Ukrainian Art Research Articles

Art education as a means of forming cultural identity and civic consciousness

The purpose of the article is to study art education as a means of forming cultural identity and civic consciousness. To achieve this goal, theoretical methods of cognition were used, in particular, the most important methods of analysis, synthesis, and content analysis. The results show that modern technologies are widely used in the field of higher art education. This includes not only technical aspects, but also theoretical and pedagogical approaches to teaching. In modern methods of higher education, the emphasis is on the development of students' personalities, broadening their outlook, skills and abilities. Traditional models of learning that existed before the introduction of distance learning are undergoing significant changes, leading to experimental approaches to teaching in art universities. Particular emphasis is placed on the democratisation of educational processes, digitalisation of art education and the use of computer technology. The desire to ensure unity in diversity, which is a necessary component of modern European integration aimed at overcoming the negative effects of globalisation, is also important. One of the key components of the development of modern higher art education is the use of digital technologies. This allows students to create a significant amount of creative work while studying and include it in their professional portfolio. This approach is particularly relevant in the European labour market. Ukraine's experience in applying modern teaching methods in the field of music is in line with European development trends. At the same time, due to Russian military aggression and obsessive propaganda, there is a need to update research on Ukraine-centric music topics. It is important to emphasise the development of Ukrainian art, the study of the life and legacy of prominent teachers, performers and artists, and the integration of the acquired knowledge into the educational process. The conclusions emphasise that the combination of Ukrainian specificity and modern digitalisation trends creates objective conditions for the development of musicology in Ukraine and its presentation at the international level.

PEACEMAKING AS A COMPONENT NATIONAL PATRIOTIC EDUCATION IN UKRAINE

Actual scientific researches and issues analysis. The study of the phenomenon of national-patriotic edu-cation is a cross-cutting line in the work of prominent Ukrainian artists: Lesya Ukrainka, M. Drahomanov, I. Franko, D. Chyzhevskyi, T. Shevchenko. At the current stage, the theoretical and methodological foundations in the study of this phenomenon are determined by the works of such Ukrainian scientists as: I. Bekh, Yu. Ivchenko, I. Kuchynska, and others. The issue of ethno-national specifics of civic and patriotic education has been widely discussed among modern Ukrainian philosophers, in particular, the works of E. Bystrytskyi, I. Bychko, M. Popovych, S. Proleev, O. Bily, R. Zymovets, and others. However, myth-making as a significant component of national-patriotic education requires separate theoretical investiga-tions. The statement of basic materials. In all historical times, wars and armed conflicts have forced humanity to review the basic foundations of human and ethno-national existence, exacerbating the problem of finding one's own identity and relevant programs for optimizing patriotic and civic education. The experience of our people's long-term resistance in modern wars is evidence of love for the Motherland, developed effective patriotism among broad sections of the population, as well as the great peacemaking potential of Ukrainians, which crystallized over the centuries in the national self-consciousness of our ancestors and how the greatest treasure was carefully handed down to descendants. Thus, identity includes common values, customs, history, and language that define a community. This component is not material, it connects us together and fosters a sense of belonging and unity. at all times, Ukraine always followed the path of relying on its own forces, and this spirit was supported by their love of peace, because it was only through negotiations and treaties that one could form its state. worldview bipolarity and dissimilarity between the mentality of the modern Ukrainian people and the Russian one was formed under the influence of significant social, cultural and historical factors that testify to the authenticity of the “spirit” of Ukrainians. The Ukrainian people were formed more under the influence of freedoms, as opposed to the imperial encroachments of the conquerors. By liberties, we understand the Cossacks, and this is the right of the common people to choose a hetman, unlike the empire, where there were no elections at all. To form a state in the 17th century. was not an easy option, because there were many empires nearby. Only the principles of peacemaking helped to form a state in Europe, a free person is the highest value and therefore this value must be protected, because peace is not the absence of conflicts, but the ability to cope with conflicts in peaceful ways.

