Передчуття твору. Евристичність гештальту

The paper examines the complex psychological state experienced by an artist (or any creative individual) before commencing work on a specific theme (artwork) and searching for an appropriate form (composition, architectonics, individual elements) to visually realize their concept. It discusses the phase of preliminary mental modeling of the future work, emphasizing the dialogic nature of this process—both as an internal dialogue between the artist and their own “self ” (a psychological double) and as a dialogue between consciousness and the subconscious. The split “self ” also engages in an imaginary dialogue with the future (ideal) viewer. The role of the subconscious is highlighted as a crucial factor in this intricate psychological process, which remains hermetic and hidden from the “other,” yet it is precisely within this domain that the artist’s “inner vision” of the future work takes shape. This deeply personal and closed process ultimately leads the artist to the creation of an initial compositional sketch, followed by a combinatorial play with structural elements (lines, tonal and color patches, etc.). The process of reconfiguring formal elements unfolds in accordance with the sub- jective thinking of each individual artist. The birth of an artistic image involves numerous contributing factors, including childhood impressions, general and professional education, genetic predispositions, aesthetic selectivity (the artist’s taste), cultural reflection, and social influences—all of which shape the artist’s individuality. This profound cognitive and subconscious process remains inaccessible to external observers. However, through interviews with artists, it is possible to identify the primary catalyst of the creative process, known as the gestalt. Acting as a powerful provoker, the gestalt triggers the creative impulse. The artist begins to create under the strong impression of something or someone. A gestalt can be anything—a profound impression that evokes a powerful creative emotion. The article outlines key gestalts that have been significant (typological) for both classical masters—Leonardo da Vinci, Michelangelo, Piranesi, Rembrandt, Van Gogh, Cézanne—and contemporary Ukrainian artists such as Medvid, Kryvolap, and Dzhurayeva. The author’s personal experience of working with gestalts is also presented. The study highlights the persistent gestalts of Salvador Dalí, Giorgio de Chirico, and Serhii Parajanov. Additionally, it considers the extra-narrative gestalt for non-figurative artists, particularly in the form of color. The paper also references Gilles Deleuze’s concept of the relationship between the logical and the non-logical, which directly relates to the problem of the gestalt as a creative stimulus. As a “non-existent entity” (or a hidden essence), the gestalt always remains beyond the viewer’s explicit knowledge. However, it must be recog- nized and interpreted by the art historian as a researcher.