Redukcija u fenomenologiji i slikarstvu
Reduction in Phenomenology and Painting

Summary/Abstract: The article establishes a premise that the artist differs from a philosopher in that he is by the very nature of his work already in the plain of experience of the phenomenological reduction. Starting with the methodological assumptions of phenomenology, which value above all the departure from the boundaries of mundane philosophy, the author points out that modern art finds the notions of holding onto in any form the reproduction of existing reality very foreign. The second part of the article analyses the philosophical insights which interpret modern painting as the spontaneous negation of the natural attitude. The representation of the transformation of the term of abstraction additionally illuminates the relationship between of phenomenology and modern art. Departing from the expressly negative and the affirmation of the positive meanings of abstraction come from the fundamental change in the relation towards the existing world. If for phenomenology abstracting means practicing a view that from its own freedom creates new forms, named by the ancient term eidos, then we are discussing a generality that transcends the particular phenomena of the natural world. In search for such eidos lies the foundation of the relationship between phenomenology and painting.

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