COLOUR ANXIETY IN MARIA ZENKOVA’S ART: WITH LOVE FROM KYIV

The war in Ukraine has dramatically altered the fate of many people, forcing them to make difficult decisions or even leaving them down a blind alley. The only choice for Ukrainian artist Maria Zenkova (1992) to escape the war was to leave her home, her job and sane environment in Kiev. Now Maria is a refugee and her new home is in Riga. The aim of the article is to find out how the anxiety of war affects the artist’s life. How does disturbing news from her homeland affect her art? The representation of traumatic and affective experience in artwork is an issue where Affect theory can be used as a theoretical tool. The author interprets Maria Zenkova’s artistic practice, highlighting some of the recent artworks. The interpretation of the artworks, along with the artist’s own commentary, is based on the Affect theory, where an affect is viewed as an intense force that affects the body at the biological and emotional level. The article concludes that, despite the apparent denial, the theme of war appears in Maria Zenkova’s art in the form of affective figures. The artist’s active involvement in practices of collective support shows that in crisis situations such actions are even more important than the exhibition as an art event.

Act(ion)s of solidarity: possibilities of hope and change through art

ABSTRACT Ukrainian artist Maria Kulikovska was invited as a keynote speaker for the Borderlines IX: Seeking Solidarity and Wonder Through Performance conference, which took place at De Montfort University in Leicester, UK, on 30 June and 1 July 2022. What follows is the text of Kulikovska’s keynote presentation, with introduction and contextual framing of Kulikovska’s work by conference organiser and chair, Alissa Clarke. During this artist keynote, Kulikovska explores her deep commitment to solidarity by reflecting on her complex geographical roots, family relations, experiences in Ukraine and as a twice-displaced artist, and examples of her multidisciplinary artworks, including: sculptures (Homo Bulla (2012); Soap Figure with Flowers (2019; a collaboration with Vinnichenko), solo activist performance/performance actions (Action (2014)/Act of Solidarity (2022); Body and Borders (2014–2017); War and Pea€e (2016); Raft CrimeA (2016); and feminist platforms (Flowers of Democracy [2015]). Through these reflections, Kulikovska traces: a longing for solidarity as a meaningful, sincere state of connectedness with others; striking acts of agentive and loving solidarity by family members; politically motivated false impressions of solidarity; acts of solidarity against russian violence and territorialism and patriarchal oppression; hopeful actions and offerings supporting queer solidarity and displaced peoples.

“Much important for science and truth are still preserved by the Dnipro’s banks”: Letters of Oleksandr Bodyanskyi to Viktor Petrov

The study of the epistolary of Ukrainian archaeologists today is an important component of such a promising direction of scientific research as the history of archaeology. The purpose of this study is to publish and introduce into scientific circulation the letters of Oleksandr Bodyanskyi (1916–1992) to Viktor Petrov (1893–1969), two famous Ukrainian archaeologists. The designated ego-sources illustrate the peculiarities of the communication of the nation’s intellectual leadership in the conditions of the authoritarian Soviet system. The main milestones of their personal and professional biographies are outlined against the background of an era full of contradictions and historical cataclysms. Their participation in the Dnibrobudov expedition (1927–1932) led by D. Yavornytskyi was noted. The archeographic publication of four letters from 1964–1967 from the funds of the Central State Archives of the Museum of Literature and Arts of Ukraine (Kyiv) was carried out. This source complex combines private, public and professional components. For the history of domestic archeology, the details of the researches in the territories of the Steppe Ukraine of ancient eras from the Neolithic to Kyivan Rus’ are of interest. The main attention is paid to the debatable issues of the study of Chernyakhiv archaeological culture. The common foundations in the worldview principles of O. Bodyanskyi and V. Petrov are shown — Ukrainian-centricity, love for nature, non-acceptance of any lack of freedom, a cautious attitude to current civilizational challenges (nuclear threat, etc.). The letters record the peculiarities of the scientific environment of Ukrainian archaeologists, the regularities of their practical scientific and organizational activities, internal competition and interpersonal relationships, provide evaluation judgments about the personal traits and scientific achievements of prominent domestic archaeologists, etc.

