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UDC 7.036(477)«19» ISSN 2309-8155 (Print) / 2663-0370 (Online) https://doi.org/10.31500/2309-8155.18.2018.152398 сторінки/pages 217–223 Maryna Yur Марина Юр Candidate in Art Studies, кандидат мистецтвознавства, senior researcher старший науковий співробітник, (Modern Art Research Institute (Інститут проблем сучасного мистецтва of the National Academy of Arts of Ukraine) НАМ України) [email protected] +38 (050) 334-07-73 orcid.org/0000-0003-3487-1480 THE ARTISTIC PARADIGM OF UKRAINIAN ART OF THE FIRST HALF OF THE 20TH CENTURY: FROM EXPERIMENT TO CONVENTIONALISM Abstract. The principles of modeling of artistic space in the painting of Ukrainian artists are considered. It is proved that in the conditions of a free experiment, various creative intentions are actively implemented. It was shown that the totalitarian system formed the conventional art within the framework of socialist realism. Keywords: artistic experiment, Ukrainian art, modernism, socialist realism, conventionality. Problem statement. Ukrainian art of the first half Analysis of recent research works and publica- of the twentieth century is a variable by its artistic prac- tions. Ukrainian art of the first half of the 20th century tices, the emergence of which was due to the context has been the subject of much research, related to the in- of European innovation art models, as well as by the in- herent European artistic processes or the creative ac- herent processes in Russian culture. Such synergy influ- tivity of individual artists. The interpretations of these enced the artistic situation in Ukraine, especially in the processes by art studies, having been carried out since first third of the twentieth century, when the artists’ re- the establishment of independent Ukraine, are a sign of a flections on the latest trends and tendencies of European new reception of art with obvious crisis conditions that art were forming the national version. The artistic edu- influenced the synergy of the artistic system, with the cation, which was not organized in Ukraine at the begin- prevalence of the artistic experiment in the first two ning of the 20th century, contributed to the integration decades and the generated ideology of conventions in of the latest achievements, as young artists were educated the works of artists over the next three decades. The art either in the Krakow, Vienna, or Munich Academy of Arts of modernism in Ukraine has become central in the dis- as well as various European schools and private studios. course of the Kyiv, Lviv, Kharkiv, Odessa schools of art Institutions such as the Imperial Academy of Arts in St. researchers. The phenomenon of “boychukism” has Petersburg and the Moscow School of Painting, Sculpture been studied substantially by L. Sokolyuk [11], Ya. Krav- and Architecture also contributed to the education chenko [5]. The research on avant-garde tendencies has of these artists. Due to this, there was certain inertia been carried out by O. Fedoruk [13], O. Lagutenko [6], of artistic processes in Ukraine, since the different thrusts D. Gorbachev [7]. Art of social realism and other phe- of artists were obvious. Some of them were the adherents nomena of the first half of the 20th century have been of Art Nouveau and modernism, some practiced realism, the subjects of O. Rogotchenko’s scientific works [10]. imitating the principles of the artists who were a part The publications of Impressionism and Ukraine by of the Society of Itinerant Exhibitions, while others de- A. Mel nik [9], Olexandr Murashko: pages on life and veloped a national school of art focusing on achievements work by L. Chlenova [15] and others have been brought in this area. At the same time, the complicated historical out. The authors have represented their own vision and political processes, and as a consequence, the eco- of artistic movements and the cultural context of the pe- nomic conditions of Ukraine’s development as a satellite riod. In order to gain a comprehensive picture, it is im- of the Russian Empire, affected the cultural progress and portant to analyze the principles of modeling the artis- the creative activity of many artists. The research tic space in the works of artists by doing experiments, of artists’ creative methods in the context of dynamic as the identifier of the new artistic paradigm. socio-cultural processes of the first half of the 20th cen- Objectives of the study is to carry out a theoreti- tury will give an idea of the course of experimental artis- cal analysis of the functioning of experimentation in the tic practice, which was based either on a system, open works of artists in order to determine their influence to new trends and tendencies, or, on the contrary, a closed on the modeling of artistic space, and the mechanism one, focused on the ideology of the state of the Soviets, of changing the paradigms. which predetermined conventionalism in art. This dis- Presentation