Feelings and intuition as means of fine art

Abstract

The article is devoted to the problem of using feeling and intuition as tools in fine art. Sensations and intuition influence the development of an artistic work at all stages beginning with the idea formulation to the moment when the artist considers the composition is completed. Theoretical positions of research are shown evidently by the examples of practical development of the authorial artistic project “The Myth about Memory Ship”. The peculiar ways the feelings and intuition work in the conditions characteristic for any artistic activity, when the result is unpredictable, are revealed. In graphic activity, even when the artist consciously determines the theoretical and methodological model (principles, approaches and artistic methods that he uses), there is a possibility of baffling complexity of interrelations between separate elements. Thus any copulas of elements of artistic work are finally determined exceptionally in relation to each other, which complicates predictability of probable result. In addition, the relativity of elements of artistic work is impossible to determine in terms of criteria of certain/ relative correctness of the decision of their choice. The final decision of the completed work can be found only as more successful, in relation to the previous one, following the feeling and intuition of the author. At the same time, a meaningful organization of the theoretical and methodological foundations of artistic activity allows predicting the result or the completed form of an artistic work as a certain field of the result probability. What is more, within the framework of the result probability field, the feeling and intuition play the main role, which determines the choice between relative solutions and the final completed artistic work.