There is a link between the act of creation that happens outside of deliberate conceptualization but still under the

influence of institutional and mainstream influences, and the world of the visionary/outsider who creates purely from
intuition/imagination and their own social reference points that sit outside normative cues. Essentially, we are seeking
to question the boundaries that exist between what is considered outsider/visionary and what is accepted as being part
of the broader artistic mainstream.

All artists primarily create through their intuitive voice. Their sense of intuition is greater than their artistic tendencies
towards rationalism. Each artist uses his intuition to greater or lesser degrees, but the point at which the intuitive
process directs artistic outcomes and works without acute influence from mainstream, institutionalized discourse is the
space of exploration we seek to engage with. At what point can an artist be considered an intuitive or visionary artist, as
per Raw Vision Magazine’s definition of an outsider artist? Where does the continuum shift in this creative process, and
who is the arbiter of this analysis? Who determines when a person’s output is being guided more fully by their intuitive
forces than by tamed systems of thinking?

Lunn and Marshall sit further along that continuum towards intuitive process than Keyes and Paulsen. What is
interesting is the way each artist responds to the battle between the rational self and the intuitive self, sometimes
taking the form of random spontaneous expression, other times manifesting in the application of built surfaces
encouraging new pathways into creative experience. All of them create from radically diverse positions of privilege and
experience within Western Canadian culture. What links them is their ability to access the creative force within them
and externalise visionary concepts and participate in the process of making their art real without a profound level of
planning and preconceived articulation. Their art is a means of self-expression and a way to spew out a churning need
inside them to create.

The belief that art originates in intuitive rather than rational faculties was worked out historically and philosophically in
the somewhat wearisome volumes of Benedetto Croce, who is usually considered the originator of a new aesthetic.
Croce was, in fact, expressing a very old idea. Long before the Romantics stressed intuition and self-expression, the
frenzy of inspiration was regarded as fundamental to art, but philosophers had always assumed it must be controlled by
law and by the intellectual power of putting things into harmonious order. This general philosophic concept of art was
supported by technical necessities. It was necessary to master certain laws and to use intellect in order to build Gothic
cathedrals, or set up the stained glass windows of Chartres. When this bracing element of craftsmanship ceased to
dominate artists’ outlook, new technical elements had to be adopted to maintain the intellectual element in art. Such
were linear perspective and anatomy.

1. The passage suggests that which of the following would most likely have occurred if linear perspective and anatomy
had not come to influence artistic endeavor?
(A) The craftsmanship that shaped Gothic architecture would have continued to dominate artists’ outlooks.
(B) Some other technical elements would have been adopted to discipline artistic inspiration.
(C) Intellectual control over artistic inspiration would not have influenced painting as it did architecture.
(D) The role of intuitive inspiration would not have remained fundamental to theories of artistic creation.

2. The passage supplies information for answering which of the following questions?
(A) Does Romantic art exhibit the triumph of intuition over intellect?
(B) Did an emphasis on linear perspective and anatomy dominate Romantic art?
(C) Are the intellectual and intuitive faculties harmoniously balanced in post-Romantic art?
(D) Are the effects of the rational control of artistic inspiration evident in the great works of pre-Romantic eras?

3. The passage implies that which of the following was a traditional assumption of aesthetic philosophers?
(A) Intellectual elements in art exert a necessary control over artistic inspiration.
(B) Architecture has never again reached the artistic greatness of the Gothic cathedrals.
(C) Aesthetic philosophy is determined by the technical necessities of art.
(D) Artistic craftsmanship is more important in architectural art than in pictorial art.

4. In context of the passage, an ‘outsider’ refers to?

(A) an artist who creates primarily out of rational considerations rather than intuition.
(B) an artist whose work transcends the accepted conventions of society and standards of art world
(C) an artist whose intuitive faculties transcend all limits of rationality
(D) an artist whose work is controlled by intellectual considerations

5. All of the following are true as per the passage, except:

(A) there is a commonality between artists who are part of coterie of at world and those who operate as lone wolves.
(B) rationality tempers the free flowing artistic intuitive
(C) Keyes was less intuitive as an artist than Lunn
(D) Benedetto Croce is established as the originator of the intuitive aesthetic of art.