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Journal articles on the topic 'Ukrainian Landscape painting'
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1
Babunych, Yulia. "National identity and regional features of expressionism in the context of artistic and stylistic features of Ukrainian painting of the first third of the twentieth century." Bulletin of Lviv National Academy of Arts 48, no. 48 (September 3, 2022): 4–10. http://dx.doi.org/10.37131/2524-0943-2022-48-1-1.
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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.
2
Babunych, Yulia. "National-romantic manifestations of secession in the Ukrainian painting of modernism." Bulletin of Lviv National Academy of Arts, no. 43 (February 25, 2020): 20–25. http://dx.doi.org/10.37131/2524-0943-2020-43-3.
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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.
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Kovalenko, Natalia. "Realistic landscape in the works of Ivan Honchar." Culturology Ideas, no. 19 (1'2021) (2020): 90–101. http://dx.doi.org/10.37627/2311-9489-19-2021-1.90-101.
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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.
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ROMANENKOVA, Yuliia. "“VICTORY CODE”: THE PAINTING BY OLGA KARPENKO AS A REFLECTION OF ARTISTIC PROCESSES IN UKRAINE DURING THE WAR." ART Space 1, no. 4 (2024): 19–35. http://dx.doi.org/10.28925/2519-4135.2024.42.
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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.
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Chanzhar, Anastasiia. "Transposition of Folk Decorative Painting in the Modern Urban Environment in Ukraine." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 1 (May 27, 2022): 94–105. http://dx.doi.org/10.31866/2617-7951.5.1.2022.257484.
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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.
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Bludov, Andriy. "Features of the conceptual approach of contemporary Ukrainian artists in the genre of urban landscape." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 22–29. http://dx.doi.org/10.33838/naoma.29.2020.22-29.
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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.
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Tarasenko, A. A., and O. A. Tarasenko. "TRANSFORMATION OF THE RITUAL GENEALOGICAL PORTRAIT IN PAINTING OF MIKHAILO GUIDA: EUROPEAN CONTEXT." Art and Design, no. 1 (May 23, 2023): 53–64. http://dx.doi.org/10.30857/2617-0272.2023.1.5.
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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.
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Pavelchuk, Ivanna. "The search for Cezannism in the prac-tice of Adalbert Erdeli of 1930–1940." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 2 (June 15, 2019): 82–88. http://dx.doi.org/10.33625/1993-6400-2019-2-82-88.
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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
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GALCHENKO, Valeriy, Valentina NEMTSOVA, Volodymyr SACHKO, and Igor CHUDIYOVYCH. "MYKHAILO KOZYK – ARTIST AND EXECUTIVE: RETURN FROM OBLIVION." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 1 (June 30, 2023): 140–76. http://dx.doi.org/10.33625/hudprom2023.01.140.
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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.
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TOMASZEK, Tomasz. "A Study of Abandoned Ukrainian Wooden Churches in Poland. Current State and Conservation Recommendations." International Journal of Conservation Science 14, no. 3 (September 15, 2023): 887–912. http://dx.doi.org/10.36868/ijcs.2023.03.08.
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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.
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Pavelchuk, I. "The Formation of the Post-Impressionist Trend in the Creative Practice of Oleh Harahonych." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (December 2020): 44–53. http://dx.doi.org/10.33625/visnik2020.03.044.
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The article examines the artistic experience during the period of 1980–2000. Oleh Harahonych’s individual painting style was formed at the turn of the 1960s and 1970s under the influence of a large-scale talent of the famous Ukrainian painter Yosyp Bokshay (1891–1975). O. Harahonych visited Bokshay’s Uzhhorod workshop several years in a row. Having escaped the system-defined academic education, the post-impressionist-to-be was experimenting with the new formal means of reproduction. Being primarily a landscapist, the painter began to develop new dynamic angles of the composition, involving the fragments of a high-altitude highway in presentation of his works, which ensured that his landscapes obtained a sense of modernity. Winding Carpathian roads suggested to the artist a zigzag structure of the composition, which was based on the principles of polar dynamics. In O. Harahonych’s landscapes of the mid‑1980s, the contrast of warm and cold color gradations and intensity of colors enhanced. The dominance of pure colors harmoniously combined with simple shapes that focused on an acute triangle. The renewed lyrical sense of the landscape was reproduced by the simplest artistic means which included decorative ornaments, logic of compositional accents, and clarity of silhouettes. It was realized in a series of plein‑air images of the 2000s. In search of new visual means, Oleh Harahonych’s imagination was ahead of the visual technologies of easel painting of that time. Developed in the 1980s, the author’s style visually resembles the digital presentations in Photoshop. The author’s synthesis of color and form reveals an integral connection between post-impressionism and design, which Roger Fry called “Vision and design” in his book a century ago.
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Brayko, Oleksandr. "Coloristic Expressive Tools in Prose by Volodymyr Drozd." Слово і Час, no. 8 (August 11, 2019): 78–97. http://dx.doi.org/10.33608/0236-1477.2019.08.78-97.
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The paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It focuses on the functions of colors and color effects in the text, their analogues in painting, and the role of the colors in showing semantic and mood accents or expressing some implicated meanings. The researcher traces accordance of the literary means with expressive resources of painting art as they are recorded in the theory of art.
Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s attention to the plastic wealth of the outside world and its coloristic potential. The search for the graphic forms of a psychological analysis, as well as the mood dominant, the background of event, the expressive color markers of semantic accents or meaningful image components of exposition, and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the culture of visual perception and constructive imagination.
The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature. Such artistic approach to the theme generates enormous, and at the same time ideologically typical, pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art.
The development of coloristic culture in the works of the prose writer is rooted in his attention to the rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety of sensory experience and underline important semantic implications the writer skillfully works on the parameters of achromatic light environment which becomes symbolized or transformed in a fantastic and hyperbolic way due to the expressive function of light markers.
The light and color contrasts or combinations of hues may underline some essential semantic aspects of the verbal picture components within the reproduction of a landscape. The analysis of figurative and modeling means proves the artistic functionality of the verbal analogues of painting in V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.
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Khrapachov, O. "Role of Creative Symposia in forming the Artist." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 235–43. http://dx.doi.org/10.33838/naoma.27.2018.235-243.
