TRADITIONS AND THE DEVELOPMENT OF GRAPHIC EXPRESSIVE MEANS IN MODERN WATERCOLOR PAINTING

Anatoly Burchik Yanka Kupala State University of Grodno (Belarus)

Ab­stract In today’s cultural environment, where globalization has become a serious problem, and the language of modern art almost ceased to respond to the national specifi­cs of individual cultures, the art of watercolor looks quite expressive, reflecting the nature of one or another school of painting, the mentality of a certain nation. Keywords: watercolor painting, cultural heritage, art of watercolor, tradition and modern trends, creative process, stylization, decorativeness, specifi­city of watercolor.

Watercolor painting has a long history and rich Since the second half of the XVIII century, traditions. The name “watercolor” is derived from the watercolor became widely used in landscape Latin aqua – water (French – aquarelle) and means a painting, as the rapidity of watercolor allows you type of painting, the work performed in this technique, to fi­x direct observations, and the lightness of its as well as paints which are diluted with water. Since colouring simplifi­es the transfer of atmospheric water is a solvent for this kind of paints, hence the phenomena. First professional watercolorist appear. name of the painting with these paints. Watercolor – Their dull in color landscapes were executed on the only kind of paints with a distinct clarity, purity damp paper, fi­lled with one common tone, to which and brilliance of color. This is achieved not only by all the color gradations with a watercolor wash and the quality of the materials used, but also by a high draughtsmanship of details with a thin pen. In the degree of dispersion of pigments, that is obtained UK (A. and Dzh. R. Kozens, T. Gertin), in France with the help of special trituration of powders. (Zh. O. Fragonar, Y. Rober), in Russia (F. Y. Alekseev, Opaque watercolor painting with a mixture of M. M. Ivanov, S. F. Shchedrin, F. M. Matveev and white was known in ancient Egypt, ancient world, in others). the Middle Ages in Europe and Asia. Works made by In the second quarter of the XIX century in artists on papyrus and rice paper have come down to Italy there was a way of dense multilayer watercolor us. In the Middle Ages in Western Europe and Russia painting on dry paper, with characteristic sonorous the watercolor was used to decorate the church books contrasts of light and shade, color and white papers. (coloring of ornaments, caps in manuscripts), and Features of watercolor as a material of painting − then in the miniature painting. lightness, transparency and subtlety − were the Pure watercolor (without admixture of white) qualities that attracted the attention of many artists. has been widely used at the beginning of the XV Gradually, under the influence of the general century. Its main qualities − transparency of paints, development of painting, enriching and improving, through which the tone and texture of the substrate watercolor separated as an independent form of fi­ne appear (mainly paper, less silk and ivory), color art. There was an easel painting, which by its scenic purity. The watercolor combines features of paintings merit and artistic value has reached perfection and was (wealth of tone, design of form and space with color) not inferior to paintings done in oils. Simultaneously and graphics (the active role of the paper in image with easel watercolor painting illustration and design). Specifi­c watercolor techniques − watercolor architectural watercolor graphics was developing. wash and flow mottle, creating the effect of mobility In Russia K. P. Bryullov and A. A. Ivanov work and vibrant image. Watercolor, done by brush, often in this manner. P.F.Sokolov had distinctive technique includes pen or pencil drawings. of portraiture (with masterly modeling of the form In the XV–XVII centuries, watercolor had with thin lines and dots, wide color fi­lls), who breathed practical value and was used mainly to color prints, new life into the art of miniature portraits. He worked drawings, sketches of painting and frescoes. An on the paper with pure paints without admixture of excellent example of this can be landscapes by white. The artist has assigned to watercolor its main A. Durer, Dutch and Flemish artists. qualities – transparency and lightness. His miniature

