The scientific and intuitive aspect of establishing the size of paintings in the work of painters

Relevance. The problem of scientific and intuitive aspects in determining the size of paintings has existed since the beginning of creativity and is relevant to the present. How to determine the format of the future picture: mathematically or intuitively? Moreover, this question concerns the compositional solution of a certain work in the work of painters.

Aim of the research: to theoretically substantiate the relationship between the scientific and intuitive methods based on establishing the size of the paintings in the creative process of painters.

Methodology. The article considers the process of interaction between the scientific and intuitive methods in the process of the creative activity of painters. The main attention is paid to identifying traditional and non-traditional formats of the picture plane and their geometry as the main factor in the harmonization of a work of painters.

Scientific novelty / theoretical and / or practical significance. The scientific novelty of the research lies in the combination of the scientific and intuitive method as an important educational and creative factor contributing to the harmonization of the artistic structure and composition of works of a pictorial nature that have not previously been systematically studied from the standpoint of their size and proportions, which in ideal form can be built according to the principle of the golden section. In the course of the study, the theoretical foundations of a single creative process were determined, consisting of a smooth transition from miniature to easel, and then monumental composition. The article on the research problem analyzes the scientific research of L. S. Vygotsky, N. N. Volkov, В. В. Koreshkova, P. A. Kudina, B. F. Lomova, A. A. Mit’kina, V. A. Kuzmicheva, I. P. Pavlov, I. P. Shmeleva, L. V. Shokorova.

Results. As a result, it was determined that a change in proportions in one format or another causes a change in the semantic and ideological nature of the picture, which affects the entire structure of the construction of a work of art. As a result, further creative process can be suspended or, on the contrary, get creative development.

Conclusions. Classes aimed at solving this problem expand the outlook of students, activate their work with literature. They contribute to the desire of students for cognitive activity, since the scientific and intuitive aspects require deep consideration as the most important factor in educational and creative activity when creating a work of art in the process of teaching painters.

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