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The cooperative creative work in the art has always facilitated the creation of artistic works of high quality and required this process to be organized in a certain way, from both material and ideological perspective. There are plenty of creative symposia and plein-airs in Ukraine. Therefore, in our opinion, it is important to generally characterize this process and to reveal trends and prospects for creative projects in the modern artistic world. The plein-air is instructive from both theoretical and practical perspective. Exactly on the plein-airs an artist experiences a first shock from what he has seen in the nature; this sinks deep into the mind and nourishes both studies from nature and the whole process of making of a painting in the art studio. The plein-air gives the freshness of light perception to the artist; colors become clear, lightful and transparent. Each hue brings the artist curious brain to a big secret hidden in the nature. Its motifs are inexhaustible for learning its each fragment and manifestation. The life, country and its history give all the most beautiful things to the artist. In most cases impressions got on the plein-air are brought to the art studio and generalized paintings are made exactly there. And this is not a wave landscape portrait but the generalized image of Ukraine. Fundamental plein-airs and symposia among creative teams are organized with the support of the government or private organizations that feel involved in the process of creating a culture. Organizers set a main theme of the symposium, cover the accommodation and meal as well as tour expenses, finance a report exhibition of the creative team, catalog etc. Artistic projects are sponsored by large corporations or business structures as well as by diplomatic corps as art patrons which can crank them up a notch in the society not thanks to the economic basis but thanks to the art. We can see how the Ukrainian business intellectuals grow, intellectuals that understand the role of arts patronage well by following the example of their high-ranking foregoers from the beginning of the XX century. Round tables at symposia offer an opportunity to discuss prospects of the modern art and its tasks; such discussions are the anvil upon which the spark of truth is struck. In artistic groups the inner psychological space is organized more quickly: What is meant here is the inner world of each artist. In the environment with the certain spacing it is possible to simulate individual features of perception of reality, response and life style, i.e. life journey. The Ukrainian folk artist Vasyl Perevalsky emphasizes that all artists are different. Not everybody is able to work in the creative team. It all depends on psychological features of the artist. There are artists who, when making a painting, work more effectively in their art studios by going deep into their ideas, other world and logic of perception. In the opinion of the Ukrainian famous painter Vasyl Hurin, “a thematic painting must be unique and not repeat the past things. It must maturate and naturally go up”. Artistic symposia and plein-airs play a major role in forming the modern artistic idea. By participating directly in symposia the artist can understand regularities of individual life, discover his reserves and thus change his behavior by stimulating development and creating a project of life.
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Maistrenko-Vakulenko, Yuliia. "Drawing legacy of professor of Kyiv State Art Institute Kostiantyna (Kostia) Yelevy." Bulletin of Lviv National Academy of Arts, no. 40 (July 1, 2019): 46–54. http://dx.doi.org/10.37131/2524-0943-2019-40-6.
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The study attempts to illuminate and analyze facts from the biography of the professor of the Kyiv Art Institute Kostia Yeleva. The creative and pedagogical path of Kostia Yeleva is investigated, in particular, attention is paid to the artistic analysis of his drawing heritage. The chronology of Professor K. Yeleva's teaching period at the Kiev Art Institute has been clarified. Kostya Yeleva played the role of a historical link between M. Boichuk's school and the modern art process through his students: professor of the department of drawings Y. Iatchenko, professors of the department of painting and composition T. Holembiievska, O. Lopukhova, V. Puzyrkova, V. Chekaniuk, V. Shatalina, T. Yablonska. In turn, they taught many generations of students. The creativity of the K.Yeleva as an drawing artist was studied. Based on a educational and methodological collection of the department of drawing, the artist's heritage was analyzed by the varieties: drawings of landscape and living nature, sketches of figures, drawings of the figure, head and nude nature. The analytical approach of the master to the interpretation of form, generalization, monumentality, linear solution with minimal input of tone, emphasized constructiveness are emphasized. A comparative analysis of K. Yeleva's drawings with the works of M. Boichuk, O. Bohomazov is carried through. Dating of certain drawings of the naked nature of K. Yeleva in the 1920s-1930s is specified. The results of the research give reasons to claim that Kostya Yelev made a significant contribution to the development of Ukrainian art of the twentieth century.
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Mishchenko, Iryna. "Nature and image: a city in the art of Chernivtsi of the 20th – the beginning of the 21st century." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 149–53. http://dx.doi.org/10.32461/2226-3209.2.2021.239994.
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The purpose of this article is to consider the peculiarities of the reflection of the city – its architecture and inhabitants – in the works of Chernivtsi artists of the 20th and early 21st century, to analyze the differences between their views on the reproduction of urban motifs. The methodology consists in the application of the historical-chronological method, art analysis, and generalization, comparative and systematic approach. The scientific novelty lies in the introduction into scientific circulation of works by artists of the specified time, in understanding the evolution in the reflection of the city in the works of authors with various artistic orientations. Conclusions. In the paintings and graphics of the 20th – 21st centuries, several options for solving urban landscapes can be defined, among which the most common is a careful reflection of existing architectural monuments. In the 19th century in European art, in particular in Impressionist painting, the desire to convey not only the appearance but above all the spirit of the city became noticeable, depicting the townspeople, emphasizing the bustle or poetry of squares and streets. At the turn of the 20th-21st centuries the artists are no longer limited to the usual fixation of what is seen, but try to create a conceptual image of the city, to tell a story through iconic images and symbols, reveal their own position in particular and to preserve the authenticity of an object or the city in general. Such a variety of approaches for creating an urban landscape is partly due to differences in preferences formed during studies in art institutions and is also characteristic for the art of Chernivtsi – a city where people of many nationalities with different cultural traditions have lived side by side for centuries. Ultimately, the artists who worked here in the 20th century were often graduates not only of Ukrainian schools or universities, but also of well-known European institutions, including Vienna, Munich, Florentine, Berlin, Kraków, or Bucharest academies. While in the second half of the 19th – early 20th century the city often appears as the sum of certain architectural structures in the works of artists of Bukovina and visiting masters (F. Emery, R. Bernt, J. Shubirs), in the second half of the 19th – first third of the 20th century the artists mostly try to recreate the dynamics of urban life instead, sometimes depicted with a touch of irony, using the grotesque in the image of the inhabitants (lithography and watercolors by F.-K. Knapp, O. Laske and G. Löwendal). Subsequently, we meet emphasized mood images, in which the author's subjective perception of a particular motive, which he seeks to reproduce in a work full of emotions, is important (L. Kopelman, G. Gorbaty). A peculiar historical retrospection is present in the exquisite graphics of O. Kryvoruchko and in the distilled-finished sheets of O. Lyubkivsky, and the lyrical watercolors and sketches of N. Yarmolchuk represent the non-festive side of the city center. In O. Litvinov's paintings Chernivtsi surprises with desolation and restraint, and in M. Rybachuk's paintings it is distinguished by an unexpected riot of colors. Therefore, each of the artists creates his own image of Chernivtsi, which landscapes often become only a stimulus for the author's imagination, allowing him to depict a completely individual sense of space and life of the city.
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Akdenizli, F., and V. Chechyk. "From Kharkiv to Istanbul: Creative Work of Mykola Kalmykov – Naci Kalmukoğlu." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 96–106. http://dx.doi.org/10.33625/visnik2021.02.096.