“VICTORY CODE”: THE PAINTING BY OLGA KARPENKO AS A REFLECTION OF ARTISTIC PROCESSES IN UKRAINE DURING THE WAR

Modern Ukrainian art has a heterogeneous, rather rapidly pulsating character. Its latest history formally begins in 1991, when Ukraine began to write its own art history. Stages of development of contemporary Ukrainian art in the first quarter of the 21st century became extremely short. The most extreme of them to date has a duration of only one and a half years – It began on February 24, 2022, from the moment of the full-scale invasion of Russian troops into the territory of Ukraine. It was the war that became the Rubicon that changed the value orientations of artistic processes in Ukraine. The article is an episodic review of the creative biography of the Kyiv artist, painter, designer, scientist Olga Karpenko of the wartime era. The purpose of this investigation is to supplement the picture of the creative chronicle of Olga Karpenko, emphasizing the reasons that provoked a change in her style and plot. She possesses all the advantages of genre variety – portrait, still life, plot compositions (of different directions), but the landscape always attracted the most attention – free, fast, sketchy, light. But the main note that affects all of Olga Karpenko's work since February 2022 has become the note of war. A comparative analysis of the painting style of the previous years, when a light palette, textured painting, and impressionistic influence prevailed, with the creativity of the two war years, when both the subject of the painting and the color scheme, was made. The reasons for these changes are highlighted, the analysis is based on the material of the exhibition “War and Victory”, which took place in the “Hlibnya” gallery in May-June 2023. The narrative canvases, portraits, landscapes of the artist, created during 2022-2023, are highlighted, and the peculiarities are analyzed transformations of artistic language, reasons for stylistic changes. Emphasis is placed on colors, rhythms of painting. Two canvases of 2023 are highlighted as a visualization of the “victory code” in Olga Karpenko's painting of the war period.

THE IMAGE OF ANNA YAROSLAVNA IN FINE ARTS: PAST AND PRESENT

The article focuses on the iconography of Anna Yaroslavna (around 1032-between 1075 and 1089), the daughter of Yaroslav Mudry (983/98-1054), who was married to Henry I (1027-1060) and acquired the status of Queen of France. The study is based on the most famous portraits created by artists from the Middle Ages to the present day in various types of visual arts - sculpture, painting, graphics, numismatics. It is not known for certain what the princess looked like – rather insignificant evidence about her appearance has been preserved. In historical chronicles, the red hair color of the young wife of Henry I is primarily noted. More often, character traits are emphasized – kindness, generosity, humility, self-sacrifice. Portraits of the daughter of Yaroslav Mudry during his lifetime cause heated discussions in scientific circles. It is hypothesized that the sons and not daughters of Yaroslav the Wise are depicted in St. Sophia Cathedral (11th century). And on the copy of the 18th century from a drawing by the Dutch artist A. van Westerfeld in 1651, another couple is represented – Volodymyr Svyatoslavych and his wife Anna (baptizers of Rus) accompanied by eight princes and princesses. Engraved and sculptural portraits of the 17th century, despite the fashionable image of the era, reveal certain characteristic features of Anna Yaroslavna – thinness, general elegance, elongated face oval. Modern Ukrainian artists (V. Znoba, M. Znoba, G. Sevruk, V. Stelmakh), recreating the image of Anna Yaroslavna, are guided by the well-known engraved image of the Flemish artist Jacobus de Bie in 1643. At the same time, each portrait is distinguished by the author's decision and virtuoso mastery of the material. The presented article is not only the first intelligence covering pictorial and historical sources. The collected material testifies to the significant contribution of national history to the development of the European political and cultural space, is a demonstration of unity and friendly relations between Ukraine and France.

ART IN DEFENSE OF UKRAINE (TO THE CREATIVE WORK OF ALEXANDER LYHOSHERST)

