OPERA ON THE FOND COURTYARD: REPRESENTATION OF THE CITY IN ODESSA PAINTING

Abstract

The article is devoted to the study of the city with the help of representative approaches, in particular, the presentation of the three types of city representations in Odessa paintings of the 1950s–2010s, the clarification of the relationship between the models of the city’s mental familiarization and representative artifacts. Artifacts act as markers of a specific local identity, which in turn represent certain culturally significant infrastructural complexes of local communication. The purpose of the analysis is to establish a correlation between the object and subject of artistic creation and various mythologies of the city as the basis of representation. The Opera is presented in the article as a marker of the European type of urban infrastructure, which localizes special lifestyles, types of communication, special visuals that form the historical type of Odessa identity. Representation of the courtyard reflects another type of mythology and urban communication – a reduced, close to the grassroots culture of the urban outskirts and communal social behavior. The inability to capture the Whole of city leads to the appropriation of details – a crystallized detailing of architectural and infrastructure elements.