The phenomenon of artistic quarters has been explored by many researchers interested in the spatial behaviours of artists in North American and Western European cities. Their analyses have often focused on the impact of this occupational group on transformations of selected urban areas: the arrival of artists as pioneers in degraded, problem neighbourhoods and the evolution of those neighbourhoods, which then attract more established artists, followed by creative professionals and non-creative gentrifiers. As over time the built environment, functions, cultural, gastronomic offer and ambiance of such areas change significantly, their progressive mainstreaming and commercialization prompt some artists to venture into new districts and spaces. The article first offers a review of existing findings with respect to artistic quarters and their transformations. The discussion of the possible stages of development of artistic quarters present in literature is followed by the application of this theoretical framework in the context of Polish cities using the examples of Krakow and Katowice. These significant regional capitals represent two major types of urban centres in Poland: a city with medieval roots, and a city which emerged during the 19th-century industrialisation process. The phases of evolution of the artistic quarters in both cities are analysed by examining the spatial perceptions of students of artistic majors. The analysis shows that the transformations of urban spaces in terms of their functions and perceptions as artistic quarters are not as straightforward and linear as earlier studies might suggest. Krakow’s more vibrant artistic life and its historic, concentric urban structure, combined with strong commercial pressures, are conducive to the development of new artistic quarters, although its traditional city centre continues to some extent to maintain its position on the artistic map of the city. In contrast, in Katowice the chaotic spatial structure of the heart of this historic industrial region makes the flow of artists more difficult and less likely, as they tend to concentrate in a poorly delineated area of the inner city. In addition, as the case studies reveal, spatial choices of artists are not only dependent on a city’s development path and its built environment but are also to a significant extent shaped by the diverse artistic backgrounds of its creatives and a host of factors linked with post-socialist transformation and neoliberal urban policies.