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ЄВРОПЕЙСЬКІ ПАРАДИГМИ МИСТЕЦТВА ДЕКАДАНСУ ТА СИМВОЛІЗМУ В ТВОРЧОСТІ ВІЛЬГЕЛЬМА КОТАРБІНСЬКОГО

ЄВРОПЕЙСЬКІ ПАРАДИГМИ МИСТЕЦТВА ДЕКАДАНСУ ТА СИМВОЛІЗМУ В ТВОРЧОСТІ ВІЛЬГЕЛЬМА КОТАРБІНСЬКОГО

Сосік, Ольга Даніїлівна
URI: http://elib.nakkkim.edu.ua/handle/123456789/3674
Date: 2021

Abstract:

Дослідження присвячене аналізу становлення і розвитку творчості В. Котарбінського у контексті провідних стильових напрямів образотворчого мистецтва другої половини XIX - початку XX ст. Розглянуто ключові світоглядні наративи в європейському культурному просторі зазначеного періоду, зокрема філософські концепції Ф. Ніцше та А. Шопенгауера, що дало змогу осягнути певні ідейні особливості декадентського та символістського живопису. Водночас, було зосереджено увагу на мистецьких напрямах, котрі передували формуванню їхніх стилістичних аспектів, а саме академізмі та руху прерафаелітів. Декаданс охарактеризовано як стилістичний напрям, із власною художньо-образною специфікою та іконографічними ізводами. Унаочнено генетичну спорідненість декадансу та символізму. Зазначено, що останній був сформований на ґрунті першого і успадкував від нього низку образів. Окреслено, що головною відмінністю символізму від декадансу була більш «світла», піднесена атмосфера духовності з акцентом на віднайдення нової трансцендентної реальності. Висвітлено творчій шлях В. Котарбінського від академічних творів салонного ґатунку, які знаменують становлення його авторського світобачення, до філософсько-естетичної образності декадансу із подальшим переходом у символістську площину. Проаналізовано зв’язки між мистецькими школами різних країн, на яких відбились декадентські та символістські тенденції та виявлено їхні ремінісценції у роботах В. Котарбінського. Це дало можливість окреслити творчість згаданого українського митця, як одну з невід’ємних, увиразнених, сталих і важливих ланок європейського мистецтва декадансу та символізму, на прикладі котрої можна простежити еволюцію тенденцій художнього образотворення впродовж другої половини XIX - початку XX ст.

Description:

The study is dedicated to the analysis of formation and development of creative language of W. Kotarbinsky in the context of the leading stylistic trends that prevailed in the fine arts in the second half of the 19th - the beginning of the 20th centuries. Thus, the artistic heritage of the above-mentioned master has absorbed the diversity of traditions of European painting of the fin de siècle and is represented by works in the academic, decadent and symbolist style. Until now, the artist’s contribution to the history of Ukrainian fine arts has not been fully understood yet, because the master was the only one painter of a cohort of Ukrainian artists who turned to macabre and mystical subjects in his paintings. In his own artistic quest, the artist worked his way from academic works of the salon type, which mark the formation of his original worldview, to the philosophical and aesthetic imagery of decadence with a subsequent transition to the symbolist plane. In this regard, this dissertation is the first attempt to study decadence as a stylistic trend of European and, in particular, Ukrainian fine arts, which had its own artistic and expressive specificity and characteristic iconographic versions. On this subject, it should be noted that in the present-day art history, this trend is rather a complex artistic and philosophical phenomenon, which has found its expression in various fields of knowledge: philosophy, literature, music and painting. The decadent iconography singled out images of dead women floating in water, lying on an anatomical table, or bounded to a cross. The first of these categories, as well as the image of an androgynous woman, comes from the art of the PreRaphaelites and is represented by three iconographic versions: Ophelia, the Lady of Shallot and Elaine of Astolat. An important factor was the water surface, which, like a mirror, acquired the occult significance symbolising the transition from one world to another and lifting the veil of the afterlife. The images of sexualized female corpses laying on an anatomical table or martyrs chained to a cross embodied men’s sick fantasies of a vulnerable, passive female body and, at the same time, their fear of a woman’s sexual power, which they saw as a threat that could make them lose their dominant alpha position. At the same time, the analysis of the works of the English decadent graphic artist O. Beardsley, reveals, in addition to women, grotesque images of eroticized, feminine men, which became a source of inspiration for many European artists. The study also shows a genetic relationship between decadence and symbolism. It is observed that the latter was formed on the basis of the former and inherited from it a number of iconographic versions, such as images of drowned Ophelia and cataleptic women. In addition, the image of the head of Orpheus was a continuation of the decadent motif of dead people in the water was. The study notes that the main distinguishing feature of symbolism was “lighter”, “bleached” sublime atmosphere of spirituality, already purified from necrotic energy, psychologically more stable, with an emphasis on finding a new transcendent reality. However, not all artists immediately moved beyond the darkness of decadence, and the work of some of them was marked by the theme of confronting decadent darkness and spiritual renewal. Thus, through the analysis of the work of the Rosicrucian, the dissertation systematized the iconography of mystical symbolism, which includes images of black-winged angels, polymorphic creatures and figures materialized from water, fire, fog or celestial bodies. Among other things, the dissertation addresses the phenomenon of colour and music synesthesia and cosmism inherent in symbolist painting. This work was completely free from decadent reflections, and to identify their key images. The work also revealed the specifics of the manifestation of symbolist trends in the works of Polish, Russian and Ukrainian artists. The artistic heritage of W. Kotarbinsky is replete with decadent images of dead and crucified women, motifs of death and despair, which were characteristic of masters of German and Belgian art. At the same time, W. Kotarbinsky's artistic imagery has a certain affinity with the art of the Pre-Raphaelites. Also, W. Kotarbinsky's works, representing figure from waves, fog or stars, and appealing to the paintings by mystic symbolizm. Instead, twilight motifs, cemeteries and ghosts in the artist's works come from the traditions of Polish symbolism, and angelic figures and color-musical allusions are in tune with the imagery of the Lithuanian artist M. Churlionis. Also, in the artistic work of W. Kotarbinsky there are reflections of Russian artists, in particular G. Semiradsky and M. Vrubel. Thus, understanding the links between art schools of different countries that reflected the decadent and symbolist trends made it possible to identify their reminiscences in the paintings by W. Kotarbinski and to outline the work of this Ukrainian artist as an integral, distinct, stable and important link of European decadence and symbolism.

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