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Section 1. Visual, decorrative and applied arts ' European Journal of Arts 3 (2021) - ISSN 2310-5666 -
УДК 75.051+75.047Ъ:378(47754) ХДАДМ DOI: 10.29013/EJA-21-3-15-19
Ye. A. FEDIUN, 1
1 Kharkiv State Acagemy of Design and Arts, (Kharkiv, Ukraine)
FEATURES OF PLEIN AIR PAINTING IN THE1950S AND1970 S (BASED ON WORKS FROM THE FUNDS OF THE KHARKIV ACADEMY OF DESIGN AND ARTS)
Abstract
The purpose of the research is to analyze the academic work of students of Kharkiv Art Industrial Institute - KhAII (now Kharkiv state academy of design and arts - KhSADA) in order to broaden the picture of the development of the Kharkiv art school in the 1960 s - 1970 s.
Methods: System-comparative and art-historical methods were used to conduct the analysis. Results: The analysed of KhAII students academic works of 1960 s-1970 s, which are introduced into scientific circulation at first, are an important methodological and artistic heritage of the Ukrainian culture of 1960 s-1970 s.
Practical significance. The results can be used in further research on the history and theory of Ukrainian art, in particular the development of the Kharkiv Art School.
Scientifuc novelty: The analysed works from the KSADA art pool were introduced into the scientific circulation for the first time. The majority of the paintings need to be restorated. The investigated academic works prove a high level of training in the academic painting of the KhAII students of different specializations in the 1960 s-1970 s that subsequently had a positive impact on their creative and pedagogical activities as well as the development of the Kharkiv Art School.
Keywords: academic painting, Plein air, architectural landscape, Kharkiv art school, Serhii Besyedin, Boris Kosarev.
For citation : Ye. A. Fediun. Features of Plein air Painting in the1950 s and1970 s (based on Works From the Funds of the Kharkiv Academy of Design and Arts) // European Journal of Arts, 2021, №3. - P. 15-19. DOI: https://doi.org/10.29013/EJA-21-3-15-19
Background. An apologist for academic education in Ukraine with rich artistic traditions is the Kharkiv Art Institute. In the 1960 s, the higher art institution was called the Kharkiv Institute of Art and Industry (now KhSADA). The collection of the academy stores landscapes from the 1950 s-1970 s, which are an example of Ukrainian art of the postwar period [7, p. 186-197].
The purpose of the research is to analyze the academic work of students of Kharkiv Art Industrial Institute - KhAII (now Kharkiv state academy of design and arts - KhSADA) in order to broaden the picture of the development of the Kharkiv art school in the 1960 s - 1970 s.
The investigation uses system-comparative and art-historical methods to conduct the analysis.
Results. An apologist for academic education in Ukraine with rich artistic traditions is the Kharkiv Art
Institute. In the 1960 s, the higher art institution was called the Kharkiv Institute ofArt and Industry (now KhSADA). The collection of the academy stores landscapes from the 1950s-1970 s, which are an example of Ukrainian art of the postwar period. All the presented etudes were made during summer plenary practice. During the work in Plein air students deepened their understanding of subtle features of the states of nature, they learned a quick perception of tonal and colouristic relations. In short-term sketches artists managed to embody the beauty of the seen motif, through a conscious selection of expressive means of expression, to find the author's solution to the artistic image.
The students were taught by prominent Ukrainian artists, who at that time taught at the Kharkiv Art and Industry Institute. It is revealed that some preserved
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works were made under the guidance of the professor of the department of painting, honoured worker of arts of Ukraine - Sergey Fotievich Besedin (1901-1996). The guardian of the traditions of a realistic painting believed that when painting a Plein air sketch, the main thing was "to be able to find a precise colour chord or other sets of attributes aimed at revealing the essence of nature". [6, P. 206]. The best sketch made under the guidance of the master can be called the image of Grotto of Fedita (Venus) (1796 - the 1800 s) in Sofievsky park in Uman (Ukraine). "Park sketch" attracts attention with its original compositional solution - the high line of the horizon, which allows the artist to convey the beauty of ancient architectural elements of the park complex (Pic. 1) [4]. The dynamic rhythm of a winding brook, stonework and small bridges draws the viewer's eye into the depths of an elegant landscape motif. The lyricism of the sketch is aided by the colour solution of the canvas - the tenderness of greenery, the warm shades of narrow paths, and the "silvery" architectural forms.