71 portraits were notable for amazing simplicity, the closely associated with the cultural life of Belarus, beauty of color tints and perfect drawing (“Portrait Poland and Lithuania as well. of a Lady in a Green Dress”, “Portrait of a young In the works of battle genre of Jan Damel (1780– offi­cer,” etc.). 1840), who worked in Minsk at the end, as well as in In the XIX century, watercolor art receives the works of his contemporary Yanuariy Sukhodolsky signifi­cant development. Picturesque freedom, (1797–1831), born in Grodno, there was ability to variety of tonal nuance and color schemes were create landscape and multi-fi­gured compositions with peculiar to the works of many artists. At this time in complex social characteristics of the characters. watercolor technique worked fruitfully E. Delakrua, Polish artist Józef Peshka (1767–1831), who lived O. Domye, P. Gavarni in France, A. Mentsel in for a long time in Vitebsk, Minsk, Mogilev, created a Germany, I. E. Repin V. I. Surikov, M. A. Vrubel in series of watercolor paintings from nature which had Russia. Flourishing of the British school of watercolor local history and ethnographic features. They have continued (R. Bonington, Dzh. S. Kotmen, I. Kellou, the same value both as historical documents of the I. Terner). age, and as samples of graphic art. In the late XIX – early XX century masters that Artist, literary man, musician Napoleon Orda were part of the creative association “World of Art”, (1807–1883), a native of Grodno province, left a and artists of their circle made a great contribution large number of watercolors depicting the specifi­c to the history of the Russian watercolor painting. historical places in Belarus and motifs of natural Various creative individuals were united by a common scenery. The reliability of graphic narration makes aspiration for the high professional craftsmanship the works of the artist not only historical, but also and the search of a modern language in art. an aesthetic richness of content (castles in Mir, Lida, The watercolor of the ХХ century is characterized Nesvizh palace, views of Grodno, Minsk, and many by greater freedom of techniques. In the works of artists others). Later, on their basis, lithographs were made, there is a combination of graphic arts and painting. which were published in the form of albums of 20–30 Most of the “world artists”, also related to them in pages. the nature of creation such artists as A. Ya. Golovin, Local history and ethnographic tendency, marked L. S. Bakst, D. N. Kardovsky, F. A. Malyavin, with the works of N. Ordy, Yu. Peshki, continued in M. V. Dobuzhinsky, K. F. Juon, B. M. Kustodiev, watercolors of M. Kulesh, D. Strukov, I. Trutnev. Z. S. Serebryakova in their work used watercolor In the early ХХ century Yazep Drozdovich studied with the combination of whitewash, gouache, the cultural heritage of our people, displaying in his tempera, pastels, bronze and other materials. Ho­ works famous places of his native land that were in wever, such artists as K. A. Somova, A. N. Benoiua the Vitebsk region. and A. P. Ostroumova-Lebedeva basically held to An example of academic watercolor are portraits watercolor technique in its pure form. of Yu. Pen, a student of P. Chistyakov. His watercolor Such painters as G. S. Vereysky, V. M. Konashe­ paintings are distinguished by subtle perception of vich, N. A. Tyrsa, K. I. Rudakov, N. N. Kupreyanov, the pictorial qualities of water colors. In the easel V. V. Lebedev, L. A. Bruni, P. V. Miturich, S. V. Ge­ genre watercolors among Belarusian artists the rasimov, A. V. Fonvizin, L. V. Soyfertis and many works of N. Tarasikov, B. Kudrevich, L. Leytman, other artists work brightly and originally in the best V. Volkov, M. Filippovich, A. Ostapovich have traditions of Russian easel watercolor. become widespread. Belarusian school of watercolor experiences Watercolor sketches to the pictures of Valentin the period of the formation and search of its creative Volkov (1881–1964), that have survived to the language. We can see the examples of use of present days, show the high quality of classic watercolor techniques in Belarus in the miniatures watercolor techniques. Holding true to the principles of Radivilov Chronicle. In the XVII–XVIII centuries of realism, he gave his views to the pupils of Vitebsk water paint were used to paint engravings. Art College. In the 30’s after graduation from Art Creative processes XIX – early XX century, College the beginning of the creative development of which were becoming apparent most in Poland and in many artists clarifi­es, many of which subsequently the cultural centers of the Russian Empire, to the full made a signifi­cant contribution to the development extent were typical for its province − the North-West of watercolor art in Belarus. Among them there are region, of which at that time the territory of Belarus such names as N. Tarasikov, E. Krasovsky, N. Beda, was part of. Representatives from different art schools Volkov, V. Tsvirko, N. Golovchenko, N. Churaba, worked there. Creative work of F.Smuglevich, etc. One of the fi­rst Belarusian artists, who can Yu. Peshki, Ya. Damelya, N. Ordy, V. Vankovich was rightly be called the leading watercolorist, was

