continuation of this original idea can best be traced by studying the styles of painting and the
nature of the creative process. It is the author’s next hypothesis that the “architecture” of the
oeuvre and the character of the creative process are closely interdependent. When dealing with
the creative process we have to be concerned with the total creative output ot the artist. Single
works of painting are mere variants of the real work of art which is the painter’s oeuvre.
Important for the studies here proposed is also the moment of stopping work on a painting
and the reasons for doing so. The recognition that a painting is finished does not always follow
from the artist’s work schedule. By studying “the moment of stopping” the author can distinguish
two modes of creation: spontaneous creation in the act of painting, “total immersion in the act
of painting”, and methodical realization, approaching the goal set up beforehand (the example
of a copyist).
The author is also concerned with such moments of the creative process which, although
freąuently interpreted, have yet been viewed in a different perspective, e.g., appearance of a title,
changes of a title introduced by the author, signing a canvass, pacing inscriptions on its reverse etc.
Translated by Teresa Balazy-