The article examines the influence of modern folk art on the formation of patriotic attitudes and psychological support of the soldiers of the Armed Forces of Ukraine, on the roots and origins of folk art in the struggle for the independence of Ukraine, using the example of the work of the artist Oleksandr Lyhosherst. Today's cultural and artistic arena is a very heterogeneous phenomenon – the dominant artistic processes have shifted dramatically. Martial law, military actions of the state prompted the creative community to change the system of values – to readjust to a different plot, a figurative series. Agitation art dominates – daily reality dictates the need for creative personalities to find ways to psychologically support those who defend the borders of the state from the end of February 2022. The task of the research is the possibility of positioning art to accelerate the victory of Ukraine in the war with the Russian invaders, considering art as a method of raising the patriotic mood of the population, on agitation, moral support of Ukrainian soldiers, which is analyzed on the example of the works of the Kyiv painter Oleksandr Lyhosherst. Emphasis is placed on changes in the dominant forces in the cultural and artistic field of modern Ukraine, the cause of which is military aggression. Emphasis is placed on the war as the reason for a radical change in the storyline of the work of Ukrainian artists. The leading characteristics of Oleksandr Lyhosherst's work are highlighted, a brief overview of the formation of his creative path is given. Individual examples of the artist's work are presented, the influence of those phenomena that were important for the formation of his creative language is characterized. The plots, images, and principles of creating the main compositions that are in demand among the soldiers, who are the main customers of the artist's works, are emphasized. Parallels are drawn with the work of artists that influenced the formation of the painter's stylistics. Folk painting, nayiv positioned as dominant phenomena, on which O. Lyhosherst nurtured his art.

Музей народного мистецтва в Отрембусах. Значення діяльності Маріана Покропка для вивчення українського мистецтва в Польщі

Activities of the Polish researcher, Doctor habilitatus Marian Pokropek (1932–2023), professor of the University of Warsaw, are well known in European countries and even more widely in the world, in particular, in Asia and the USA. The scientist gained the fame as a professional ethnographer and a tireless collector of folk art already in the 20th century. The heritage of Ukrainian folk craftsmen is preserved in his private Museum of Folk Art in Otrębusy, which was founded in 1996. The museum exhibits include icons on glass, Hutsul tiles, woven and embroidered carpets and rushnyky, etc. among many works. These displays have been presented repeatedly at numerous exhibitions in Poland. The professor organized the exhibition "Ukrainian Folk Art in the Collection of the Museum in Otrębusy. Ukraińska sztuka ludowa w zbiorach Muzeum Sztuki Ludowej w Otrębusach" (22 May 2022) in the first months of the war, after the invasion of Russian troops in Ukraine in February 2022. The scientist also greatly contributed to the study of Ukrainian art in his collection. During the war, this collection located in the territory of Poland is an extremely valuable material for the study of folk art of Ukraine.

Comparative analysis of aesthetic and functional aspects of design approaches in the context of contemporary art

Russian aggression against Ukraine has generated global interest in Ukrainian brands. This study analyzes and compares existing folk design approaches in Ukrainian art. The purpose of the article is to analyze and compare existing popular design approaches in Ukrainian art. Methods: theoretical research methods, such as analysis, synthesis, content analysis of scientific literature, and the axiological method, are primarily used. The results showed that Ukrainian art is revealed through various design approaches that help creative people to express ideas, convey emotions, and contribute to the development of culture. In particular, the current direction is ethnodesign, which promotes the maintenance of traditions and national identity, ecological design is aimed at sustainable development, the technological design integrates modern technologies into art, and emotional design attracts and makes art personal for each viewer. Scientific novelty: it is proven that Ukrainian designers are looking for new approaches, using motifs of folk art and synthesizing Ukrainian color, models, and patterns to create original works of clothing, architecture, brands. The conclusions emphasize that ecological design, technological design, and emotional design are promising directions for the development of design approaches, which will become important in the future.

„Sztuka dla sztuki” czy „sztuka dla narodu”? Działalność artystyczna, krytycznoliteracka oraz wydawnicza Iwana Trusza wobec wyzwań ukraińskiego życia społecznego w Galicji na przełomie XIX i XX wieku

The article is an attempt at reconstructing the artistic and critical literary activity of a Ukrainian painter Iwan Trusz, who noticed a great need of the Ukrainian society to cultivate and develop national art. The Ukrainian artist also contributed to the development of Polish art of that period, as he was highly estimated among Polish intellectuals and took an active part in Polish and Ukrainian cultural enterprises that took place in Lviv at the turn of the 19th and 20th centuries. The experience which Trusz gained during his education in the Cracow Academy of Fine Arts, as well as his direct contact with distinguished Polish painters (e.g. Leon Wyczółkowski, Jan Stanisławski) evoked in the painter a great need to take care of the enrichment of contemporary Ukrainian art and to raise the awareness of Galician Ukrainians about the effect which art has on the formation of every nation. Looking at the activity of Trusz‑an artist or Trusz‑an art critic from the perspective of the 21st century, makes it possible to find the answers to some key questions: “Should national art be promoted?”, “How to educate society through art?” and “What is the role of an artist during the formation of an independent nation?”

