Academic literature on the topic 'Ukrainian Landscape painting'

The article considers the problem of national specificity of expressionism in Ukrainian painting of the first third of the XX century. In this regard, the works of leading representatives of this trend in Ukrainian avant-garde painting are analyzed. The issue of regional features of expressionism in the context of artistic and stylistic features of Ukrainian painting of the first third of the twentieth century is also raised. Based on the analysis of paintings, it was determined that Western Ukrainian artists often used the synthesis of secession (often borrowed while studying at the Krakiw or Munich academies of arts) and expressionism. At the same time, it was found that Central and Eastern Ukraine develop expressionism in combination with cubism, abstractionism, constructivism. The article also reveals the features of national identity, invariably present in the works of Ukrainian expressionists, extended to the powerful dynamics of lines, color contrasts, tonal vibrations. Thematic diversity of works by O. Novakivsky, S. Hordynsky, V. Lasovsky, V. Khmelyuk, O. Hryshchenko and others covers images of the people, various states of nature, still life, landscape, portrait. It is proved that Ukrainian representatives of expressionism, enriching their own painting culture and basic professional qualities in leading European art schools, developed the problem of color, combined the latest formal experiments on plastic form and the identity of national traditions.

Background. The article highlights the stylistic search for secession (modern) in the context of formative principles in Ukrainian painting of modernism. Objectives. The work reveals the features of modern, stylistic, pictorial, ideological search of a number of Ukrainian artists of the first third of the twentieth century. The genre differences of the principles of secession in Ukrainian painting and their synthesis by other stylistic tendencies are highlighted. The philosophical and ideological-aesthetic basis of secession in the art of the first third of the XX century is studied. The decorative beauty of nature invariably dominates in A. Manevych's landscapes. He stylizes its forms, synthesizing in his work the latest artistic trends of Impressionism, Post-Impressionism, secession in combination with realistic traditions of the Ukrainian landscape genre. F. Krychevsky in his work combines the innovations of secession with the decorativeness of folk art. His works are characterized by breadth of design, confidence in drawing, attention to detail, epic images. M. Zhuk was close to literary symbolism and secession, most developing in his own work genres of decorative panels and portraits. The artist resorts to symbolism, poeticization of images, boldly filling them with associations. The work of V. Maksymovych, as well as M. Zhuk, demonstrates connections with the art of secession and symbolism. His panels - unusual in design and technique - are full of romanticism, combining the real and stylized. The defining feature of K. Piskorsky's work is the depth of his artistic worldview and philosophical nature. The balance of compositional elements, rhythmicity, geometry of volumes and clear linearity are among the main arsenal of the artist's means of expression. Results. The article proves that powerful inspirations of secession came to our lands through artists who studied in Krakow, Vienna, Munich: M. Zhuk, F. Krychevsky, O. Novakivsky, O. Murashko, A. Manevych. The publication highlights the regional features of secession in Ukrainian painting: the attraction of Western Ukrainian artists to monumental and decorative religious compositions, and Eastern Ukrainian - to paintings on secular themes. The national sources of secession in Ukrainian painting, which are organically combined with Western European figurative and plastic principles, are also indicated.

The article analyzes artistic and stylistic features of the landscapes of Ivan Honchar in the early period of creativity (1930s ‒ 1950s). The source base study of the artist's creative heritage testifies to the lack of information in the scientific circulation on the creative search and his works of these decades. Thus, the National Center of Folk Culture "Museum of Ivan Honchar" archives store plein-air works of the artist, which are currently not listed in any catalog, the inventory of which is not detailed by type of work. However, it was the early period of painting, characterized by Ivan Honchar's appeal to the realistic method of depicting nature, that laid the foundations for the author's vision of the equivalence of the Ukrainian landscape and folk costumes on canvas. The melodic, lyrical early Ivan Honchar's landscape accurately reproduces the nature of his favorite area. In his works, the author retains the habit of building a work of art on the principles of a realistic school. The landscapes are typical of the traditionally constructed composition with a pronounced distinction of three plans, a clear form structure, accurately pictured state, the exceptionally authentic color. Working in the open air, the master tries to capture fleeting changes in lighting and enrich the color scheme using the impressionist painting style. However, Ivan Honchar abandons some other principles of creating the image of the French Impressionists of the 1860s which blur the real forms making them completely unrecognizable.