Picture 1. Unknown artist. Park etude. Not dated. Canvas, oil. 75x100 sm. Professor S. F. Besedin. Fund KSADA. (inv. № 228). Published for the first time
A similar panoramic motif made by the second-year student Scribtsov in tempera technique (Pic. 2) [5]. Clear separation of landscape plans, generalized pictorial interpretation of forms gives the motif special completeness and expressiveness. Fan movement of architectural elements, which are rhythmically coordinated with directions of grass and paths, enhance the monumental and decorative sound of the canvas. The technique of
tempera painting with its glaze possibilities helped the author to convey subtle nuances of colour combinations [3, P. 14]. This almost forgotten technique, which combines the technical possibilities of watercolour and oil painting, allowed the author of the landscape to soften the contrast between the shadow and light areas of the motif, to blend architectural forms into the natural landscape. The combination of transparent glaze base is enriched by the artist with paste textures, thus enhancing the realistic nature of the landscape motif and the integrity of the sounding of the shades and lights of the canvas.
Picture 2. (?) Skribtsov. The 2 year student. Etude
«Countryside landscape». Not dated. Canvas, tempera. 50 x 70 sm. Professor B. V. Kosarev. Fund KSADA. (inv. № 878). Published for the first time
Obviously, the summer practice of students of the Kharkiv Art and Industry Institute was also held in Western Ukraine, which to this day attracts artists by the peculiarities of natural landscapes, preserved monuments of folk architecture. The beautiful scenic nature of the region, national in spirit and form of folk art (Easter eggs, embroidery, weaving, woodcarving) contributed to the immersion of young artists in the origins of Ukrainian art. In "Countryside Landscape," an unknown artist uses a low skyline to convey the unusual silhouette of a late 19th-century wooden building (Pic 3) [5]. Two-thirds of the elongated vertical canvas is devoted to a high hilly slope, which contributes to the transfer of the peculiarities of mountain landscapes of Transcarpathia.
A similar Transcarpathian motif, which captures the identity of peasant life is embodied in an interesting picture stretched horizontally (Pic. 4) [4]. Thanks to the stability and accuracy of the compositional and light-tonal solution, the architectural study is perceived as a complete landscape picture. The transition to the second plan allows us to pause and enjoy the "picturesqueness"
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European Journal of Arts 3 (2021)
Section 1. Visual, decorrative and applied arts
of a rural courtyard illuminated by the sun. In the gradual movement deep into the landscape, there is a sense of calm and the desire to enjoy the pristine nature of the.
Picture 3. Unknown artist. Landscape. Not dated.
Canvas, oil. 72 x 52 sm. Fund KSADA. (inv. № 137).
Published for the first time
Transcarpathian region, the organic connection of human and natural life The smooth rhythm of light and saturated shades enhances the emotional sound of the canvas. The epic breadth of panoramic landscape, peaked houses, haystacks merge into an expressive artistic image of Transcarpathia. Similar motifs are often found in the works of Ukrainian artists in the 1960s- 1970s - T. Yablon-skaya (1917-2005), A. Kotsky (1911-1987), I. Bolshaya (1891-1975), and A. Kashshaya (1921-1992), which praise the original folk culture of Ukraine [9].
Picture 4. Unknown artist. Etude. 1977. Canvas, oil. 50 x 70 sm. Professor B. V. Kosarev. Fund KSADA. (inv. № 503). Published for the first time
The study revealed that under the guidance of the famous Ukrainian artist-Cubo-futurist, professor of the department of painting - Boris Vasilievich Kosarev (1879-1994) students of the "theatrical-decorative faculty", underwent Plein air practice in the ancient Russian shrine - the city of Suzdal (Russia). The tempera paintings of the students of the fourth year in 1958 depict the oldest stone Cathedral of the Nativity of the Mother of God, built during the reign of Prince Vladimir Mono-makh (1053-1125).
