Abstract: The subject of the study is the epistemological specificity of art through the «prism» of the Paleolithic and modern eras. The focus of the research is aimed at analyzing the phenomenon of «eidetism», which is a link between modern and primitive art. The purpose of the article is to comprehend the epistemological specifics of art, which began with the «psychophysiology» of the primitive world and developed into forms of «practical philosophizing» of the modern era. The research methodology includes a review of literary sources, a dialectical approach to historical and art historical reconstruction, analysis of paleopsychological data, comparative analysis, elements of systems psychology and sociology. An element of novelty is the author's position that already in the lower, early layers of its evolution, the status of art «as one of the most ancient forms of human activity» is enriched by the status of «a form of practical philosophizing». The generalization is made that the art of the XX-XXI centuries, on the one hand, abandoned both mimesis and humanism, on the other – it continued the path of «practical philosophizing» begun in ancient times, based on the perceptual-empirical method of cognition of reality. The evolution of art from its primitive origins through archaic, classical to its modern state is, at the same time, the transformation of human consciousness, and the comprehension through artistic and creative activity of one's being and place in the universe, etc. - the development of its «depth» (the content of art). This is the development of art «in breadth» (the development of artistic form): the proliferation of its types and genres, the growth of stylistic and technological polyphony, etc. As a result, «art has come a long way from its purely psychophysiological hypostasis to «practical philosophizing». Artistic and creative activity itself as a whole continues to be the most important component of the global «mechanism» of mastering reality.

Abstract: The subject of this research is the interaction of the ideal and the material, which ensures unity of the process of creating a fine art painting. The object of this research is the dynamics of this process, which gradually materializes the ideal through poetic transformation of the objective reality. In the course of creating a fine art painting, the author underlines the importance of ontological-phenomenological and socio-gnoseological aspects of human existence, which in many ways determine the technical and technological means of solution of the artistic and creative tasks. Special attention is given to contemplation of the objective world, purposive action of the artistic will, establishment of the artistic image as interrelated stages of objectification of the ideal. The novelty of this article consists in interpretation of the phenomenon of the ideal, reflected in painting via integrated will. The latter is the synthesis of artistic will and subjective will of the painter. The author describes a “shuttle principle” in objectification of the ideal in the works of art within the framework of the history of development of painting, as well as within a single process: 1) from the aesthetic form to the embodiment of universality of the content; 2) from the universal content to aesthetic embodiment. The following conclusions were made: 1) the objectively ideal in a painting is an aesthetically perceived (visually, mentally, and spiritually) boundary of beauty and beautiful depicted via perfect, absolute unity of the artistic form and content, artistically and graphically, adequate to its concept in its material outcome, in reality. It is of rare occurrence in the works of art, something to be sought for; 2) an artistic form should be correlated in the artwork with universality of its content, which results in the fusion of the ideal and the real, and forms their indifference; 3) the universal meanings, ideologically underlying the content of a fine art painting, deepen and broaden the possibilities of artistic matter for objectification of the ideal in aesthetic form.

Abstract: The subject of this research is the artistic will as the ontological basis of art. In the process of comprehension of the nature of art as on object of research, emerges the problem of identification and determination of the ontological will with regards to arts as a fundamental factor in “conception” of an artful work. The will is an ontological link in the chain “author – willful acts – creative process – artwork”, which allows the latter to manifest from nothingness. This leads to understanding of the “relative mechanism of conception” of an artwork, which comprises the goal of the research. The scientific novelty consists in the thesis that two types of will coexist at the current stage of the development of art: will of a modern artist and artistic will (will to beauty). Due to the fact that the will of a modern artist doesn’t always shift him towards aesthetization of the environment, whole the artistic will is particularly aimed at aesthetization of the phenomena of surrounding reality, the author underlines the crucial difference between the two wills. The conclusion is made that the “artistic will” as an aestheticizing will or the will to beauty is the ontological basis of art.