Modern Ukrainian art has a heterogeneous, rather rapidly pulsating character. Its latest history formally begins in 1991, when Ukraine began to write its own art history. Stages of development of contemporary Ukrainian art in the first quarter of the 21st century became extremely short. The most extreme of them to date has a duration of only one and a half years – It began on February 24, 2022, from the moment of the full-scale invasion of Russian troops into the territory of Ukraine. It was the war that became the Rubicon that changed the value orientations of artistic processes in Ukraine. The article is an episodic review of the creative biography of the Kyiv artist, painter, designer, scientist Olga Karpenko of the wartime era. The purpose of this investigation is to supplement the picture of the creative chronicle of Olga Karpenko, emphasizing the reasons that provoked a change in her style and plot. She possesses all the advantages of genre variety – portrait, still life, plot compositions (of different directions), but the landscape always attracted the most attention – free, fast, sketchy, light. But the main note that affects all of Olga Karpenko's work since February 2022 has become the note of war. A comparative analysis of the painting style of the previous years, when a light palette, textured painting, and impressionistic influence prevailed, with the creativity of the two war years, when both the subject of the painting and the color scheme, was made. The reasons for these changes are highlighted, the analysis is based on the material of the exhibition “War and Victory”, which took place in the “Hlibnya” gallery in May-June 2023. The narrative canvases, portraits, landscapes of the artist, created during 2022-2023, are highlighted, and the peculiarities are analyzed transformations of artistic language, reasons for stylistic changes. Emphasis is placed on colors, rhythms of painting. Two canvases of 2023 are highlighted as a visualization of the “victory code” in Olga Karpenko's painting of the war period.

The aim of the article is to explore sources that highlight the importance of aesthetic design of the city, to analyze the current state of folk decorative painting in the urban environment in Ukraine, in particular, its changes and transformations, as well as the use of folk painting in murals in particular technological aspects. Research methodology. The following research methods were used to achieve the goal and solve the tasks: analytical (to study the scientific literature and sources), deductive (to summarize based on the above statements), inductive (to summarize empirical data based on logical assumptions from specific to general), as well as empirical research methods – comparison and generalization. The scientific novelty of the article is the study of the aesthetic design of the city in general and the use of Ukrainian decorative painting in the context of creating a modern image based on national identity. It is important to conduct a comparative analysis of the murals already available in the urban space, which are based on elements of Petrykivka and Samchykivka paintings, as well as the art of Maria Primachenko. Based on the analysis and identification of the degree of harmony of murals with the environment, it was found out what guidelines designers should follow in the future to create a harmonious space of the city. Conclusions. In Ukraine, along with the popularization of murals, there is an active introduction of folk techniques and elements that meet the requirements of the time, return to national traditions and the process of awareness of national self-identification. As a result of the analysis of examples of application of a national decorative list in aesthetic registration of the city we come to a conclusion that not all of them present successful transposition of traditions into modern design. Ukrainian painting in its original form look organic in the environment in which it had originated, namely in the interior and exterior of rural houses, because it has a visual continuation of the motifs of nature. Therefore, the graffiti that depicts transformed elements of folk painting and a synthesis of traditions with modern trends look best in an urban environment. In addition, the study identified a problem of inconsistency between certain murals and the environment in which they are placed, resulting in a disharmonious effect. Therefore, in transposing folk decorative painting into the urban space, it is important to take into account the environment, in which it is planned to apply the painting, in particular, the composition of the urban landscape from different angles, as well as its colors in general.

The article examines the features of the perception of the urban environment as a specific phe- nomenon. The article considers the artistic works of a group of contemporary Ukrainian artists P. Makov, A. Sai, L. Dzhuraev, A. Priduvalov in the genre of urban landscape from the point of view of a conceptual approach, which allows us to understand the general direction of development of this type of genre. The works of contemporary Ukrainian artists reflect how a modern city creates an endless combination of connections between different aspects of life and the corresponding various forms and impressions. The article analyzes the works that the authors demonstrated as their reflections on changes in the urban environment in special creative projects. The urban environment causes a creative person to strive to convey his atmosphere, images, rhythms in his own language. For centuries, artists have depicted the urban space, but it was in the twentieth century that the transformation of the urban environment into an urban one contributed to the fact that the city became a source of special inspiration for subsequent times. The theme of urbanism is specific in the work of contemporary Ukrainian artists, where the very phenomenon of the city is the basis of creative inspiration. The aim of this work is to study the conceptual and programmatic works of contemporary Ukrainian artists to reveal the theme of urbanism in painting and the main trends in displaying the city as a concept in the work of artists.

