Abstract: This article analyzes the phenomenology of art of R. Wollheim and the true meaning of paintings. The object of the research is the visual art with its immensely rich world. Visual art is one of the forms of interaction using the visual images. The subject of the research is the representation of paintings of the Soviet realism era through the prism of R. Wollheim’s concept. The author thoroughly examines the concept of the model of thought (Ur-painting), according to which painting is an intentional action that suggests the existence of such thing as a universal human nature, which unites an artist with his audience. The concept of R. Wollheim fulfills the phenomenological reduction, isolating the essence of art as an activity. Visual art sends us to the thematizing factors that are an integral part of the act of providing with meaning, and directly associated with the artist’s intention. The author pursues correlation between the perception and interpretation of paintings based on the example of the work by Aleksandr Deyneka “The Skiers”, comparing the view of a modern person and a person from the social realism era. A conclusion is made that the painting is perceived differently from the perspective of a person of socialist realism and a person of present time: a “collective individual” is inspired by the painting, it mobilizes his efforts, reflecting a mental state of the artist. In the XXI century, the audience gives assessment to the composition structured by the artist, as well as space and artwork in general.

Abstract:  
This article present an interpretation of M. Heidegger’s thesis “The Origin of the Work of Art”. Being a part of the world and having originated from it, art was always a topic of interest for the philosophers, who try to find answers to the questions “Is there truth in art?” and “How to understand the works of visual art? The author finds the key to the mystery of art in polemics of the prominent art historian M. Shapiro and philosopher M. Heidegger. In this dispute, the notions of the truth and existence (ontological field) are counterpoised to the historical and biographical details of createdness of the painting. The subject of dispute lies in Van Gogh’s painting “A Pair of Shoes”. In interpretation of the painting, M. Heidegger analyzes how it reveals the nature of the shoes. And, thanks to the rich imagination, audience through the creation of an art work, reveals the truth. Trying on the country woman’s shoes, the audience pictures her being; and the artist attempt to attract attention and cognize the truth with help of the createdness. M. Shapiro focuses attention on the historical component of the paintings and biographical motives of the artist. It originates a question, which of the aspects, namely, visual documental information or art (associations, feelings, emotions, projections) are closer to the ontological understanding of the painting as a painting. The author concludes that if a creative component is present, it moves the biographical motives and historical details to the background. Ontological understanding of the painting is possible only in aesthetic field.