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The article is dedicated to the art of Mykola (Nikolay) Kalmykov, whose maturity and creative activity took place in historical and cultural realias of Turkey in the 1920s and 1940s. Years of artistic formation associated with Ukraine in the first decades of the 20th century are an integral part of his creative biography. A high level of academic training, knowledge of historical styles, obtained at Kharkiv Art School, on the one hand, on the other hand, admiration for the artists of the “Seven” group, of which M. Kalmykov was an active member, for applied forms of creativity, orientation towards European modernism as a space of creative freedom determined the artistic universalism of the novice. The modernist nature of Istanbul artworks of M. Kalmykov is undoubtable. At the same time, absorbing the plastic discoveries of French modernism, the artist existed in a special emotional sphere, where there was a place for aesthetic research in the art of past epochs. In this dichotomous fusion of impressionistic worldview and passeism, most of the custom-made things were solved – mise-en-scenes for murals and theatrical scenery, historical canvases and still lifes. Exclusively pictorial ambitions were embo-died in depiction of nude figures, in portraits of relatives and friends, in hundreds of landscape scenarios, the main role in which was assigned to sunlight. Painting as such, attractive in itself, related M. Kalmykov to A. Grishchenko, the author of the plastic concept “color dynamos”. Construction of a pictorial plot on the ratio of color masses, structural framework of which was set by horizontal and vertical axes of free brushstrokes are its basic features. Creative biography and personality of Mykola Kalmykov are widely known to Turkish specialists, collectors and art lovers. Discovery of art of Mykola Kalmykov by their Ukrainian colleagues is still ahead.
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Nikitin, Andrii. "ART PROSPECTION OF YURI RUBASHOV." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 124–29. http://dx.doi.org/10.33838/naoma.28.2019.124-129.
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Rubashov — Honored Artist of Ukraine, Member of the National Union of Artists in Ukraine, Associ- ate Professor of the Department of Drawing the National Academy of Fine Arts and Architecture.Yurii Rubashov was born in Kyiv in 1947. After the end of the RCSU with the name of T. Shevchenko in 1965, he joined KSAI and till 1971 he studied in prominent Ukrainian graphists: V. Kasyana, I. Selivanov, V. Chebanyk.The artist turns to historical subjects and initiates graphic cycle, dedicated to the history of Kiev Rus and the activities of the kings who influenced the historical passing of events of that time.First of this thesis topic was a series of lithographs "Yaroslav the Wise" (1971), later — a series of graphic com- positions "Kiev Rus" (1979), a series of colored prints "Prince of Kiev", "Princess Olga, Svyatoslav, Vladimir, and Yaroslav the Wise (1992).The artist shows the greatest creative interest in landscape painting (cycles "On the Spain" (1982), "On the Sweden" (1985), "On the Jordan" (1983), "On the Armenia" (1983), "Roads of the Ukraine" (1996) and still life (Sweden Series, 2012–2013).It can be argued that Yu. Rubashov’s works absorbed the lyrics of landscapes with characteristic features of both southern and northern colors, and his still life is characterized by precise organization, a variety of styl- ized forms, which show confidence in the possession of the material and a balanced sense of compositional harmony. In the process of forming the author’s technique, he chooses the path of innovation and experiment, which in turn causes a peculiar interpretation of different technical means — a combination of materials and technologies of different nature. The artist exploits and applies multicolored pigments, oil pastels, watercolors and acrylic paints and the like, mixing everything with different solvents, which gives the opportunity to original express and crystallize a peculiar, author’s style.Drawing on the foundations of academic education, the artist experiments, seeks creative ideas and success- fully incorporates contemporary artistic problems into new imaginative solutions. This is a valuable example of growing skill and formation creative personality.In 2000 and 2015 he received first-degree diplomas All-Ukrainian Triennial of Graphic Arts, in 2012 — Di- ploma of the third stage of the exhibition-competition named G.Yakutovich.Yu. Rubashov fruitfully combines creative work with teaching. In the process of teaching his students, Yu. Rubashov not only lays the foundations of academic drawing, but also encourages to analyze creative material, to study and master the various drawing techniques and opportunities inherent in them.In the general process of contemporary search for an art, together with the academic pragmatism of the cur- riculum, the teacher, especially in the first courses of the Faculty of Fine Arts and Restoration, draws attention of the students in different artistic trends, teaches analytical and creative perception of natural objects and consciously approach the transformation of three-dimensional forms on a two-dimensional work plane of a paper sheet. These methodological principles meet the needs of modern times.The stylistic language of his works is recognizable and special. Not dwelling on what he has achieved, he im- parts his experience to the students, demonstrating the inexhaustible possibilities of drawing and the technical means of its implementation, including pastels. The high level of his works makes it possible to claim that Yu. Rubashov is a master of pastels and his contribution to the development of Ukrainian art is indisputable.
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O.O., Popadynets, and Kovalchuk O.Ya. "ХУДОЖНЯ ДЕТАЛЬ В ІСТОРИЧНИХ РОМАНАХ В. СКОТТА ТА М. СТАРИЦЬКОГО." South archive (philological sciences), no. 85 (April 12, 2021): 134–38. http://dx.doi.org/10.32999/ksu2663-2691/2021-85-22.
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Purpose. To analyze the artistic details of W. Scott’s and M. Starytsky’s historical novels to identify the author’s position on the details depicted; to compare the artistic and functional features of their local color, landscape, and objects; to show the intersections and differences in the development of both Scottish and Ukrainian literature and the interaction of different mentalities in the process of reflecting the world around.Methods. The research is carried out from the standpoint of complex literary-textological analysis, cultural-historical and comparative-typological methods.Results. As a result of the research, analysis of the types of artistic details in the historical novels of W. Scott and M. Starytsky was carried out; different types of artistic details were discovered, collected and systematized and their functions were revealed in separate works of the Ukrainian and Scottish novelist; the peculiarities of use of portrait details and landscapes, their place and role in the creative process of the writers are determined.Conclusions. Based on the analysis of the artistic detail in both writers’ historical novels, it can be argued that M. Starytsky, having mastered the experience of predecessors and contemporaries (and not only from domestic literature), developed his own system of images of the objective world and generally maintained it, albeit inconsistently, in all his multifaceted work. In this system, the writer’s scientific knowledge and his ideological and aesthetic principles were synthesized in a unique way, to which we include various factors – religious, historiosophical, national, stylistic, and so on. Scott’s experience became a kind of springboard for actively increasing the role of the authorial-subjective factor in literature and art, which is clearly defined in realistic novels of the second half of the nineteenth century, when attention was given to detailing the environment. Detailing, in the historical novels of W. Scott and M. Starytsky, serves as a historical background, conveys the spirit of the era, helps to reveal the temper and individuality of the character, his/her own artistic image, is a part of the landscape panorama as well as it is a means of emotional impact on the reader.Key words: artifact, subject detail, color local, verbal painting, portrait, ethnography. Мета. За допомогою аналізу художніх деталей романів В. Скотта та М. Старицького виявити авторську позицію стосовно зображуваного, а також зіставити художні й функціональні особливості їхніх описів місцевості, предметів і таким чином побачити перетинання і розбіжності в розвитку літератур обох країн, взаємодію різних ментальностей у процесі відображення навколишнього світу.Методи. У статті застосовано порівняльно-історичний, культурно-історичний, типологічний та контекстуальний методи при порівнянні суб’єктивних і водночас національно-репрезентативних принципів створення художньої деталі.Результати. У ході дослідження здійснено аналіз різновидів художніх деталей в історичних романах В. Скотта й М. Старицького; виявлено, зібрано і систематизовано артефакти та розкрито їх функції в окремих творах українського та шотландського романістів; визначено особливості використання прозаїками деталей портрету, пейзажу, речей, їх місця й ролі у творчому процесі письменників.Висновки. На основі здійсненого аналізу проблеми художньої деталі в історичних романах обох письменників можемо стверджувати, що М. Старицький, засвоївши відповідний досвід попередників і сучасників (причому, не тільки з вітчизняного письменства), виробив власну систему зображення предметного світу і загалом витримував її, хоч і непослідовно, в усій своїй багатогранній творчості. У цій системі своєрідно синтезувалися й наукові пізнання письменника, і його ідейно-естетичні принципи, до яких ми зачисляємо різні чинники – релігійний, історіософський, національний, стильовий тощо. Досвід Скотта став свого роду трампліном для активного підвищення ролі авторсько-суб’єктивного фактора в літературі й мистецтві, що виразно визначається у реалістичній романістиці другої половини ХІХ століття, коли посилилася увага до деталізації зображення середовища та аналізу. Деталізація в історичних романах В. Скотта й М. Старицького виконує роль історичного тла, допомагає розкрити характер та індивідуальність персонажа, виступає складовою художнього образу людини, частиною пейзажної панорами, передає дух епохи, доносить до читача авторське, сучасне переживання історії, служить засобом емоційного впливу на читача.Ключові слова: артефакт, предметна деталь, місцевий колорит, словесний живопис, портрет, етнографізм.