In a painting by Grigory Batia (now a famous theatre artist) a low point of the horizon is chosen, which enhances the impression of the monumentality of the temple (Pic. 5) [4]. The unusual composition contributes to the monumental sound of the canvas, which is reminiscent of the scenery of the theatre scene. A certain synthesis of the easel and monumental art, characteristic of the creativity of Kharkiv artists from the 1950 s-1970 s [9]. Sensual and emotional attitude to the world around, the optimism and cheerfulness of the work gives the transfer of sunlight, "glow" of the monastery patterned masonry, the chapel of the cathedral and the fence of the temple complex. Blue and violet shadow reflections intensify the beauty of golden evening light that complements the impressionistic palette of the tempera canvas. The artist masterfully achieved the effect of "transparency" of the colour layer.
Picture 5. G. Batiy. 4 course. «Suzdal». 1958. Canvas, tempera. 50x80 sm. Professor B. V. Kosarev. Fund KSADA. (inv. № 333). Published for the first time
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The image of the Suzdal Kremlin by an unknown author is more expressive (Pic. 6) [4]. The lyrical atmosphere of the sunset is embodied by the artist thanks to the colouring chosen, stretching subtle orange-brown and delicate purple-blue hues of the sunset sky. When depicting ancient architecture, the artist deliberately uses the deformation of the artistic form. Both the bold removal of the domes from the picture plane and the proportional enlargement of the building frame turns the Plein air sketch into a theatrical setting.
Picture 6. Unknown artist. 4 course. Architectural landscape. 1958. Canvas, tempera. 120 x 83 sm. Professor B. V. Kosarev. Fund KSADA. (inv. № 823). Published for the first time [4]
Plein air practice contributed to the development of creative imagination in young artists, the ability to stylize and generalize natural motifs, to find the author's solution to the canvas. The archival works from the 1950 s-1970 s of the 20th century depict motifs of landscapes and gardens in the suburbs with architectural fragments, sketches of peasant life in rural outskirts of villages, architectural landscapes of monumental temple complexes. The studies of park and garden landscapes have lyrical colouring. In rural motifs, young artists tried to embody the beauty of the rural way of life.
Conclusions. Peculiarities of the archival architectural landscapes of the 1950 s - 1970 s of KhAII present the main features of the Kharkiv academic school of painting classical manner of the performance of painting. The works are distinguished by impeccable colour, sincerity and poetry of the images as well as the relaxed style of painting. The colour spots form a complex melodic rhythm indicating the influence of the Impressionism on Plein air Ukrainian painting from 1950 s - 1970 s. Light and shadow effects of the evening and morning illumination became the subject of the lyrical interpretation of landscape motifs. Maximum simplification of the compositional algorithms, hyperbolization of architectural forms encouraged the young artists to perceive the image of nature as a sensual Chambertin of the time, to form a new attitude to the landscape.
References:
1. Bezkhutryi M. M. Hudozhnyky Kharkova [Artists of Kharkiv]. Dovidnyk. - Kharkiv: Prapor. 1967. - 175 p. [in Ukraine].
2. Dziuba I., Romaniv O., Zhukovskkyi A. Entsyklopediia suchasnoi Ukrainy [Encyclopedia of modern Ukraine]:
- V. 20 t. - Kyiv: Instytut ektsyklopedychnykh doslidzhen Natsionalnoi akademii nauk Ukrainy. 2014. - 712 p. East Lansing, MI. URL: https://esu.com.ua/ [in Ukraine].
3. Konstantynov V. Profesor B. Kosariev i yoho shkola tempernoho zhyvopysu. (Professor B. Kosarev and his school of tempera painting) // Stanovlennia, rozvytok ta suchasni problemy vyshchoi khudozhnoi ta khudozhno-promystovoi osvity v Ukraini: Tezy dopovidei naukovo-metodychnoi konferentsii 1996 roku. - Kharkiv, 1997.
- P. 13-16. [in Ukraine].
4. Metodychnyi kataloh fondu KhDADM. "Maisternia S. F. Besedyn", "Maisternia B. V. Kosarev". (Methodical catalog of the KSADA fund. "Workshop S. F. Besedyn", "Workshop B. V. Kosarev"). [in Ukraine].
5. Metodychnyi kataloh fondu KhDADM. "151-200", "№ 851-900". (Metodychnyi kataloh fondu KSADA). [in Ukraine].
6. Nemtsova V. Zberigach tradytsiy // Nashi rectory. Vyprobuvannia i peremogy 1921-2016. (Our rectors. Vipro-buvannya i peremogi 1921-2016). Albom. - Kharkiv: KSADA. 2016. - P. 119-207. [in Ukraine].
