in art historical research, while the other goal is the analysis of the dynamics of the visual art scene in Croatia in the 1990s and early 2000s. Building on a number of existing network analyses of the artistic field, the author makes the assertion that the relation between the quantitative and qualitative data analysis should be reconsidered from the discipline of art history itself and emphasizes the importance of correlation between the research question and choice of the data sample. After having defined the aims and hypothesis of the research, the author gives a short overview of the theoretical and historical development of the network as a concept and the various manners in which it is used. The introductory chapter also gives insight into the contexts in which the term has been used so far in the field of art history (network as a consequence of communication within the artistic field and network as an organizational form) and it explains the manner in which networks are perceived within the confines of this research (network as an inherent structure of the artistic field). Given that the time period dealt with in this research is still mostly unexplored, the first chapter gives a detailed overview of previous scientific research of the artistic field in Croatia during the time period in question: an overview of the position of Croatian art in the growing number of research and compendia dedicated to “the former East” and “post-communist Europe”, as well as research of the artistic field in Croatia. The time limits of the research (1991–2006) are also explained. A handful of systematically conducted research results that take into account various types of actors and provide a more complex insight into the entirety and the dynamics of the visual arts scene is stated as the fundamental reason because of which art criticism was chosen as main the data source. In the second chapter the author explains in more detail the theoretical and methodological foundation of the research, gives an overview of the used digital tools and explains the reasons behind the choice of the magazines (Arkzin, Kontura, Vijenac and Zarez), as well as the manner in which she defined network boundaries and structured the data. Based on the “event” principle, the entire corpus on which the research was done consists out of 665 magazine issues and 4801 pieces of art criticism. From that corpus, two sets of data were extracted that represent the networks nodes: the first set includes 665 magazine issues and 6698 text authors, connected through the “authorship” relation, while the other set consists of 6473 art critics and artists, 192 art groups and 1293 institutions. Based on the second data set, networks were constructed in which art critics and other actors are connected through the “mention in contribution” relation. The third and central chapter presents the results of the quantitative and qualitative data analysis and is divided into three parts: the first part focuses on the active actors – magazines and art critics. It explains the context in which the magazines were founded, their editorial policies and the position of art criticism in specific magazines and identifies the central art critics that make up their social circle. The second part of the results deals with actors that are mentioned in art criticism – artists and institutions. Based on the thesis that art critics are the privileged followers of the visual arts scene that direct and shape the scene they write about, major and discrete changes in the trends on the scene are identified using network analysis. The results of the quantitative analysis (network size, geographical scope, central actors) are used as the basis on which the author makes conclusions about the selforganizing mechanisms of the scene i.e., on the correlation of conventions and strategies the actors used in order to change them. The conventions and divergences from them are additionally contextualized by an in depth reading of art criticism in which the central artists and institutions are mentioned – a method through which the author identified “cultural structures” that allowed and limited the actors’ activities, in a manner similar to the network structures themselves. The last part of the results builds on the two previous parts: it deals with similarities and differences between the magazines and their social circles, their internal dynamics and their specific roles in the articulation of the conventions (and / or divergences from them) and cultural structures on the visual arts scene. The results of the analysis give an insight into the complex processes of shaping and the dynamics of a specific “art world” that arises as a result of the interaction between various types of individual and collective actors.