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MOTENKO, Yaroslav, and Yevheniia SHYSHKINA. "FUTURISTIC DIGITAL VISUAL CONTENT AS A TOOL OF RUSSIAN PROPAGANDA AT THE BEGINNING OF THE 21 ST CENTURY." Almanac of Ukrainian Studies, no. 33 (2023): 48–54. http://dx.doi.org/10.17721/2520-2626/2023.33.7.
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At the beginning of the XXI century, a noticeable segment of the digital environment of the Russian Federation became a mass representation of visual images advertising its armed expansion with the aim of establishing itself within the borders of the USSR and seizing the territories of other states. Among such digital images, illustrations in the genre of alternative history attract attention. Their purpose is to exert propaganda influence in the youth environment. The authors of these works identify Russia and the Soviet Union and suggest the public users to dream about the topic: "How would the course of world history change if the USSR existed in the 21st century?". Source criticism of these visual sources indicates that they belong to the means of informationpsychological influence, which are an integral part of the Russian-Ukrainian hybrid war. The viewer's subconscious feels the aggressive influence of a visual series of Soviet political symbols in the plot, which uses motifs from wellknown works of mass culture, as well as scenes of violence. As a result, in a viewer is formed a psychological setting for a positive assessment of the historical experience of the USSR and a tolerant attitude towards the heroization of the Soviet totalitarian past. One of the most popular plots of propaganda content is the revival of the Soviet Union as a neo-imperial communist project using advanced military-space technologies and the war of the Russian Federation with NATO. The communities "USSR-2061" and "Russian Space Society" are points of crystallization of supporters of such ideas on the Internet. These communities spread their visual messages on Telegram, Facebook, Twitter, VKontakte, LiveJournal and YouTube. As a carrier of ideological allusions are used digital paintings, made by techniques of concept and promo art. Both types of visual art are widely applied in the process of gamification of the digital space. Therefore, they correspond to the aesthetic tastes of modern youth, turning them into the main object of a visual information attack. The conceptual charge of these arts attaches to the use of historical pictorial symbols: the coat of arms and flag of the USSR, details of the landscape, interior, clothing, weapons, and transport. In the paintings depicting the metropolises of the second half of the 21st century, the viewer sees architectural monuments in the style of the Stalinist Empire. Colorful scenes of battle painting «promise» the viewer the complete destruction by Soviet soldiers of the future world of the «collective West». So, according to the authors of the article, the futuristic visual political message for the Russian regime in the course of the hybrid war turned into one of the means of informationpsychological influence, capable of performing manipulative and campaigning functions both in the Russian Federation and in other countries, that belong to the orbit of its desired political influence. The potential possibilities of using futuristic political messages as an informational weapon necessitate further scientific study of this phenomenon.
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Собкович Ольга. "ТВОРИ ПЕТРА ХОЛОДНОГО-СТАРШОГО З ПРИВАТНИХ КОЛЕКЦІЙ. НОВІ ШТРИХИ ДО ДОСЛІДЖЕННЯ МИСТЕЦЬКОЇ СПАДЩИНИ." International Journal of Innovative Technologies in Social Science, no. 2(23) (February 28, 2020): 3–9. http://dx.doi.org/10.31435/rsglobal_ijitss/28022020/6942.
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This publication analyses the artwork by Petro Kholodny Sr., the distinguished artist of the first third of the XX century, from private collections, that gives an opportunity to better comprise and study the artist's searches in different periods of his creative work in the visual-stylistic and genre-thematic spheres. The Moscow collection of easel paintings by the Kholodny family is analysed, showing a range of artistic interests up to 1917. Landscapes and sketches from this collection testify his fascination with plein-airism and, at the same time, with heritage of impressionism. Artist’s portraits and landscapes from various private collections outside and within Ukraine and little-known works of sacral painting of the Lviv period are also analysed: sketches of icons; the “Blahovishchennia” (Annunciation) icon reflecting the national line of modernist style in Ukraine. The mentioned images greatly expand the interpretation of Kholodny Sr’s searches in the synthesis of modern art and Ukrainian-Byzantine tradition and his coloristic feeling.
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SHKOLA, V. "THE ROLE OF INTERPRETATION IN THE STUDY OF MODERN WORKS (BASED ON THE MATERIAL M. KOTSIUBYNSKYI’S NOVEL «INTERMEZZO»)." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (June 1, 2023): 173–80. http://dx.doi.org/10.31494/2412-9208-2023-1-1-173-180.
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In the research, one of the many possible options for the interpretation of the iconic work of the classic of Ukrainian impressionist literature – the short story «Intermezzo» by Mykhailo Kotsiubynskyi is proposed. The researcher noted that the novel is based on three systems: «man and society», «man and nature», «man and man» according to the architecture of the work, it is divided into three parts. The first and third are characterized by monolithicity, the second by fragmentation (among the numerous images of the field: wheat, oats, flax, buckwheat, cornflowers, lark, cuckoo, etc., the central place is occupied by the image of the Sun). Like the form of a symphony or sonata in «Intermezzo», the first and third movements contrast with the second. The tempo of M. Kotsiubynskyi’s novel is also related to these musical genres: by its character, the extreme parts are close to allegro (fast), the central part – to adagio (slow). The first and third parts of the novel depict a person’s relationship with other characters. By their nature, they are energy-consuming, but the break in this communication, which the hero spent in the bosom of nature, connected him to energy resources, changed the problematic state to a desirable one, prepared him for further relations. It was observed that the episodes of the work differ stylistically: the nature of the first and third parts is expressionistic, the second – impressionistic. Crisis life situations, stress, destructive nature of communication with other people brought the character of the novel to the brink of mental disorder. His psychological state is close to the experiences of the person from E. Munk’s painting «The Scream» (an iconic work for expressionism). Instead, the hero M. Kotsiubynskyi’s stay in nature brought positive changes, helped overcome psychotrauma, and restored inner peace. Visual, auditory, and tactile images of an impressionistic landscape create a harmonious image of the world. He has a healing effect on the character of the novel «Intermezzo», revives him, forming a mood of mental balance. The paper analyzes the problem of a person’s relationship with other people and the natural environment raised by the writer-psychologist: the destructive influence of destructive social factors on the inner state of the individual and the regenerating effect of the natural environment. Key words: method of literature, interpretation, M. Kotsiubynskyi, novel, expressionism, impressionism.
