HERMENEUTIC MODEL OF ORIGINS OF UKRAINIAN AVANT-GARDE PAINTING ART

Abstract

Based on the analysis of the provisions of the avant-garde theory of Peter Burger, art theorists José Ortega y Gasset, a hermeneutic model of forming the origins of Ukrainian avant-garde painting is proposed. It is argued that the emergence of the avant-garde is a creative reflection on changes in the economic subsystems of society and the phenomenon of self-criticism of art, a projection of the historical progress of art through the development of society. The hermeneutic model of avant-garde art is based on a structural analysis of the artistic process in its specific historical conditions of development. At the heart of the avant-garde, there is an attempt to establish a new ideal of justice through the destruction of tradition, which allows to interpret works of the avant-garde art as a narrative scheme in which the ideological ideas and social expectations do not match the real social function. In the process of development of the avantgarde, there is a change in the institutional essence of art, and the contradictions between the traditional ways of artistic reflection and the new artistic means of figurative creation constitute the basis of its aesthetics. The avant-garde appears as a new aesthetic category against the background of historical events of human development, as a tool for developing an aesthetic code. The avant-garde abolished the unified style and canon, and made the category of the artistic method a universal, universal artistic category, which opened the anthropological infinity of the world of art in its nonsocial meaning. The Ukrainian artistic avant-garde was formed on the basis of a synthesis of advanced ideas of European aesthetics with elements of national culture. Aesthetic concepts of European avant-garde trends served as a creative basis for the avant-garde trends in Ukrainian art, which include Cubo-Futurism, Suprematism, and Cubism in sculpture. The avant-garde is an integral part of the relationship in the art and society dichotomy, as a social phenomenon in the spiritual sphere, which corresponds to the logic of the development of society.