Пейзаж у живописі кримських художників XX ст. (традиції, стильова еволюція, тенденції розвитку)

Бондарчук, Наталія Олександрівна

Пейзаж у живописі кримських художників XX ст. (традиції, стильова еволюція, тенденції розвитку)

Бондарчук, Наталія Олександрівна

URI: http://elib.nakkkim.edu.ua/xmlui/handle/123456789/2164

Date: 2017

Abstract:

Дисертація є першим комплексним науковим дослідженням пейзажного жанру як провідного в живописі кримських художників ХХ ст. На основі аналізу музейних колекцій, приватних зібрань та друкованих джерел розкрито витоки, етапи становлення та розвитку нової моделі кримської пейзажної школи, що сформувалась у другій половині ХХ ст. як цілісне мистецьке явище зі своїми різноманітними підходами і регіональними проявами. Виявлено основне коло її представників. Розкрито роль акварельного живопису в пейзажному жанрі кримських майстрів, як його своєрідної складової частини. Проаналізовано пейзажний живопис у творчості кримськотатарських митців. Висвітлені основні тенденції розвитку пейзажного жанру серед представників кримської школи, стильові особливості їх індивідуальних творчих манер, методів і прийомів, а також використання малярських технік і художніх матеріалів.

Description:

Dissertation is the first complex scientific research of landscape genre which remains leading in painting of the Crimean artists of the 20th century. Their masterpieces are exposed in museum collections, private collections, and also in printing sources and being analyzed in the work. The author exposes sources, stages of becoming and development of the new model of the Crimean landscape school formed in the second half of the 20th century as the integral artistic phenomenon with the various approaches and regional displays. Becoming of the Crimean artistic school begins in the first half of the 19th century, when the marine painter І. Ayvazovskiy begins his activity. In the second half of the 19th century he founded the special school of the marine painting in Feodosiya. During half a century the city remained unique on the peninsula, where masters of painting lived and were taught. A new period in development of school coincides with beginning of the 20th century, when after learning in foreign countries the young pleiad of the Crimean artists returns on a peninsula. The next period is outlined the end of 1910s - beginning of 1940s. It is related to arrival to Crimea of M. Samokysh, who founded Crimean artistic college in 1937. The initial date of the last period is 1951, when a number of the first post-war graduating students of capital institutes was directed to Simferopol' in connection with devastation in the years of the Second World war and by a critical shortage of professional artists (F. Zakharov, V. Bernadskiy, V. Apanovich etc). They substantially fixed the teaching staff of the Crimean artistic college and involved stormy plenary motion which distinguishes the Crimean landscape school from other regions even today. The author of this research exposed the basic circle of representatives of the Crimean landscape school. V. Adyeyev, G. Aref'’yev, O. Grachov, G. Deredzhiev, E. Karcyganov, V. Kuc, Zh. Matrunec'kiy, I. Petrov, A. Sukhorukikh, O. Fedotov, M. Chukhlantsev, I. Shipilin and others are the representatives of the brightest masters of Crimean school of the landscape painting in the second half of the 20th century. The tradition of the Kimmerian landscape school is not interrupted on the east of peninsula (Feodosiya, Kerch). M. Barsamov, P. Stolyarenko, S. Mamchych are the most important representatives іn this period. Painters M. Afanas'yev, Yu. Volkov and other from the West peninsulas (Sevastopol, Bakhchysarai, Evpatoria) give preference to the heroic-patriotic theme in picture-landscape. In the centre, in Simferopol', masters gravitate to the variety of themes in a landscape-picture (N. Vasilenko, O. Fedotov and others). In the south (Large Yalta, Alyshta) painters are concentrated on plein-air approach in their compositions, but not on a landscape-picture (F. Zakharov, V. Tsvyetkova and other). The role of landscape reason increases at co-operation of genres. He subordinates itself both a subject and still life, and portrait, and even an interior. Plastic language changes, enriches. Thick stroke, use of palette-knife, large planes of local colour, plane of the volumebecomes more characteristic. The author of this research at first exposes the role of the watercolor painting in the landscape genre of Crimean masters, as its original component part. It also analyzes the landscape painting in creation of Crimean Tatars at first, too.

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