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IGNATYEVA, Natalia. "THE ARTIST AT THE TURN OF THE CENTURY: THE FEATURES OF PETRO LEVCHENKO’S ARTISTIC STYLE." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 1 (June 30, 2023): 95–109. http://dx.doi.org/10.33625/hudprom2023.01.095.
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The article is dedicated to the little-studied creative work of the Ukrainian artist Petro Levchenko, and namely, to the identification of historical and cultural grounds for the quality changes in the stylistic features of his artistic manner, beginning from earlier stages of his formation, to the period of his mature mastery. The present study explored and analyzed the main artistic courses and styles of the period (end of 19th – beginning of 20th centuries), when the artist’s views on the aims and tasks of painting art underwent certain transformation, and it directly influenced the evolution of the master’s artistic search, his artistic “handwriting”. In this work certain parallels were made between the personality traits and human fate of the artist (based on the many memoires of Petro Levchenko’s life path) and his acceptance of the latest trends in the artistic life of the age contemporary to him, valid conclusions are made regarding the connection of his personal qualities and creative preferences with susceptibility to new trends in art and the new philosophy of impressionism. The article explores all the genre richness of Petro Levchenko’s heritage – the landscapes, the plein air etudes, the interior paintings. The analysis of technical, compositional, coloristic characteristics of Petro Levchenko’s creations, which were the most distinctive for understanding the evolution of the artist’s style, allowed to demonstrably confirm the conclusions made in the article. As a result of the research, which was conducted in this article, the unique style characteristics of Petro Levchenko’s art were discovered, as well as his innovative accomplishments in painting, which, in the aggregate, have the traits of an artistic phenomenon in the culture of Ukraine. The author of the article emphasizes the importance of the perspective of studying Petro Levchenko’s works, as it is a phenomenon which belongs to the Ukrainian artistic heritage as well as to the world one, and demonstrates the connection and interpenetration of Ukrainian and worldwide tendencies in the artistic culture.
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Krasnodemska, Iryna. ""Here Everything Is: Harmony, Beauty and Perfection, Nature All In One Acord Has Gone Together…" (To the 145th Anniversary of the Birth and 90th Anniversary of the Death of Maksymilian Oleksandrovych Voloshyn)." Ukrainian Studies, no. 2(83) (July 24, 2022): 255–67. http://dx.doi.org/10.30840/2413-7065.2(83).2022.261060.
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The article is devoted to the life and creative activity of the thinker, poet, artist Maximilian Alexandrovich Voloshin, whose anniversary and death are celebrated this year. His biographical pages are revealed, the versatility and brightness of his talent are shown. M. Voloshin played a significant role in the development of Ukrainian cultural and artistic life of the late XIX – early decades of XX century. He was a highly educated man: poet, publicist, literary and art critic, artist, philosopher and had a paradoxical mindset. It was in Crimea, in Koktebel, that M. Voloshin felt inspired, here he discovered his artistic talent and became a talented watercolorist and painted most of his artworks, which reflect his connection with the peninsula. He wrote Cimmeria not from nature, but from his own method of the finished image. Due to this, his favorite Crimean landscapes with poetic inscriptions were published. As a representative of symbolism and Acmeism, in poetry and painting he displayed the history and nature of Crimea. The artist wanted a person to desire to walk on this earth and breathe in the full chest of air while looking at the picture. Maximilian Alexandrovich denied the Russianness of Crimea and condemned its conquest by the Russian Empire and the practice of Russian rule in it.The artist's work has not been adequately evaluated for a long time, so we must objectively continue to study it in order to clarify the importance of his creative heritage in contemporary public life and to learn experiences and lessons for future generations of Ukrainians and Russians.
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Berlach, Oleksandr, and Oksana Lesyk-Bondaruk. "The Originality of the Artistic Search of the Volyn Artist Oleksandr Valenta." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (January 15, 2022): 153–60. http://dx.doi.org/10.33625/visnik2022.01.153.
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The multifaceted culture of the Volyn land is distinguished by a colorful palette of prominent figures in the field of art, including fine art, and their creative achievements. A Volyn artist Oleksandr Valenta (1944–1997), was well-known far beyond our country. He was a master of the still life and landscape genre, which combined features of post-impressionism, cubism, pointillism. At the same time, the artist had highly distinct, specifically Ukrainian, namely Volyn individual handwriting, marked by folklore motifs, decorative motifs, ornamental construction of the composition, which are still not studied by art critics and are still waiting for their scientific understanding. This article is the first to introduce factual and analytical materials into scientific circulation, the authors cataloged the creative works of the master, which will help in further scientific practice of research of little-known creative heritage, and highlighting his creative methods and techniques. The authors proved that the peculiarity of O. Valenta’s paintings is a peculiar image of space composed of small particles. They are painted lush, colorful, full of light and freshness. The Ukrainian color of his paintings is revealed by the peculiarities of the image and color palette. The artist often painted his canvases using different variations of one shade, striking the bold combination of colors, conciseness, decorativeness, and symbolism of the image. As a result of the research, it was established that a significant number of the artist’s works are the property of private collections (collectors) of Poland, Germany, Israel, some are in the collection of the Volyn Museum of Local Lore, and the study revealed the artist’s appeal to the historical genre in particular, attention is focused on the theme of glorifying the work of Lesya Ukrainka.
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Fan, Rui. "ARTISTIC MODEL OF THINKING IN TARAS SHEVCHENKO'S NOVEL "THE UNFORTUNATE"." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 32 (2022): 90–95. http://dx.doi.org/10.17721/1728-2659.2022.32.17.
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The article examines the features of the artistic model of thinking in Taras Shevchenko's novel "The Unfortunate". It is emphasized that Taras Shevchenko's Russian-language works represent the evolution of Taras Shevchenko's artistic thinking. The specificity of the artistic model of thinking and its Ukrainian national character is revealed in the Russian-language stories of the author. The thesis is substantiated that using Russian language T. Shevchenko represents his multifaceted model of Ukrainian thinking inherent in his artistic worldview and the way of artistic interpretation of the world. An important factor in presenting the specifics of the artistic model of thinking in Taras Shevchenko's novels is the image of the author, his perception and interpretation of the world as a reflection of the author's view. Also, the factors of representation of the artistic model of thinking in the stories of T. Shevchenko, in particular in the work "Unfortunate", are manifestations of Ukrainian variants of romanticism and sentimentalism; the narrator's appeal to the epistolary, in which purely Ukrainian issues are comprehended; the image of the narrator thinking in national categories; travel notes with descriptions of paintings of Ukrainian cities, villages, nature, landscapes of Ukraine. It is noted that Taras Shevchenko's syncretic stories combine different styles and genres. We can see a number of autobiographical characters according to romantic traditions in them and in the story "The Unfortunate". Basically, the artistic model of Taras Shevchenko's thinking, which was Ukrainian and national in character and manifestation, first created in poetic texts, was transferred and integrated into his prose heritage. In prose works, it is synthesized the characteristics of sentimentalism, enlightenment, romanticism, naturalism.'The Unfortunate' is based on the use of a retrospective method. The text has such features as the presence of a number of main and secondary characters with a pronounced Ukrainian content and essence. All the heroes of the work are a manifestation and result of the national environment. The vocation of the heroes of the story "Unhappy" is to present the Ukrainian model of thinking and worldview. The work has a clear structure, its characteristics are logical, meaningful, often autobiographical (primarily the image of the narrator) and are of major importance in the formation of the Ukrainian national narrative of the story.