The purpose of the article is to investigate the significance of the European portrait canon in the genre painting by Mikhailo Guida: "Kuban Wedding: Dedication to Great-Grandfather Demian Doroshenko" (2004). Methodology. The historical-cultural, comparative, iconographic, iconological, and hermeneutic methods are used. Results. Based on a comparison with compositions on the theme of marriage in the art of antiquity, the Renaissance, and the Modern era, in Guida's painting the following has been identified: the presence of a spiritual centre (icon); the role of symmetry in constructing the ritual composition; the national character of the images and symbols (Ukrainian land, home yard, clothing, flowers, ritual objects). The wedding portrait of the Cossack family was created in the iconography of ceremonial aristocratic portraits, developed by Titian, Tintoretto, Velasquez, Rubens, Van Dyck, and Whistler. Guida created a new form of portrait and self-portrait in the historical portrait, endowing the image of ancestors with the individual psychology of a person in times of crisis, with its inherent reflection and the desire to understand one’s place in the universe. In the composition of the Ukrainian painter, there is a sacralisation of the land and the house-yard through the connection with the universal. The laconic composition plastically corresponds to the definition of the Kuban Cossack family's place in the steppe landscape. The family is shown as a monolithic integrity, which includes horses embodying the energy of nature. The golden ratio of the composition contains the archetype of the cross. The image of the birth-giving earth is revealed by the horizontal of fertile black soil. The family is included in the spiritual vertical of the ritual "axial time" – Axis Mundi. In the connection between heaven and earth, the strength of the Ukrainian lineage and people is affirmed. The scientific novelty of the publication lies in the fact that, for the first time, a comparison is carried out of the ideological content and the form of Guida's painting with ritual compositions on the theme of weddings and the canon of European aristocratic portraits. The art of the Ukrainian painter is incorporated into the context of European art. Practical significance. The presented materials, their artistic-stylistic analysis, and generalization can be used in scientific research dedicated to the art of portrait-painting in Ukraine.

Pavelchuk I. The search for Cezannism in the practice of Adalbert Erdeli of 1930–1940. The paper explores the trends of Cezannism in the artwork of the prominent Transcarpathian painter Adalbert Erdeli (1891–1955), who was memorized in the history of the Ukrainian art as one of the founders of artistic education in Transcarpathia. Chronological systematization of the visual tendencies in the artwork of A. Erdeli: Impressionism (1915–1926), Cezannism (1930–1940), Fauvism (1943–1955) – was never performed in the Ukrainian art studies before. The process of mastering the principles of Cezannism has become the subject of a dedicated scientifi c study for the fi rst time. Systematized material is considered in various genres of Adalbert Erdeli’ work: landscapes, still-life and thematic compositions. The art review is performed by comparison of the iconography of the Cezanne’s scenes and the artistic interpretations of Adalbert Erdeli. Objectives. The author’s task was to reveal refl ections of Cezannism in the different genres of A. Erdeli’ work. On the basis of results obtained, to systematize the patterns of the fi ne-art process that took place in 1930–1940’. The main focus was the analysis of the iconography of the Cezanne’s scenes of 1859–1890’, which were the object of A. Erdeli’ artistic interpretations up to 1950’. Methods. The study is performed by the art analysis using the method of iconographic comparison. Biographical and comparative research methods proved to be important. The application of the interdisciplinary approach made it possible to ascertain the similarity and make a distinction between the iconography of the Cezanne’s scenes in the artwork of A. Erdeli. The study was carried out in 2010–2018 based on the analysis of paintings from holdings of the Transcarpathian Regional Art Museum named after Joseph Bokshay (TRAM) and private collections, which exhibited paintings of A. Erdeli twice in the Kyiv gallery “NU ART Gallery” (25.05–25.06. 2011, 20.09–27.10. 2018). Since A. Erdeli got a higher education in Hungary, it has actualized the issue of studying the leading tendencies of Hungarian painting at the turn of the 19th and 20th centuries, which were studied at the Hungarian National Gallery in October-December 2014. The main attention was paid to the study of the work of Hungarian colorists: Revesz Imre, Bela Ivanyi-Grünwald, Ferenczy Karoly, Simon Hollosy, Jozsef Rippl-Ronai. Results. In the early 1930’, after A. Erdeli returned from France, he became interested in the tendency of Cezannism, which spread to all genres of his work. The productive trend was realized in the landscapes of the 1930–1940’: “The Uzh River”, “Over the Uzh River”, “The Water Landscape”, “Trees over Water”, “The River Landscape”, “The Pond Landscape”. Although the above-mentioned sketches were created on the plain air, the creative tasks went beyond the bounds of naturalism. Images created by A. Erdeli render his associative impressions of nature. The scenes with reservoirs symbolically symbolize the idea of the illusory nature of life. The scenic iconography is similar to numerous Ce- ВІСНИК Історія мистецтва zanne’s motifs, “The Banks of Marne” (1888). A completely different adaptation of Cezannism revealed in the genre of still life. The plots of 1930–1950’ demonstrate the gradual mastering of experience: from a limited palette in the 1930s to a bright chromatic scale in the 1940s. In the still-life composition, there were shifts towards decorative and plane generalization of forms. Similar processes are observed in still-life pieces of Cezanne in 1880–1890: “Three Pears” (1879) from the National Gallery of Art in Washington; “Still Life with Pomegranate and Pears” (1890) from the d’Orsay Museum; Still Life with the Apples (1890) from the State Hermitage Museum. The artwork of A. Erdeli during the late Cezannism period of the 1940’ had much in common with the work of P. Konchalovsky in 1920’. Interpretations of Cezanne’s “The Bathers” held a remarkable place in the work of A. Erdeli in 1930–1946: “The Bather”, “Nude”, “Nude Sitting” (1930s); “Landscape with a fi gure” (1935), “Nude among the Trees”, “The Bathers” (1937), “A model. Awakening” (1946). The “Nude Among the Trees” (1937) is a unique one, which can rightly be credited to the masterpieces of late A. Erdeli. In this painting, the artistic synthesis of A. Erdeli reached its highest apogee. This artwork combined all the potencies of Cezannism: Expressionism, Fauvism, Cubism, and Symbolism, manifested in a single impulse of professional instinct. Conclusions. Features, which were just outlined in the work of A. Erdeli at the beginning of the third decade of the XX century, already in the middle of 1930s developed with complete convincingness: monumentality, simplicity, schematism, frontal, static, decorative planes – all the signs of painting A. Erdeli strengthened. The Ukrainian painter established the artistic myths on the new formal stage of the art synthesis. When absorbing P. Cezanne’ experience, his formal traditions became a productive foundation for the birth of a new and qualitatively different Ukrainian art of the 20th century. Absorption of the Art Nouveau experience in the practice of A. Erdeli, in particular, mastering the fundamental basics of Cezannism, confi rms the organic affi liation of the contemporary Ukrainian art to the European culture. That gave a historic chance to bring the artistic tradition of Transcarpathia from the provincial corner to the path of wide international recognition. Keywords: trend, color, symbol, post-impressionism, style, formalism, Cezannism, synthesis of arts