72 Lev Leytman (1896–1974). Throughout his career direction. In achieving of work expressiveness some watercolor and gouache were the main means of artists do not limit themselves in the graphic means, artistic expression for him. Along with the creative using watercolor with gouache, acrylic, tempera, work, he taught at the Vitebsk Art College, where aniline dyes, and appliqué. Improvisation of combined many artists of the next generation got the fi­rst lessons author’s technique is typical for the works of of professionalism. Expanding of traditional range V. Savich, A. Vahrameev, D. Surinovich, P. Drachov, of graphic means of the watercolor painting in the A. Kvetkovsky, etc. One of the trends of modern works of L. Leytman became the driving force that watercolor − pictorial. Here a major role in creating has raised the Belarusian watercolor to a qualitatively of watercolor images, fi­lling it with the emotional new level of development. He acted not only as a content belongs to the color order of the composition. classic of watercolor painting, but also as a reformer Many works of watercolor paintings have a distinct of its traditional forms. decorative character. Concerning pictorial palette, New stage of watercolors outlined in the early which has a decorative nature, the compositions 1960’s. National (1965) and republican (1966) of Zoya Litvinova (1938) with the allegorical and watercolor exhibition were organized, local schools symbolic content are peculiar. Plane composition of watercolors (Vitebsk school of watercolor) were decorativeness, form abstractness, complicated letter formed. Approval of watercolor as an independent of combined technique are typical for the works of type of painting and originality separation of Valentina Liakhovich (1945). Subjects of watercolor Belarusian watercolor art continuously associated sheets of Svetlana Katkova, Irina Loban and Zoya with the names of artists such as A. Posledovich, Lutsevich are built on improvisation of the pictorial G. Poplavsky, V. Stelmashonok, G. Vaschenko, plasticity of rhythms, unexpected interconnection of P. Drachov, I. Protasenya, I. Stolyarov, D. Shutov stylized forms of real and the material world. F. Gumen, N. Marchenko etc. Their innovation and The ХХ century and especially its second professional experience that they have contributed half, the history of Belarus is characterized by to the watercolor art greatly strengthened the revolutionary changes of ideological and graphic and ideological and substantive and stylistic potential of stylistic content. Applied and illustrative function of the Belarusian watercolors. watercolors paled into insignifi­cance, documentary A signifi­cant growth of creative activity in the narrative topics gave way to allegorical, associative, fi­eld of watercolor art manifested in Vitebsk, where abstract compositions. Expansion of expressive the role of the basic academic training of artists means of watercolor enriched traditional painting was performed by the graphic and arts faculty of with form conditionality and freedom of techniques. Pedagogical Institute (now Vitebsk State University Belarusian watercolor of the late ХХ century has named P. M. Masherov). Among the watercolorists acquired the status of specifi­c independence in the right away two bright and unlike to each other creative morphology structure of fi­ne art, persistently taking individuals stood out − Gennady Shutov (1939) and a place between painting and drawing. A new look pupil of Ivan Stolarov − Felix Gumen (1941). Their for the traditional type of painting has signifi­cantly creative individuals became formed in different increased the possibility of using of watercolors in aesthetic views and stylistic manner of performance, the creative process. An example of this might be fi­rst but at the same time an common commitment in Belarus International Exhibition of watercolors to the graphic trend in watercolors revealed. in 2007, which was held in Polotsk. Exhibition and Creative principles of F. Gumen were supported Scientifi­c Fine Art Symposium “Watercolor: traditions and were developed by his pupils: V. Lyahovich, and experiments in the space of contemporary art” V. Napreenko, F. Kiselev, L. Voronova, N. Mironov, revealed unusual interest to the problem of watercolor M. Ovchinnikov, V. Svistunov, V. Rynkevich as an independent type of art (Бурчик, 2009, 9). etc. Working in different specialized educational This brief historical overview of the appearance institutions of the country, artistic teachers have and formation of watercolor indicates the popularity widely spread and have enriched the aesthetics and of this type of painting among the most artists. technique of watercolor painting of Vitebsk school Some used watercolor for sketches, others gave it created their own independent local schools. no less importance than to the oil painting, for the In the 80’s in the constructional and fi­gurative third watercolor became the basis of their creativity. system of easel watercolor outlines the elements Gradually the principles and rules of watercolor of graphic design. Groundless image, the desire painting have been defi­ned. At the same time for monochrome, absolutization of tone spots, line artists from generation to generation have grown plastique, rhythm − the external signs of a new and improved technical methods and techniques of