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Қалыш, А. Б. "The territory of Kazakhstan and Kazakhs in the works of Russian artists of the 19th–early 20th centuries, kept in museums and art galleries." Bulletin of the Karaganda university History.Philosophy series 3, no. 103 (September 30, 2021): 29–38. http://dx.doi.org/10.31489/2021hph3/29-38.
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This article considers the contribution of pre-revolutionary artists of the Russian Empire to the study of the local history of Kazakhstan. It is known that the lands and Kazakh population of Western, Northern, Eastern and Southern Kazakhstan found their worthy reflection in the paintings of famous artists. So, for example, the sacred monuments of the Mangyshlak Peninsula, the plain of Ustyurt, the northern Aral Sea and the Caspian Sea were deoicted in the paintings and sketches of the great Ukrainian poet and playwright T.G. Shevchenko (1814–1864). He was exiled for ten years in Kazakhstan (1847–1857) in the Orenburg steppes, in the fortress of Orsk, and then in the Novopetrovsk fortification on the Mangyshlak Peninsula and on the banks of the Caspian Sea. His participation in the work of two expeditions of Aral (1848–1849) and Karatau facilitated the creation of several paintings and graphic works of landscapes, which have a direct relation to the study of local lore and life of the Kazakhs. Original albums and sketches of the Tomsk artist P.M. Kosharov (1824– 1902) depicting types of architecture, the material culture of Western Siberia and Northern Kazakhstan are also of note. Participating in an expedition of P.P. Semenov-Tyan-Shansky to Zhetysu in 1852–1857, he managed to issue the early documentary image of Verny, mineral source Kapal-Arasan, etc. The Southern Kazakhstan and Zhetysu found the reflection in V.V. Vereshchagin's sketches (1842–1904), who was the authorof the pictures «Turkestan Series» (1871–1874), and the illustrated books «Turkestan. The etude from nature» (1874), «Essays, sketches, memoirs» (1883). A similar contribution to the subject under consideration was made by the member of the Turkestan circle of lovers of archaeology, founder of the Semirechensky department of the Russian Geographical Society N.G. Khludov (1850–1935). He created a set of realistic art paintings devoted to Zhetysu and Zailijsky Alatau. Thus, the article shows the contribution of the above-mentioned pre-revolutionary artists to the development of the subject posed by us.
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TURCHYNYAK, Yaryna. "CONCEPTUAL ISSUED AND SEMANTICS ELEMENTS, AIMS OF ARTS BY THE MYRON LEVYTSKY." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 212–22. http://dx.doi.org/10.30970/vas.20.2019.10626.
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The main objective of the research conceptual issued relate to the definition and semantics of the book-covers by Myron Levytsky features are explore. The book-cover is supremely multifunctional process and depends to a large extent issues. The design and layout of a book includes many different elements. Methodology. The research is based on an abstract to the integrity specific approach that allows us to consider the comparative analysis. Relevance of the study. The research includes specific issues of modern art that are integrity in the layout of a book-cover. The graphic art by the Myron Levytsky allows us to consider by the comparative approach to determine art on industrial graphics and arts and crafts. Myron Levytsky is a famous painter, graphic artist, journalist, and writer. He worked as a book illustrator and designer in Lviv since 1935. Myron Levytsky was published and edited the magazine «My i svit» in 1938. Also, he worked at the Academy of Sciences of the Ukrainian archeology department in Lviv and at the Lviv Historical Museum. In 1949 Myron Levytsky emigrated to Canada and worked in Winnipeg as art editor of Ivan Tyktor’s publishing house. He worked as an editor of the humor magazine Komar during 1949–1950. He was settling in Toronto in 1954. After he had spent two years painting in Paris, traveling to New York, Detroit, Ottawa, Edmonton, Chicago, Lviv, Kyiv. His first one-man exhibition was held in Paris, in 1958. Levytsky’s canvases are characterized by their stylized and rich color, flowing linearity, and new abstracted forms. New research approaches and concepts by foreign and Ukrainian artists are integrating individual issues into multicultural artist environment. The typology of entertainment establishment is explored and systematized, their classification for different field of art. The main contribution into development of the Ukrainian art did by artists of the «Ukrainian diaspora». A retrospective generally, is a look at event that took place in the past and make possible to integrity that experience into modern multicultural «art space». Findings. In this paper was revealed that the range of interests by Myron Levytsky are portraiture, urban landscapes, classical and Ukrainian mythology, nudes, literature, and history to icons and religious themes. The revealed features of the typology and approaches of the design of entertaining facilities can be used in the practical activities of art critics.
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Samchuk, Taras. "Kyiv period of Illia Shulga’s life and work (1928-1938)." Text and Image: Essential Problems in Art History, no. 1 (2022): 144–51. http://dx.doi.org/10.17721/2519-4801.2022.1.11.
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Research work devoted to the details of the Kyiv period of life and work of Ukrainian painter Illia Shulga. This period covers the years 1928-1938, at this time there were rapid changes in the artistic life of Ukraine, which affected the fate of the artist. For most of his life the painter lived and worked at a distance from active artistic life, only in the late 1920s he manage to move to Kyiv. Despite the noticeable influence of avant-garde in artistic life, Illia Shulga consistently followed a realistic approach to art, it was the influence of his education, obtained at the St. Petersburg Academy of Arts. He successfully worked in various genres (portrait, landscape, genre paintings). During his lifetime, the artist has created about 1,000 works (the Kyiv period accounts for about 170 works), but most of them have not survived to our time. Most of Shulga's works disappeared during World War II. Today, a little more than 20 of his works are preserved in the museums of Ukraine from the huge creative heritage of the artist. The article introduces a number of documents that shed light on the details of the artist's biography. In particular, the criminal case of Illia Shulga, which recorded a number of details of the last period of the artist's life. The documents of the case shed light on the details of the arrest, the course of the investigation, and the reasons for sentencing the painter. The publication also analyzed the most complete currently known list of Shulga’s works, which includes 564 items. This list was compiled in 1941 by the artist's wife, and later this list and a number of other documents related to the life and work of the artist were deposited in the Archive-Museum D. Antonovych of the Ukrainian Free Academy of Sciences in the United States. The appendices contain a list of the artist's works that are currently stored in museums in Ukraine and a link to the list of the artist's works.