Ukrainian Territory A Artistic Agency: a Synthesis of Ukrainian Folklore and Popular Music Art in Sound Recording

The basic principles of the development and synthesis of Ukrainian popular and folk (folklore) art of the late 20th – early 21st centuries are investigated in the article. Peculiar attention is paid to the work of the Territory-A artistic agency (ideologist and project masters are producer Oleksandr Bryhynets, presenter – Honored Artist of Ukraine Anzhelika Rudnytska), which managed to find the methods and forms of introducing Ukrainian culture into radio and television spaces, to replenish the creative fund with sound recordings of Ukrainian origin, to distribute popular song in modern arrangements in the mass-media spaces and to popularize Ukrainian folk traditions among young people by initiating festivals called EthnoWinter, EthnoSpring, EthnoSummer and EthnoAutumn. The main analysis of the synthesis of Ukrainian popular music and folklore is dedicated to the theme of revival of archetypal tunes of Western Ukraine, the creation of new compositions based on them and their popularization among the audience, the promotion of ethnic music on television and its importance for national culture in general. Also noteworthy is the first Ukrainian large-format Territory-A hit parade on ICTV channel, which has broadcasted domestically produced videos three times a week for five years (1995–2000), on the revealing new names of young performers as a leading prototype for subsequent art projects such as Star Factory, X-Factor, The Voice of the Country, etc. Besides, attention is focused on the issue of the Musical Week newspaper, which has improved eventually the style of magazine published works. The Territory-A artistic agency is known as the publisher and order performer, famous for its hit parades of video- and audiography among Ukrainian popular music artists on the ICTV All-Ukrainian TV channel. It is emphasized in the conclusions on the necessity of such artistic ideas in the future. This, in turn, positions the revival of national culture and symbolism in the sphere of self-identification of Ukrainian art among the people of other cultures.

Theme of Flowers as a Sign of Impressionism on the Example of the Work of Ivan Trush (1869-1941)

The end of the 19th and the beginning of the 20th century in art are associated with light and color in Europe, which were characteristic of the artistic philosophy of Impressionism. Prominent representatives of this movement created artworks based on a new approach to color choices and subject matter, including the depiction of real landscapes and floral compositions. The relevance of this research is driven by the need to study the artistic representation of floral compositions by the Ukrainian artist I. Trush through the prism of Impressionist stylistic elements. The research aims to identify the features of Impressionist philosophy in the works of I. Trush through a comparison of the artist's body of work with that of Impressionist contemporaries in the field of visual arts. In this research, scientific methods such as description, systematization, analysis, comparison, cultural-historical analysis, and generalization were employed. As a result of this scientific investigation, the fundamental characteristic traits of Impressionism as an art style in visual arts were studied, as well as the particular features that distinguish this artistic movement from previous artistic philosophies. The research also analyzed the conceptual framework of the term "Impressionism" and its origins. Furthermore, it examined the characteristic traits and features of the works of the Ukrainian painter I. Trush and Impressionist artists, allowing for the integration of the distinctive traits and features of Impressionism in the artist's work through comparison. Through the comparative analysis conducted in this scientific work between Impressionists and the artistic output of I. Trush, the involvement of the Ukrainian artist in the broader Impressionist movement was highlighted. This research can be utilized by scholars and art historians for further exploration of Impressionism as an artistic movement and its influence on the development of Ukrainian art.