73 watercolor, established criteria for its evaluation, natural supplements, one can defi­ne beforehand the expanded range of technical means, different styles technical effects in future work), the second factor and genres. depends entirely on the personal character traits of Works of the masters indicate that possibilities the artist and the fi­rst of all on his improvisational and means of technical application of watercolors skills and plasticity of thinking. In artistic practice, are unlimited, that with the necessary experience, these factors are inseparable. pictorial skills and appropriate painting technique Watercolor painting is characterized by a wide one can achieve great expressiveness of images, light range of transparent of paint layer (the process and color richness, diversity in the transfer of the created includes the huge graphic potential of the form and object texture. paper itself) and dynamics of water paints, its Watercolor has big potential in the transfer of movement, self-activity. Just these qualities defi­ne subtle tonal and color of nature tinges, especially the nature of watercolor. Modern watercolor requires the atmospheric phenomena. The transfer of view not only knowledge of the painting academic laws, spatiality, air vibration, lighting state, object but also the special plasticity and quickness of the materiality − all that are available for professionally creative thinking directly at the time of writing. trained watercolorist. However, the traditions of the Technical effects which are the result of watercolors national watercolor teach the beginner to be careful in self-activity, often can not be accurately foreseen by the mastering of methods and techniques of watercolor the author in advance. To struggle with them means painting, learning the basics of graphic skills, to remove the most valuable qualities of watercolors: characteristics and properties of materials. Despite spontaneity, originality, uncertainty. Craftsmanship the apparent easiness, working with watercolor to of watercolorist manifested in the ability to notice the a certain extent is more diffi­cult than painting with value of the effect and continue work, to correct the other paints (gouache, tempera, oil). This diffi­culty initial objectives, while maintaining the basic idea is that watercolor can not tolerate corrections and of the work. The uniqueness of watercolor images alterations, which cause damage of the upper paper that can not be created using other techniques and layer, and the painting blackens. “Therefore, the artist materials, testifi­es that watercolor has acquired the must have a lot of concentration, and before starting status of specifi­c independency in the morphology of the work he should have a very clear idea of what​​ structure of fi­ne art. Modern trends in the development he wants and how he ought to fulfi­ll his intentions” – of watercolor painting signifi­cantly increase the A. P. Ostroumova-Lebedeva wrote (Остроумова- possibility to use watercolors in education training of Лебедева, 1974). artists of various specializations. In a greater degree sphere of the traditional Watercolor is one of the most common kinds of academic watercolors has been assimilated and painting, which is used for training in the special art methodically developed, where its specifi­city is schools. This is primarily specifi­ed by the comparative limited by the exclusive use of the transparency of the accessibility and easiness of water-color use in the colored layer. The historical evolution of watercolors process of mastering the basics of graphic knowledge, in the materials, techniques, images, and particularly skills for creation of color harmony, structure of tone its rapid development in the second half of the XX and color composition, transfer of three-dimensional century revealed rich specifi­c qualities of watercolor illusion, space, material objects, etc. painting unused before. Specifi­c qualities of watercolors are determined References mainly by two factors: the physical characteristics of 1. Бурчик А. И., 2009, Основы акварельной живописи: materials (paper, paint, water, paint additives, tools), учебное пособие. Гродно: ГрГУ. 2. Остроумова-Лебедева А. П., 1974, Автобиогра­ and creative individuality of the author. If the fi­rst фические записки в 3-х т. Москва: «Изобразитель­ components can be analyzed particularly, classifi­ed, ное искусство». and even designed (using a variety of synthetic and

74