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Papeta, Serhii. "PAINTING HERITAGE OF SERHII DOROSHENKO." Young Scientist 10, no. 86 (October 2020). http://dx.doi.org/10.32839/2304-5809/2020-10-86-65.
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A study of the work of an unknown to the general public painter middle XX century Serhii Doroshenko is currently at the initial stage. Thanks to the publication of the catalog and the holding of a personal exhibition, the process of putting part of his picturesque heritage into scientific circulation began. Today the life and professional path of the artist, as well as several dozen surviving works of the master are known and partially researched. The fact that the artist had to live under a fictitious name for most of his life makes it difficult to identify individual facts and documents. However, undoubted picturesque talent, a subtle sense of the landscape genre, put Serhii Doroshenko next to the best representatives of the landscape of his time. The return of the artist's name to the history of Ukrainian art will open another page for scholars and connoisseurs of painting. Roman Solovey was born in the village Pavlivka, Cherkasy region in 1915. During the Holodomor, Roman was arrested by the NKVD, but it is unknown how he resigned, and in 1936 he appeared as Serhii Doroshenko. According to the dates on the student card, from 1936 to 1939 he studied at the Kharkiv Art School. However, according to other documents from 1937, the young artist leads an active creative life on the opposite side of the Soviet Union in Buryat-Mongolia. He exhibits his works at the republican exhibition, works as an artist in the club. In 1939, Doroshenko, as a student of the Kharkiv Art School, was transferred to the 3rd year of the Faculty of Fine Arts of the Ukrainian Art Institute. From 1945 Doroshenko was again a student of Kyiv Art Institute and, finally, in 1948 he received a diploma of a painter. From that time until his death he worked in the Kyiv Regional Cooperative Society of Artists. In 1949 Doroshenko made his debut at the 10th Ukrainian Art Exhibition. Since then, his favorite genre - marina - has been determined. He became a regular participant in Ukrainian and Soviet Union exhibitions, where his works are exhibited along with the best examples of landscape painting of that time. In 1950, Doroshenko became a candidate for membership in the Union of artists of Ukraine, and in the registration card indicates a non-existent place in nature of his birth. He was also a member of the board of the Ukrainian branch of the USSR art fund. His life ended on May 27, 1957 due to severe heart disease.
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Afonina, Olena. "Interdisciplinary Approach as a Basis for the Methodology of Researching the Problems of Realist Painting." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 1 (April 16, 2024). http://dx.doi.org/10.32461/2226-3209.1.2024.302050.
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The purpose of the study is to substantiate the methodological principle of researching realism painting on the example of analysing a painting by the Ukrainian artist Yurii Kamyshnyi. The research methodology combines a set of general theoretical (analysis and systematisation of material, theoretical generalisation and the method of deduction) and special scientific methods (terminological, method of analogies, art historical analysis, iconographic method). The scientific novelty of the study convinces of the possibility and advantages of applying an interdisciplinary approach to reveal the specifics of realistic painting. The dependence of the analysis of the prerequisites for the emergence and reasons for the realisation of realism in each artistic epoch, the conditions of its development in the classical and post-classical socio-cultural paradigm is substantiated. The content of the concept of "realism" is revealed through the prism of humanitarian knowledge, in particular, history, philosophy, cultural studies, ethnography, art history, psychology, sociology, which allowed strengthening the analysis of works performed in the realistic manner of realism. Conclusions. Based on the analysis of a number of definitions of the synonymous terms "interdisciplinarity" and "interdisciplinary approach" available in the Ukrainian scientific discourse, interdisciplinarity as an integrative approach to the analysis of works of art with interconnections with other areas of humanitarian knowledge, borrowings and the use of tools (schemes, models, categories, concepts) is substantiated. Analysing the specifics of realistic painting on the example of the work of the Ukrainian artist Yurii Kamyshnyi’s "Sun Caresses", the application of the historical and systematic method (as a correspondence to the political, social, cultural, and artistic conditions of development) is shown. The iconographic method and art historical analysis allowed us to substantiate the combination of landscape (rural landscape) and domestic genres. The style of the painting is in the manner of nineteenth-century realism, which is characterised by the depiction of the elegance of summer rural life with the personification of the day (noon). The image of the tree leaves, which seem to be "tired" of the scorching sun, was important here. The sun is also represented with flickering rays on a neatly whitewashed house wall. The iconographic method made it possible to describe the subject of the work as the exterior of a typical Ukrainian rural dwelling and yard. The method of generalisation allowed us to present its dominance in the work of the realist artist. The cross-cultural method was used to compare the plot specifics of the painting with the plot motifs of foreign realist artists. The method of ethnographic observation allowed us to verify the typicality of the image of a hut for the rural Ukrainian countryside.
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Som-Serdyukova, Olena. "The artistic image of Norway: to the issue of fixation the cultural landscape." Almanac "Culture and Contemporaneity", no. 2 (December 30, 2020). http://dx.doi.org/10.32461/2226-0285.2.2020.222246.
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The purpose of the article is to review changes in worldview and artistic expressions in fixing the cultural landscape of Norway; to trace the reasons in the formation of the style of romanticism, where research function in reflecting nature and culture had a big role; to analyze the features of the local artistic tradition and forms of stylistic transformations that led to the evolution of the cultural landscape vision. To achieve the goal, the analyses from the works of J. Flintoe, J.C. Dahl, N. Astrup, C. Krog, E. Munch, G. Mynthe, E. Werenskiold, K. Kielland, H. Sohlberg, B.Ness, N. Krantz. This made it possible to focus on figurative diversity in the interpretation of the cultural landscape. The research methodology is based on the application of theoretical methods, art analysis, and systematization of works that correspond to this topic. The scientific novelty of the work lies in the actualization of artistic possibilities in capturing changes in the cultural landscape. Conclusions. Paintings are becoming a part of the scientific documentation for the present day. This leads to a new perspective, where painting becomes historical evidence and valuable material for modern architects, restorers, historians, archaeologists. According to the results of the research, it was proved that in the period from the 1820s to the 1920s the most expressive and active development of the cultural landscape theme, was realized by using art as a document. Various clarifications have been developed, such as the mood of romanticism transforms into the style of modernism, and how the compositional constructions of the Middle Age are actualized in the style Art Nouveau. This strengthens the idea of using works of art as a tool for analyzing the evolution of the cultural landscape, due to its potential informative content. One of the main conclusions of the study is based on the idea of relations towards the environment while creating an artistic image of the cultural landscape. In the Norwegian context, the cultural landscape, as a human environment, has been transformed from a panoramic landscape of nature interspersed with human footprints; through the application of man to scale, as a staff, as a romantic hero, a social character. The image of cities has evolved from the documental historical place form to the conflict inside the environment, and like blended color textures. According to the results of the study, it is concluded that art is an active element in fixing the cultural landscape. It is proved that works of art of previous epochs are invaluable material in interdisciplinary research in the reality of contemporary. The comprehensive and systematic experience of Norwegian researchers should be implemented in similar assignments in Ukrainian realities.
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Min Dong. "Exhibition activity of Michael Guyda in China." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 4 (December 15, 2020). http://dx.doi.org/10.32461/2226-3209.4.2020.219176.
