Abstract
The aim of the study is the analysis of sacral paintings of М. Vrubel during the Kyiv period (1884 – 1889) and understanding of the church canon by the artist. Methodology of the research includes general scientific methods – art study analysis and generalization of the problem under investigation. In order to study the subject the epistolary heritage of the artist was used. The article reveals the genesis of painting style of M. Vrubel as an integral part of the European version of the style Art Nouveau. The article also proves that this process took place during his Kyiv period, and was closely connected with the impact of Western European religious art on M. Vrubel`s creative work, in particular, when working on the sketches for St. Volodymyr’s cathedral. Conclusions . Evaluating the millage covered by M.Vrubel as a muralist we can conclude that his creative work has developed on the basis of academic easel forms and naturally evolved to Art Nouveau. While working on monumental and easel paintings in St. Cyril Church, monumental paintings in St. Sophia Cathedral and sketches of painting for St.Volodymyr’s Cathedral embodies the highest level of artistic achievements of mature Art Nouveau.
Highlights
The methodology and analysis of sourcesSacral art of this outstanding artist has long been successfully2 studied in Russian and Ukrainian art criticism
After careful study of two main directions that had been formed by the end of the XIX century in church painting in Russian Empire, i.e. neo-Russian style and Art Nouveau, the author notes a particular role of Vrubel in the formation of the above mentioned style
The article traces how through careful study of ancient Kievan Rus art samples, Byzantine monumental art, Italian Renaissance painting and due to a special personal worldview Vrubel, during his «Kyiv period», worked out the style of painting, which has become an integral part of the European version of Art Nouveau
Summary
The methodology and analysis of sourcesSacral art of this outstanding artist has long been successfully2 studied in Russian and Ukrainian art criticism. Vrubel is studied in this article in the contest of canon and typical features of church painting of the 2nd half of the XIX century.
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