POTTERY CENTERSAND SCHOOLS IN UKRAINE: EDUCATIONAL AND PROFESSIONAL POTENTIAL

Based on historical material, the article examines the current issue of researching the educational and professional potential of pottery centers and schools in Ukraine in the context of the problems of training specialists in decorative and applied art in educational institutions of our country in the 80s of the 20th century – at the beginning of the 21st century. Based on the study of a complex of diverse sources, it was found that traditional pottery centers were formed in the following regions: Kyiv Oblast, Kharkiv Oblast, Poltava Oblast, Chernihiv Oblast, Podillia, Kherson Oblast, Volyn, Halychyna, Hutsul Oblast, Transcarpathia. Each of these centers had unique signs of technology techniques, decoration, design, name, and shape of products. At the same time, the long-standing leading educational and professional trend in the formation and development of folk pottery in Ukraine was training masters of decorative and applied art directly by well-known potters. Workshop schools, art and industrial schools, vocational and technical schools, artillery schools, workshops of folk art, art schools, etc., were founded later at the end of the 19th – at the beginning of the 20th century. Those institutions, i. e., Poltava Pottery School-Workshop, Myrhorod Ceramic Technical School, Opishne Vocational Technical School – Opishne Factory «Artistic Ceramics», Mezhehirsk Ceramic School-Workshop – Technological Institute of Ceramics and Glass, Kyiv Central Experimental Workshop of Folk Art at the State Museum of Ukrainian Art, Kyiv Art and Industrial Technical School, accumulated rich experience in training high-quality ceramic artists. It was found that in the 80s of the 20th century, the training of decorative and applied art specialists was started by culture colleges.

Mykola Stetsiun’s creativity for bandura in the anniversary context

Statement of the problem. Recent research and publications. A significant event for the bandura community was the 80th anniversary of the Honored Artist of Ukraine Mykola Hryhorovych Stetsiun (b. 1942), whose composer’s work represents a new stage in the development of the bandura art. The artist’s professional development began in the urbanized Eastern region of Ukraine, where the folk instrumental performance was represented exclusively by the domra, balalaika, and accordion arts. The composer’s practical acquaintance with the bandura took place in his mature years in Kharkiv, which prompted him to expand the original bandura repertoire and include the timbre of the instrument in orchestral compositions. M. Stetsiun’s composer work has been covered in the number of scientific studies. His life and creative path is described by A. Vynohradova (2019), S. Bilousova (2016), and L. Shekita (2013) who characterized M. Stetsiun’s work in the context of the development of folk instrumental art. The performing interpretation some of the composer’s works is characterized in the studies of M. Tushchenko (2019) and A. Aulova (2021). I. Lisniak (2014) offered the genre style review of the composer’s work for the bandura. The relevance of the proposed study determines by insufficient research of M. Stetsiun’s bandura works. Objectives, methods, and novelty of the study. The purpose of the study is to characterize the development of M. Stetsiun’s bandura creativity in the context of the enriching the modern bandura repertoire. For the first time, the evolution of M. Stetsiun’s interest in bandura sound was traced in the context of significant for folk instrumental art the events and creative communications. Ways of formation and creative transformation of M. Stetsiun’s composer style in the field of bandura music have not yet been the object of research. A panoramic overview of the composer’s genre and style searches, aimed at expanding the performance repertoire for bandura, was carried out. The following methods was used in the research: 1) biographical to characterize significant events in M. Stetsiun’s life and work; 2) genre and stylistic to reveal the characteristic peculiarities of his music works; 3) interpretive to analyse performance tasks in the works for bandura. Research results. Thanks to the activities of V. Andrieiev and H. Khotkevich, bands of bandurists appeared in Kharkiv alongside the domra and balalaika orchestras. In 1921, the first orchestra of Ukrainian folk instruments was created. The cultural and musical environment of the Ukrainian Donbas in the middle of the 20th century was influenced the Soviet narratives. The bandura did not sound there. Therefore, since childhood, M. Stetsiun showed himself as the domra performer and talented arranger. During his studies at the Kharkiv State Conservatory (in the domra class of V. I. Mikhelis, in the composition class of I. K. Kovach), bandura performance declined. M. Stetsiun’s close acquaintance with the bandura took place at the turn of the 1980--90s, when the bandura class was renewed at the Kharkiv State Institute of Arts. There are several genre and style models to which the composer turns to in his work for this instrument: 1) vocal-instrumental compositions, 2) orchestral works with the inclusion of the bandura part, 3) arrangements for bandura solo, 4) original works for bandura, 5) compositions for the ensemble of bandurists. M. Stetsiun’s arrangements for bandura – “Elegy in Memory of Hnat Hotkevych” and “Etude-Impromtu” are very popular among the performers. The “Dance in the Form of a Rondo” stands out among his original works for bandura. Conclusion. M. Stetsiun continues the traditions of the Kharkiv school of composers, as evidenced by the bright individual stylistic appearance of most of his opuses. Conscious reception of the bandura as a national musical instrument by the composer took place in adulthood, when, thanks to the high level of compositional skill, he was able to embody organically the specifics of orchestral thinking in the solo and ensemble sound of the bandura using the traditional and the modern melodic-harmonic, textural and articulation means. The perspective of the research consists in the musicological understanding of the resent opuses of Ukrainian composers for the bandura as a complete artistic phenomenon and the important component of folk-instrumental Ukrainian art.

