Examining the Concept of Intuition in Art from the Perspective of Two Expressive Philosophers; Croce and Collingwood

This research looks at the role of intuition in art, followed by the view of two great expressionist philosophers of the 18th century, “Croche” and “Collingwood.” First, we get acquainted with the theory of expression and the concepts of intuition and imagination. Then we describe intuition in the art according to the definitions of Croce and Collingwood. The result of this research is that, according to Croce’s opinion, art is the same as intuition, and a lot of feeling gives unity to intuition. Intuition is an expression of intense emotion and can only be created when intense emotion is its source and foundation. What gives art heavenly tenderness is not imagination but intense feeling. At the same time, Collingwood’s point of view is based on Croce’s aesthetics and his knowledge of the shortcomings of Tolstoy’s point of view. The central role of Collingwood’s aesthetics is based on imagination. He takes and uses the two words of impressions and imagination from Hume. Impression can be considered a sensory experience. Like the sound we hear or the sight we see, these concepts have intellectual content but do not have sensory content. In Collingwood’s view, based on every action, there is an imagination, an impression, or a sensory experience that is transformed into an idea by mental activity. According to him, every imaginary experience is a sensory experience that is brought to the level of imagination based on the act of awareness. Collingwood’s opinion can be interpreted in such a way that the sensory and emotional experience in the work of art is not a raw felt experience or the same impression, and it can be interpreted as an experience changed by the artist’s thinking, imagination, and imagination. In general, it can be concluded that what Croce calls intuition in art, Collingwood expresses it in the form of imagination.