7. Nashi rektory. Vyprobuvannia i peremohy 1921-2016. Iliustratyvnyi albom. (Our rectors. Trials and victories 1921-2016). - Kharkiv: KSADA. 2019. - 309 p. [in Ukraine].
8. Osobysti spravy. Dzherelna baza arkhivu KhDADM. (Personal affairs. Source database of the KSADA archive). [in Ukraine].
Section 1. Visual, decorrative and applied arts ' European Journal of Arts 3 (2021) - ISSN 2310-5666 -
9. Sokoliuk L. D. Chursin O. V. (Plein air tradition and its regional features in the Ukrainian landscape of the 1920 s -1940 s). Plenerna tradytsiia ta yii rehionalni osoblyvosti v ukrainskomu peizazhi 1920-kh - 1940-kh rr. // Visnyk. Zbirnyk naukovykh prats. Vypusk № 8. - Kharkiv: KSADA. 2014. - P. 85-96. [in Ukraine].
10. Chursina V. I. Robota na pleneri // Problema teorii i tvorchosti praktyky. (Painting in the open air. The problem of the theory and creativity of practice). - № 5. - Kharkiv: KSADA. 2011. - 149 p. [in Ukraine].
Information about the author
Fediun Yevheniia Oleksandrivna, post-graduate student of the Departament of of Painting; specialty: 023 "Fine
arts, decorative arts, restoration"; Kharkiv State Acagemy of Design and Arts, Kharkiv, Ukraine
Address: 61157, Ukraine, Kharkiv, Selianska 34, apt. 8
E-mail: [email protected]; tel.: +38 (066)9676736
ORCID: 0000-0002-9520-4633
федюн е. о.,1
1 Хартвська академiя дизайну i мистецтв, (XapKie, Украша)
ОСОБЛИВОСТ1 ПЛЕНЕРНОГО ЖИВЛПИСУ 1950-1970-Х РР. (НА МАТЕР1АЛ1 РОБ1Т З ФОНД1В ХАРК1ВСЬКО1 АКАДЕМП ДИЗАЙНУ I МИСТЕЦТВ)
Анотаця
Метою даного дошдження е аналiз навчально'1 роботи студенпв Харк1вського художньо-промислового шституту - ХХП1 (ниш Харювська академiя дизайну i мистецтв - ХДАДМ), що доповнюе картину розвитку харювсько'1 художньо'1 школи 1960-1970-х рр.
Методи: Для проведення аналiзу були використаш системно-порiвняльнi та мистецтвознавчi методи.
Результаты: Проаналiзованi академiчнi роботи студентiв ХХП1 1960-1970-х рр., якi спочатку вводяться до наукового обiгу, е важливою методологiчною та мистецькою спадщиною украшсько'1' культури 1960-1970-х рр.
Практична значущЬть. Результата можуть бути використаш в подальших досмдженнях шторп i теорп украшського мистецтва, зокрема розвитку харювсько'1' художньо'1' школи.
Наукова новизна: Проаналiзованi роботи з фондiв ХДАДМ вперше вводяться до наукового обiгу. Бгль-шiсть полотен потребуе реставраций Проаналiзованi академiчнi роботи демонструють високий рiвень шдго-товки з академiчного живопису студентiв рiзних спецiалiзацiй Харкiвського державного художнього iнституту (ХДХ1) та Харювського художньо-промислового iнституту (ХХП1) 1950-1970-х рр., що в подальшому позитивно вплинуло на 1'х творчу й педагопчну дiяльнiсть та на розвиток харювсько'1' художньо'1' школи.
Ключовi слова: академiчний живопис, пленер, архiтектурний пейзаж, харювська художня школа, Сергiй Беседш, Борис Косарев.
Iнформацiя про автора
Федюн eBreHia Олександр1вна, аспiрант кафедрi живопису; спецiальнiсть: 023 «Отразотворче мистецтво,
декоративне мистецтво, реставращя»; Харкiвська академiя дизайну i мистецтв, Харкiв, Украша
Адреса: 61157, Украша, Харюв. Вул.. Селянська 34, кв. 59
E-mail: [email protected]; Tel.: +38 (066)9676736
ORCID: 0000-0002-9520-4633
