Abstract
The article reveals the peculiarities of Robert Lisovsky's graphic works, made for Lviv publishing houses in the 1920s. The importance of the communication environment for the artist as a factor in his creative growth is proven. Daily artistic dialogue with experienced and young artists, activities in circles, participation in exhibitions and being in demand in the publishing field show the artist as an important part of the Lviv artistic community. R. Lisovskyi worked on covers, decorative and ornamental passports for books, screensavers for periodicals, publishing stamps and emblems. He fundamentally changed the approach to the design of printed publications. He also formed and popularized a new polygraphic aesthetic among Lviv publishers and readers. A characteristic feature of these works is the presence of an expressive decorative or pictorial design. The sources of inspiration were the heritage of Ukrainian national art, interpreted according to the aesthetic and technological requirements of the time. Also, R. Lisovsky gently integrates new artistic ideas into his projects. This is evidenced by the significant rate of innovation in Lviv works. The main features of Lviv works are the synthesis of tradition and innovation, revealed in decorative motifs and plastic language. Integrity is inherent in the formal compositional solution of decorative, symbolic and informational elements of covers and applied works. The individual handwriting of the artist is characterized by the special ratio of black to white and high graphic culture. Traditional baroque or folk motifs remain a priority for the artist, but they have a more expressive and constructive formal-plastic design. It has been proven that the aesthetic function of R. Lisovsky's applied works is as expressive as it is utilitarian.
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