of the main research material. The course determines the relevance of the study. Ukrainian art of the first half of the 20th century is not 217 unequivocal due to the transitional crisis conditions sion unusual, extrinsic to convection art (art leading both in the state and on the Eurasian continent, gener- in one or another period), generates the emergence of ated by war, famine, and revolutions. This, in turn, new diverse artistic practices, which makes it possible could not but affect the creative intentions of artists, to update the artistic system and the change the idea who reflected this situation in their works. As Ukraine of the author’s role. The artistic experiment allows a ti- was at the intersection of these processes, their influ- me ly response to socio-cultural changes, reflecting the ence on Ukrainian art was inevitable. However, the suc- spirit of time in the content and original forms. cession of traditions in Ukrainian art, which naturally Each historical and cultural period of society’s ex- offset the national context against the background istence is distinguished by artistic experience and the of general European artistic innovations, should be latest art practices that evolved in the bosom of the ex- poin ted out. This succession was caused by the national- periment, which is considered to be a “trial and error” cultural processes in Ukraine, which crystallized the method. Therefore, it has a wide sphere of implemen- themes of national liberation struggles, historical and tation at the level of content, form, language, space, and cultural transformations, and changes in the spiritual its manifestations depend on the perception of the and material culture. At the end of the 19th and early world at a particular time. The artistic experiment le- 20th centuries, these processes intensified the activities galizes the reflexive type of aesthetic experience of an of the creative elite, patrons, scholars, artists, and other artist, who uses intuition, imagination in the creation segments of society, to preserve the national art, par- of the new, but it should be pointed out that the exper- ticularly folk art, whose development was determined imentalism is prone to crisis states most of all and by the new conditions of being (urban environment, it often returns to the starting point—realism, which museums [20], exhibitions [19]). The direct involvement forms cyclicity or “fluctuation between realism and ex- of professional artists, who recognized the particular perimentalism” [1, p. 124]. The artist can work within features of peasant folk art through their own prac- the existing convention, or within one or more tradi- tice—studying, copying, reproducing and representing tions, revealing or highlighting the dominant force, this knowledge and these skills at a new artistic level, which prevails, distorts, or absorbs the existing aspects was required. Thus, self-consciousness, a global outlook of the work, therefore, recording a break with tradition. and attitudes of artists, in whose values the national In this sense, the work of art becomes a kind of empir- culture occupied one of the main places, were being ical object, which represents an author’s perceptual pic- formed. This tendency was clearly observed in basic ture of the world. The interpretation of reality in it ac- artistic education as well, which emerged in Ukraine in quires non-typical, unusual forms of expression, in con- the second half of the 19th and early 20th century. Many trast to the generally accepted and approved canon. Ex- of these artists were educated in Europe or Russia, but perimental art has outlined its space, operating with the those who returned to Ukraine, founded the artistic ed- perceptual experience of the artist and generating ucational space by forming private drawing schools. a con stant change of the artistic context. Students of different social status studied there and re- Demand for the new and the original is an impulse, ceived a sufficiently high level of knowledge and artis- which leads to the revolutionary transformation of the tic skills, which contributed to the further development artistic expression, the search for new methods of acti- of the national school of art. In 1869 the first female vation of experiment, and expansion of the empirical artist M. Raevska-Ivanova [12] opened a school in Khar - experience. This, in turn, abets the development of art, kiv; in 1875 the drawing school of M. Murashko started the latest practices of which become the basis of philo- functioning in Kyiv [4]; in 1899–1909 there was a pri- sophic, aesthetic theories and the theories of art study. vate art school of M. Ivasyuk in Chernivtsi; in 1895 Activation of the artistic experiment was important a drawing school, where K. Konstandi taught, was in the late 19th century, because of the crisis of two founded in Odessa; in 1923 the art school of O.

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