Abstract:  The subject of this research is the art of Aleksandr Deyneka that manifests as a fundamental ethical and aesthetical idea – the idea of beauty, labor, and peace; the idea meant for reflecting not only ideological and social ideals, but also the contemporary to it creative ideals. It becomes a guide of his ideas in the grasped and luminous as a “daylight” images alike his creative-methodological reasoning or the ordinary daily observations and thoughts. The core of examination of the works of the most remarkable representative of social realism lies in the concept of the “ideal” as a certain dialectical relation of the ideas and reality applicable to the link of art – life. The scientific novelty consists in interpretation of the existing approaches towards visual art of Aleksandr Deyneka from the perspective of a direct impression of the artist-practitioner (the author of this article). Most of the art material is dedicated to analysis of the works of Aleksandr Deyneka from the standpoint of supremacy of the ideological over the creative. A conclusion is made on the distinct, equal interweaving of the truth of art and life in his works that allows speaking of the latter not only in the context of his ideology, but also the perspective of the moral-ethical and aesthetical influence on the audience. Such interweavement greatly contributes into the life-affirming reflection of the establishing new, socialist life.  

Abstract: Thus article represents the experience of philosophical heritage, the goal of which is the multilevel comprehensive research of the color harmony. The main question reviewed in this work is the logic of color in art of painting from the ontological, gnoseological, and axiological aspects. The author begins with the examination of the general notions, such as structure, hierarchy, and order; and later, shifts towards the narrow-profile questions associated with color harmony and logic of color in painting, as well as explains the necessity of presence of the three of its main aspects. During the course of this research, the author comes to the following results:


The ontological aspect of the logic of color is predominantly observed in the triune system that includes the three-component theory, the emerging from the latter principle of color balance,  which is in turn based on the three main colors: blue, red, and yellow;


The gnoseological aspect of the logic of color consists mainly in the contextuality of the author’s concept, in the idea of its composition.


The author concludes that in the creative process pertaining to the work with color, everything has importance: shape of a spot, its size and texture, intervals, background, etc., because the logic of structuring of the color harmony directly depends on the idea of composition, and the conceptual value of the substratum.
 

Abstract: The main subject of this research are taste judgments in the visual arts. Several centuries ago, German philosopher Immanuel Kant formulated his famous antinomy of taste. According to the author they remain relevant to this day. Contradictions between the public and professional and artistic (personal) preferences, the author examines how the struggle between two authoritarian systems: from the perspective of a viewer (customer) and from the perspective of the Author. The author of this study believes that it is absolutely free from any conditions the artist was at the dawn of the art in primitive society. Removing the taste of the contradictions in contemporary artistic practice, in the opinion of the author of the study, through an "action conventions". Methodological base of research is the method of the structurally functional analysis; dialectical method; a method of intellectual speculation, as well as General scientific (General logical) methods: analysis, synthesis, induction, deduction, analogy. The study's author comes to the following conclusions:1. The great assumption of I. Kant about the social background of the antinomies, remains relevant today.2. A century later, from early modernist experiments, in the synthesis of the aforementioned constructs, the modern visual art comes to the measure of conditionality. The concept of "measure of conditionality" is a a so-called aurea mediocritas (Latin) – the "Golden mean" and gives a key to the synthesis of these and other opposites.

