"Artistic Models of Abstract Painting in Ukraine 1980-2000 (Epistemology of Creation)"

The monograph deals with the prerequisites for the development and dissemination of abstraction throughout the 20th century to demonstrate its historical significance for the formation of modern Ukrainian national school of painting. It was not our intention to fully cover the existing array of Ukrainian abstraction analyzing the works of all its representatives, because we took interest in the ways leading an artist to non-figurative creativity.

The contemporary art criticism that deals with the study, systemization of artworks based on disciplinary parameters of history, theory and cultural studies. Philosophy, aesthetics and ethics contribute to in-depth understanding of these issues. The origin of abstract art at the turn of the 19th and 20th centuries called forth a new kind of knowledge of the problems of creative development of the artist: epistemology of creation (Greek: epistemologia So, against the backdrop of the abovementioned problem, which was formulated as "Art models of reactivation of abstract painting in Ukraine (1980-2000)" in our early studies in the 2000s, much attention was paid to power flows and patterns that contribute to the dynamic development of creative consciousness.

This is an important yet crude theory, which has invited no attention for one hundred years now; however, it shows the autonomy of scientific interest and undeveloped depth of problems that make researcher to use the interdisciplinary hybrid methodology. As a result of the study, we concluded that the development of creative consciousness, like the creation of abstract art itself involves three stages that exist in three fundamental hypostases according to the methodology of Edmund Husserl.

I. Content (principle of creation):

a) empirical: 2 + 2 = 4 (Oleksandr Bohomazov and Vasilii Kandinsky);
b) inductive: 2 x 2 = 4 (Paul Cézanne);
c) a priori  (Kazimierz Malewicz, Piet Mondriaan).

II. Act (procedure of creation):

a) phenomenological reduction of Edmund Husserl (Kazimierz Malewicz);
b) intuitivism of Henri Bergson (Vasilii Kandinsky);
c) psychic automatism of André Breton (Paul Jackson Pollock).

III. Object-matter (painting):

The objective perception of a painting relies on external characteristics, which are a documented part of the creative act. They make the only possible basis for final theoretical conclusions of experts, who ignore the "invisible" factors of artistic worldview that really determine the creative work. We treat the category of "creation" as a separate argument of art criticism and split it into the following components: the principle of creation and the process of creation, preceding the act of artistic presentation.

A century ago, the origin of phenomenology irrevocably changed the traditional popular idea of potentialities of "things." Such modern communication technologies as television and Internet, innovative standards of financial transactions using electronic payment cards, mobile communications, and multimedia space use the principle of separation between the "subject" and its "content", hence the "opportunities" that were provisioned by phenomenology of Edmund Husserl and Suprematism of Kazimierz Malewicz early in the 20th century. Therefore, a contemporary person increasingly deals with imaginary informative projections instead of attributes of material existence, which is a common prerequisite for abstraction.