Painful Images: Ukraine 1993, 2014, and 2022

Ukrainian art, from the economic and political transformation of the 1990s through the events of 2014 (Crimea’s annexation and war in Donbas) to the Russian Federation’s full-scale invasion in 2022, has been haunted in various ways by the question of trauma and loss. At the same time, however, the problem of trauma is not just a problem of war or conflict but is somehow inscribed in post-Soviet space. Photography has a special role to play here, as a medium constantly oscillating between visible and invisible and between presence and absence. Since traumatic images transform and question the medium, a discussion about trauma becomes a discussion about the image itself. This article analyses selected projects by Ukrainian artists in various disciplines made in three chronological moments: the first half of the 1990s, after 2014, and now, in response to the ongoing war. Each project touches in different ways on the issue of trauma and the traumatic view while also touching the broader level of relationships between affects, vision, and history.

Innovative, traditional, and classic-innovative forms of popularization of the literary heritage of Bruno Schulz

One of the tasks that modern literary critics, art critics, cultural experts, etc., are still solving is the need to disseminate actively information of various types on Ukrainian territory and throughout the world about this or that Ukrainian artist, that is, scientists are engaged in popularizing the life and creative heritage of more or less well-known artists to a wide audience of creative personalities of Ukraine. The article deals with the expansion of Schulz’s literary discourse in Ukraine and the attraction of new and new admirers of the creative work of the world-famous Galician writer from Drohobych Bruno Schulz to the Schulz Ukrainian community thanks to the use of innovative and classical forms of artistic popularization. The author of the scientific research focuses on the relevance, necessity, and correctness of accelerating the processes of entry of the bright Galician writer of the first half of the 20th century, Bruno Schulz, to the Ukrainian reading, literary, literary studies, and artistic discourses precisely through the prism of representation of various forms of popularization of Bruno Schulz’s biography and creativity. In the investigation the place and role of Bruno Schulz in the world literary and artistic discourse have been characterized; the level of awareness of both specialists and ordinary citizens with the creative heritage of the artist on Ukrainian territory has been clarified; innovative, innovative-traditional, classic forms, methods and techniques of popularizing the figure of Bruno Schulz among the broad strata of modern Ukrainians are systematized, and recommendations on the outlined issues have been formulated. Given the fact that Bruno Schulz is world-famous not only as an author of prose works but also as a philosopher, literary critic, literary theorist, epistolographer, artist, painter, drawer, draftsman, graphic artist, translator, educator, these facets of the multifaceted talent of the artist will become the subject of further scientific investigations by the author of the publication because they also need a certain popularization.

The creativity of Feodosii Humenyuk in the formation and development of the Kyiv school of historical painting

The purpose of the work is to study the main stages and stylistic characteristics of the work of the People's Artist of Ukraine F. Humenyuk as a bright representative of the Kyiv school of historical painting. The research methodology consists in the application of such scientific research methods as historical, art history, analysis, synthesis, and Semitic, which together made it possible to achieve substantiated research results. The scientific novelty of the work consists in summarising the work of the outstanding Ukrainian artist F. Humenyuk and examining it from the perspective of the formation and development of the Kyiv school of historical painting. Conclusions. As a result of the conducted research, it was established that the work of F. Humenyuk is an important component in the development of the modern Kyiv school of historical painting, within which the artist formed his own unique style, which is based on the deep traditions of folk art, icon painting, Byzantism, Baroque, and Boychukism. In his works, which are characterised by multi-component complex compositions, the historical past and modern artistic versions of his reading are combined. The author's symbolic and allegorical interpretations of historical events and persons are full of many meanings, metaphors and images, forming an original poetic background for reading the stories at a highly professional level. Heading the educational and creative workshop of historical painting for a long time, F. Humenyuk not only educated worthy students, but also significantly influenced the formation of the Kyiv school of historical painting. Keywords: historical painting, Kyiv School of Painting, Feodosii Humenyuk, Kyiv Art Institute, author's stylistics.

