Liudmyla Bruievych’s water-colors in the 1990s

Abstract

The aim of this study is to analyze in detail the watercolors by Liudmyla Bruievych, made in the 1990s: “Tuha” (1992), “Raiuvannia” (1993), “Trapeza” (1995), “Myslyvets” (1998) and others.
 Methodology. The study of the works of the new generation of Ukrainian artists, which was completely formed after 1991, is just beginning. In particular, it refers to Liudmyla Bruievych, one of the most famous contemporary domestic graphic artists. The vast majority of publications about her works are popular and belong more to the genre of essay or interview (Bychkova (2000), Ivanochka (2012), Taran (1998, 2000, 2001, 2002, 2002), Shapiro (2012)) or are reviews for personal exhibitions of the artist (Lamonova (2004, 2004), Ostrovskyi (2002)). Among them there are extremely interesting texts of high literary quality (Tytarenko (2004), Borysova (1998), Panasiuk (1998, 1999)), but it is hardly possible to call them scientific researches.
 Results. Liudmyla Bruievych is one of the most famous contemporary domestic graphic artists. The most popular of her works are etchings, for which the author uses watercolor of four colors (cerise paint, emerald green, ocher and gold): “Nich” (1991), series “Spokii” (“Koty”, “Rusalka”, “Try ryby”, “Ryba”, “Vaza”, all — 1994),” “Tanok vuzhiv abo Neskinchennist”, “Doistorychna tvaryna abo Drakon” (both — 1997). But during the 1990s, Liudmyla Bruievych actively worked not only on etchings, but also on watercolors. Among them there are works based on the unexpected use of folklore sources (“Tuha” (1992), “Rusalochka”, “Koroleva-rusalka”), biblical images (“Trapeza”, “Hallelujah” (all — 1995)), techniques of naive art (“Myslyvets” (1998)). The artist also created watercolor miniatures.
 Novelty. This article is in fact the first scientific publication about the works of an interesting modern domestic graphic artist.
 The practical significance. The research is a part of the individual planned theme of the author “Peculiarities of national tradition interpretation in the Ukrainian graphics of the 90s of the XX century. — 10s of the XXI century” and the general planned theme of Fine and Decorative Applied Arts department of the Institute of Art History, Folklore and Ethnology of M. T. Rylsky Institute of Art Studies, Folklore and Ethnology of the NAS of Ukraine “Ukrainian art from the Middle Ages to modern times: the search and formation of national identity in the context of world cultural space”.
 Conclusions. Watercolors are an organic and integral part of the artist’s graphics. Plastic images found in watercolors could later be used in etchings.