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Right, I suppose I was thinking of the fact that a painting success or lack of success is not an opinion of the artist, but rather the critical reception of the
by clay_the_ripper 8y ago
Right, I suppose I was thinking of the fact that a painting success or lack of success is not an opinion of the artist, but rather the critical reception of the work. I’m sure everyone who writes a book or does a painting (for the purposes of public consumption anyway) thinks that on some level it is “good”. But an artist creating a painting that is new or innovative is by definition doing something someone has never done before. Good art must be both original in some way AND “good” (subjectively). What drives an artist to create something new, and combine elements in a novel way is a form of intuition, and my argument is that form of intuition is as seperate from the type of intuion the author is referring to.
Where do an artists ideas come from? No one knows, really. But forming them into a concrete work is a type of intuition, which I think is quite different from what the author is taking about. Hence, how you define “intuition” is important. I believe there are several ways to interpret the concept, and it’s important to distinguish between the types.
- Retra 8y agoArtist's ideas are just other ideas combined in yet-unseen ways. The originality (the reason they are unseen yet) is a side-effect of combinatorial explosion. Your intuition will generate novel configurations within a narrow domain, while someone else's will generate different novelties just by operating on different material and under different assumptions. It's pretty easy to generate numbers that nobody has ever thought about before, for instance. It's easy because there are a lot of numbers.
- munificent 8y agoThere are a couple levels to this. 1) How a painter learns to get the image onto the canvas that they have in their mind. This requires a ton of intuition. You're literally using your hand muscles, so it's not like you can get out pen and paper and calculate how many Newtons of force to apply to the brush. This intuition very much lines up with the three rules of the article. 2) How a painter learns how the audience will respond to their work. This definitely has a slower feedback loop, since they have to complete a work and show it to people. But otherwise, all three components are there. Almost every successful artist has a long history of making work and showing them to people. Art school is all about critiquing each other's work to train exactly this intuition.