Projections of the Works of the Ukrainian Avant-Garde in the Design of Brands of Patriotic Accessories

The purpose of the article is to investigate the use of artistic graphic images of avant-garde works of fine art in the prints of patriotic brands’ accessories, in particular, scarves. The research methodology involves the use of a systematic approach, as well as a set of scientific methods: analytical, synthetic, art history, historical and cultural, semantic, which allow a comprehensive consideration of the given problem in order to obtain substantiated research results. The scientific novelty of the work consists in the actualisation of the modern use of images of artistic works of representatives of the Ukrainian avant-garde on printed images of such patriotic accessories as scarves, which are gaining popularity at the modern stage. Conclusions. Summarising, we note that the use of images of artistic paintings by Ukrainian avant-garde artists as prints on modern patriotic accessories, in particular scarves, the production of which is gaining increasing popularity in the wake of national-patriotic uplift, serves not only as a fashionable brand and a means of individual expression, but also as a form of representation of national cultural identity with the use of cultural artefacts, a means of popularising the artistic heritage of Ukrainian artists. The use of prints of author's works of art on items of modern clothing next to the more widespread tradition of embroidered clothing is a modern form of cultural and artistic, value representation of Ukrainian culture, which, in addition, strengthens the functions of symbolic meaning of modern society and actualising the achievements of national culture. Keywords: works of art of the Ukrainian avant-garde, clothing brand, accessories, scarves, patriotic clothing, print, national and cultural identity.

Creative Activity of V. Hegamyan in the Context of the Development of the Odesa School of Painting

The purpose of the work is to investigate the key events of the creative life and activity of the Odesa artist of Armenian origin V. Hegamyan, whose creative output left a noticeable mark in the development of the Odesa school of painting in the second half of the 20th – beginning of the 21st centuries. The research methodology is based on the application of methods of analysis, synthesis, art history, historical-chronological approach, which made it possible to find out the substantiated results of the research. The scientific novelty of the work consists in deepening and systematising the study of the work of the famous Ukrainian artist V. Hegamyan in the context of the development of the Odesa glass painting. Conclusions. The work determined that starting from the 1960s, due to the relocation to Odesa, a new stage began in V. Hegamyan’s creative period, which was determined by the new cultural and artistic environment and the creative searches carried out by the artists of that time. The artistic dominants of V. Hegamyan's works were determined by the artist's inherent monumentalism, traditional colour scheme and characteristic plot, composition, and imagery. Over the decades, having absorbed the main trends of the Odesa school of painting, V. Hegamyan formed his own artistic style in art, which consisted of a combination of graphic, pictorial, and monumental techniques. Being at the intersection of Armenian and Ukrainian cultures, V. Hegamyan's works clearly trace the appeal to ethnic, archaic motifs, symbolism, which created a special mythopoetics of his works, imposing double or even triple meanings on them. At the same time, V. Hegamyan's creative life was closely intertwined with his teaching activities; he was the founder of the graphics department at the Odesa pedagogical institute. He brought up a whole pleiad of artists who later became famous not only in Odesa, but also in Ukraine: such famous artists as V. Volkov, V. Zakharchenko, S. Lykov, O. Nedoshytko, Ye. Rakhmanin, V. Riabchenko, O. Roitburd, A. Furlet and others. Thanks to his creative and pedagogical activity, V. Hegamyan wrote a bright page in modern Ukrainian fine art as an original artist who formed a unique system of artistic imagery. Keywords: V. Hegamyan, Odesa school of painting, nonconformism, stylistic trends, artistic and cultural life, intersection of cultures, regional specificity, art, artist's creativity.