If an artist (or composer) wants exactly to recreate and translate view (sound) of a natural object, it may appear virtually impossible without making following operation on himself, without catching the impression, living through it, creating its structure and expressing exactly what it is in natural world (because something experienced, imagined, associated happens to be a kind of permanent additive to the final image). For example, Vincent Van Gogh self-assigned such super-objective and all his life worked to solve it. Everything becomes complicated because of description of a form, as far as it not exactly accurate, does not represent essence of the object of this very form. It is necessary to cognize the structure of the object and its forming structural connections. An artist does not have such opportunity, he needs to become scientist (botanist, zoologist, anatomist), or physicist (if it is music) for that matter. And there is an abyss between art and artist. Artist does not cognize this abyss, but rather unconsciously, intuitional feels is as an impression. And this very motion is called artistic work. It works as «exact fantasy», but not as simple picture of imagination. Fantasy here is based on intuitional knowledge of structure, and thus outlines its own structure on the basis of the former. Letters of Van Gogh, written in simple, unpretentious language, possibly, just due to this external simplicity appear to be one of the most piercing manifestations of this existential struggle. Van Gogh demonstrates shocking, inflexible zeal in his desire to continue the chosen path. He writes, actually, about omnipersonality of artistic work. This interaction with «iron wall» appears to be effective only on condition of internal structure-forming work, that includes reasoning, searching for adequate sentations, integrity and senses. It is presumably possible to interpret Van Gogh in following manner: «tree will come back to life», when internal work is done and adequate psychological structure emerges as a result of this work. This strucrure in autographic (and undoubtedly changed) form will be transferred on a picture. And everything other appears on this picture for a reason, not simply by itself: it is a form, created and limited to the scope of picture by its artist, for this expression to form outlined and experienced piece of art. Other people can experience it in their different ways, but they will necessarily have the experience, if the process of creation took place like this. Dialog, conversation with nature is beginning and ending of structure formation in works of Van Gogh. Maybe for this reason it was not very popular in his lifetime; maybe that is why his works look somehow strange, and even modern demand on them is hardly related to that we actually learned to imagine and follow the dialogue of Master with nature in intense and hard-working way and only then to go back to the image which can talk to us only upon such conditions.
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