The article is dedicated to the half forgotten Ukrainian artist Mykhailo Kozyk (1879–1947) – a master of impressive still lifes, portraits, landscape paintings, genre paintings and monumental church paintings, as well as an artist of original illustrations. Kozyk belongs to the generation of artists who entered the arena of Ukrainian cultural and artistic life at the beginning of the 20th century. The heyday of his talent came in the 1930s – the first half of the 1940s. During the years of his work, M. Kozyk created more than 500 paintings and monumental paintings, as well as several hundred graphic compositions (most of which are considered lost). For more than 25 years, he was involved in the formation of higher art education in Ukraine. Kozyk taught and was the head of Kyiv Art School (1915), held the position of professor at the Kyiv Institute of Architecture (1918), and Kyiv Art Institute (1925); was a teacher (1932), and then a professor at Kharkiv State Art Institute (1939), acting director of the National Institute of Art during the German occupation of Kharkiv (November 1941 – November 1942), taught painting at the Lviv Academy of Arts (1944). Among his students, the most famous are: Ye. Volobuyev, V. Golovaty, N. Umansky, F. Nyrod, O. Vandalovsky, M. Ashikhman, M. Slipchenko, L. Chernov, V. Yatsenko, G. Tomenko, O. Yakovenko, S. Gruzberg. A purposeful study of the artist’s work began after 1979, when thanks to the insistence of children, friends, and grateful students, the 100th anniversary of the artist’s birth was celebrated. During the time of independence, the period of the early 1910s, and middle 1920s of the master’s work was well studied. However, the period of maturity of the master associated with Kharkiv (1932–1942), as well as the years of his forced stay in Western Ukraine (1943–1946), are not sufficiently reflected in the existing publications. A large part of the present publication is devoted to the last fourteen years of the artist’s life and work. A significant part of the illustrations is published for the first time.

The paper summarises conservation research carried out on abandoned wooden Ukrainian Greek-Catholic churches from south-eastern Poland. As an example, two architectural objects remaining in complete ruin are discussed: the church in Babice and the church in Miękisz Stary. Both of them were erected in log construction and have rich interior polychrome. Conservation methodology was discussed, which must combine often contradictory challenges and aspects: both the need to stabilise the architectural body (which requires the replacement of a significant amount of historical substance) and the intention to preserve as much as possible the remains of the interior painting decoration (in the majority, polychrome was made directly on structural elements). The method of polychrome transfer was therefore discussed, which guarantees the preservation of the authentic character of the temples as well as their aesthetic and historical value. In addition, a detailed study of the remains of the iconostases of both temples (icons are currently stored in museum warehouses) and the issue of the possible restitution of the iconostases, along with a discussion of the necessary technical solutions for this procedure, are presented.