Abstract: As to consider all dialectics of art as process in works of similar volume it is impossible in principle, the author, in the research, allocates only some aspects of a dialektichnost of art creativity, on the example of creation of a work of painting. In the first section, the author considers dialectics of art as result of interaction of various polar forces, systems, the phenomena. In the second section, art creativity as the developing process in which basis such law of dialectics as "transition of quantity to quality" lies is investigated. In the third section, the author argues on dialectics directly of a work of art as about complete, integrated, ideal and material education where spiritual (outlook of the artist) has an opportunity to prove through material (through picture form and content), that is it is especially evident. The third section is devoted to dialectics sensual and rational, as one of characteristic features of the dual nature of the artist. Methodological base of research is the method of the structurally functional analysis; dialectic method; method of a germenevtichesky reduction; method of intellectual speculation, and also general scientific (general-logical) methods: analysis, synthesis, induction, deduction, analogy, modeling. The research of these aspects conducted by the author allowed it to draw the following conclusions:
In continuously moving, changeable formation of "fabric" of a work of painting, process of its development as continuous emergence something essentially new and irreversible in it is objectively realized.
Each subsequent stage of development of the artist as the realizing individual, finds for him, hidden and invisible before, but now acquired, and from that the steps of his ascension becoming invaluable and, together with them, fixed "levels" of the untwisted spiral of his creativity. The work of art is a complete, integrated, ideal and material formation where spiritual (outlook of the artist) has an opportunity to prove through material (through picture form and content), that is is especially evident (by means of artistic images). As a result, it is necessary to record, characteristic for art process, the fact of transformation (transition) of conscious world outlook installation (idea of the life) through energy of the creative act – in an art product, in its form and its contents.Data of sensual level is an important initial material in which the artist receives information for the subsequent artly - creative processing. This initial, sensual and emotional material, as a result of rational activity is acquired and entirely appropriated by reason, forming the sensual and rational base for process of creation of a work of painting.It is necessary to state, as the creator, both the process of creation and the result are the dialectics of art creativity.
 

Abstract: The main question considered in article is the question of interaction in works of painting of three structural components: taste, measure and harmony. Building structure of a work of art on the basis of this triad, the author proves that art taste is not simply esthetic category, but such active structural component of art creativity which, being inherent initially in its carrier artist, subsequently finds itself in the finished work of art. This structural component, along with "measure" and "harmony" is, according to the author, one of the main (main) form-building structural components of a work of art. At the end of research, the author unexpectedly comes to a conclusion about similarity of a functional purpose of a measure and taste, but parts these categories by identification of the nature of their functioning.Methodological base of this research is the method of the structurally functional analysis; dialectic method; method of a germenevtichesky reduction; method of intellectual speculation, and also general scientific (general-logical) methods: analysis, synthesis, induction, deduction, analogy, modeling. As a result of the conducted research, the author comes to the following conclusions: 1. The great guess of I. Kant about social background of antinomy, remains an actual problem and today. 
2. In art and creative process, the artist, creating a work of art, deals not with judgments of taste, and with an embodiment of the flavoring judgments in a work of art. And the conclusions about the acceptability and applicability of this or that flavoring preference (i.e. judgments) for concrete work separately, are taken out by reason of the artist.
3. The unity of a work of art, is approved by a triad: first of all – a sozdannost of a work of art, then presentation and an oshchushchayemost. This triad which is esthetic installation of the author, in turn, reveals through the following triad - a triad of structural characteristics of a work of art: measure, harmony, taste.4. The measure and taste, is more subjective structural components whereas harmony, having been born as a result of merge of the first of two, is objective education.5. As a result of existence at art of function not only esthetic, but also psychological, substantial, communicative and, is wider – world outlook – disharmony as an art composition method, is quite proved to put perhaps in one row with harmony. 6. The measure will be necessary until original, that is creative works of painting which, in turn, will depend on novelty of a context are created.

Abstract: The article is devoted to the question about the rational part of the creative process and its relation to the sensual element. Describing the structure of art process as starting from the sensual level, the author proves the need in rational grounds of art, too. Concrete thinking and abstract thinking of an artist create such grounds. These cogitation patterns exist in the creative process and often transform from one to another. These patterns lie in the basis of the outcome of art process. The result of any creative process of an artist is either images resembling (reflecting) something or true art images created based on a certain degree of abstraction. The former images are easy to understand so they satisfy tastes of the majority of people and the latter images are not so comprehensive  and therefore are not always understood by the audience. The author of the present article tries to answer the question about what makes such 'ununderstandable' artwork to be created? At the end of the article the author makes a conclusino that being one of the most important ontological grounds of the creative process, the rational element is interchangeable with the sensual element and creates grounds for formation of the third stage of the creative process, i.e. life experience of the artist himself.