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determining factor in the development of Ukrainian art and its cultural ties with China. Methodology. General scientific research methods were used, in particular, historical-chronological, biographical, as well as figurative-stylistic, semantic, systematic and theoretical-artistic analysis. The scientific novelty is to clarify the specifics of the international creative activity of Mykhailo Huyda and its significance in modern cultural and artistic processes, taking into account its aesthetic and figurative content. Conclusions. The peculiarities of the exhibition activity of the painter Mykhailo Guida in China as a specific aspect of creative activity aimed at the development of fine arts in Ukraine, which is an example of establishing interstate cultural ties, forming a positive international image of Ukrainian culture, its modern achievements, national-historical, mental, figurative and artistic features. Recognized in China as a master of painting, a talented educator and public figure, Mikhail Guida demonstrates a high level of art, represented by numerous compositions and a variety of genres from portraiture to landscape, historical and plot works, nude. The richness of the artist's artistic culture is embodied in the diversity of the artist's creative ideas and decisions. The study of Mikhail Guida's exhibition activity in China revealed the sequence of his exhibition activity as a kind of reporting on artistic achievements in certain periods of his activity, the artist's orientation to high examples of world art, successful implementation of international cultural projects. It was found that the exhibition activity of M. Guida has a deep spiritual meaning, reflects the demands of modern international cooperation in the field of art culture, which reveal the possibilities of wide implementation of the acquired artistic experience in new creative practices.
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Zhadeyko, Oleksiy. "Artistic practices of Valery Hegamyan in the context of Ukrainian-Armenian intercultural ties." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 3 (October 25, 2023). http://dx.doi.org/10.32461/2226-3209.3.2023.289832.
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The purpose of the work is to investigate the artistic and stylistic practices of V. Hegemyan, which he applied in the process of creative activity in the context of the history of art of Armenia and Ukraine. Emphasis is placed on clarifying biographical facts about the artist and teacher. The research methodology consists in the application of general scientific and special research methods, in particular, analysis, synthesis, induction and deduction, generalization and abstraction, semitic, descriptive, which collectively allowed to consider artistic practices in the work of the artist V. Hegamyan. The scientific novelty of the work lies in the fact that for the first time the facts of the artist's creative biography were introduced into scientific circulation, which made it possible to reveal the intercultural influences of the environment of Ukrainian and Armenian cultures on the formation of V. Hegamyan's creative style. Conclusions. V. Hegamyan's creativity and teaching are frankly synthetic in nature. Both of his activities are based on classical traditions, but as a result are qualitatively new artistic phenomena. Hegamyan's artistic style is a kind of symbiosis of masterful realism and modernist principles of symbolism, expressionism, fauvism, and constructivism embodied in monumental techniques. V. Hegamyan's genre work is widely represented: from studies of classics, landscapes, still lifes, wonderful realistic and conventional portraits to huge genre paintings. There are strong ethnic motifs in the artist's work: both Armenian and Ukrainian, while the artist nevertheless operates with general aesthetic categories, finding his own symbolic and figurative meaning.
Keywords: artistic practices, work of Valery Hegamyan, Armenian artists, painting, graphics, intercultural relations, Ukrainian art, artist-pedagogue.
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Maystrenko-Vakulenko, Yuliya. "Frontline Drawings of Ukrainian Artists of the Second World War Period." Collection of scientific works “Notes on Art Criticism”, no. 40 (December 30, 2021). http://dx.doi.org/10.32461/2226-2180.40.2021.250337.
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Purpose of the article. During World War II, hundreds of Ukrainian artists were at the front. The drawings they created were a powerful source of propaganda for the Soviet regime. At the same time, in the general unity of the full-scale front-line drawing the individual features of artists of great artistic skill are clearly traced. The aim of the article is to determine the circle of leading Ukrainian artists who during the Second World War were in the troops of the Workers 'and Peasants' Red Army (RSCA) and worked in the field of drawing; to study the genre, artistic and stylistic structure, as well as materials and techniques of frontal drawings; identify the features of the reproduction of space-time in the front-line drawing of Ukrainian artists. Methodology. The study is based on the principle of historicism, a combination of historical and cultural, contextual methods, art history image and stylistic and system-comparative analysis. Scientific novelty. Peculiarities of human psychology of perception were clearly manifested in the drawing of frontline artists. The compression of the time field in the drawings of frontline artists is due not only to the doctrine of socialist realism, which was based on spatial three-dimensionality, but also to the peculiarities of human perception of time and space in stressful conditions. This also explains the difference of time display in the drawings created by the artists in the conditions of the front and evacuation. Artists, whose period of study coincided with the years of the avant-garde, the introduction of formal foundations of art in educational institutions, have achieved a much deeper and broader interpretation in the drawing of temporal and spatial categories. Conclusions. Frontline sketches were pictorial diaries: notes, sketches that were intended to be triggers for memories, for further writing of pictorial "memoirs" - paintings on the theme of war. This theme of Soviet propaganda will become a pass for future decades in all artistic spheres, both artistic and literary, musical, film and theater, etc., ensuring the favor of party leaders and the respect of the average Soviet man. Drawings of Serhiy Hryhoriev, Zinovy Tolkachov, Vasyl Ovchynnikov, Anatol Petrytsky, Georgy Melikhov, Anton Komashko and other prominent Ukrainian artists are distinguished by the ability to give the passage of events the meaning of epic generalization, elevation above the simplified goal of capturing the moment.
Keywords: drawing, Ukrainian drawing, frontline drawing, sketch, the Second World War, portrait, landscape.
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""Diaries" by Oles Gonchar of 1984 - 1995: in dialogue with eternity." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 80 (2019). http://dx.doi.org/10.26565/2227-1864-2019-80-04.
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The article focuses on the diary entries of Oles Honchar, one of the prominent writers of the second half of the twentieth century, an active cultural and public figure. Records written in the last decade of the writer's life (1984 - 1995). The article covers philosophical reflections on the world, Ukraine, its past, future, Ukrainian language and spirituality. The views of the author are confirmed by a number of quotations. The philosophical content of O. Honchar's reflections correlates with the existential outlook (the death of loved ones causes him a set of emotions, thoughts, feelings). In many diary entries, loneliness is felt. In the system of vital values of O. Gonchar, the writer and man - faith in Ukraine, love for Ukraine. The world of Oles Gonchar in diaries is filled with landscape paintings that reveal his understanding of the homeland, the meaning of life. The article notes that the powerful words of O. Honchar testify to the experience of a person, who analyzes the events of past years, commented; the author of the diary is in dialogue with the descendants, gives answers to questions. Attitude to nature O. Gonchar is considered as the most important factor in shaping the views on the world, spirituality and internal wealth of man. From the entries of O. Gonchar's diary, the author appears not to be an indifferent observer. His reflections on reading, seeing, meeting with extraordinary personalities, forced to reflect on life, sometimes, eternity. Entries in the diary of Oles Gonchar are the attitude and thinking of a Ukrainian who always remains. "... how much tragedy in my life, how little I had to experience light days! Is that childhood with its magnanimity and kindness of people of such rare as Grandma?