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ВНЕСОК ВИПУСКНИК1В ХАРК1ВСЬКОГО ХУДОЖНЬО-ПРОМИСЛОВОГО 1НСТИТУТУ
У СТАНОВЛЕННЯ ХУДОЖНЬО-МОНУМЕНТАЛЬНОГО ОБЛИЧЧЯ КРЕМЕНЧУКА
Осадчий В.В.
старший викладач кафедри гумангтарних наук, культури та мистецтв Кременчуцького нацгональ-
ного унгверситету шет Михайла Остроградського https://orcid. org/0000-0003-1197-7506
THE contribution OF KHARKIV INSTITUTE OF ART AND INDUSTRY GRADUATES FOR THE FORMATION OF THE KREMENCHUK ARTISTIC MONUMENTAL look
Osadchiy V.
Teacher of the Humanities, Culture and Art Studies Department, Kremenchuk Mykhailo Ostrohradskyi National University
Анотащя
Метою дослщження e аналiз впливу представнишв харшвсько! мистецько! школи на формування ху-дожньо-монументального обличчя Кременчука в другш половинi XX ст. Основну увагу придiлено внеску випускник1в Харшвського художньо-промислового iнституту, як1 працювали у Кременчуцг Методологiя дослiдження полягае у використанш загальнонаукових методiв аналiзу i синтезу, порiвняння та узагаль-нення. У процесi викладення основних положень статп застосовувалися засоби формального, образно-стилiстичного та порiвняльного аналiзiв, що дозволило визначити стилiстичний вплив харшвсько! мистецько! школи на художш особливостi монументального мистецтва Кременчука у визначений перюд. Мето-дологiчною засадою дослщження е комплексно-iсторичний науковий шдхвд.
Наукова новизна полягае у тому, що вперше дослвджено внесок випускнишв Харк1вського художньо-промислового iнституту у створення монументального обличчя Кременчука, уперше введенi до нау-кового обну твори мистецтва, якi формують художньо-монументальний образ мiста.
Висновки. Доведено, що художньо-мистецьке життя та монументальне обличчя Кременчука у другш половиш XX ст. формувалися пвд впливом представнишв харшвсько! мистецько! школи. Установлено вплив випускнишв Харк1вського художньо-промислового iнституту на формування власного художньо-монументального вигляду Кременчука та створення регiонального осередку Спiлки художников.
Abstract
The purpose of the study is to analyze the influence of the Kharkiv artistic school on formation of artistic monumental image of Kremenchuk in the latter half of the 20th century. The primary focus was on the contribution of graduates of Kharkiv Art and Industry institute working in Kremenchuk. Methodology is in using of general scientific methods of analysis and synthesis, comparison and generalization. In the presentation process of main statements of the article the methods of formal, imaginative and stylistic and comparative analyses were used which allowed to determine the stylistic influence of Kharkiv artistic school on the artistic characteristic properties of monumental art in Kremenchuk in the said period. Methodological basis of the study is a complex historical and scientific approach.
Scientific novelty is that the contribution of graduates of Kharkiv Art and Industry institute in the creation of monumental image of Kremenchuk was investigated for the first time, and works of art forming the artistic and monumental image of the city are introduced in the scientific usage.
Conclusions. It was proven that artistic life and monumental image of Kremenchuk in the latter half of the 20th century were being formed under the influence of representatives of Kharkiv artistic school. The influence of graduates of Kharkiv Art and Industry Institute on formation of special artistic and monumental image of Kremenchuk and creation of the regional centre of Artists union was determined.
Ключовi слова: Кременчук, монументальне мистецтво, Харшвський художньо-промисловий шсти-тут, регюнальне мистецтво, мистецтво друго! половини XX ст., Харшвська школа монументального мистецтва, художнш вигляд мюта.
Keywords: Kremenchuk, monumental art, Kharkiv Art and Industry Institute, regional art, art of the latter half on the 20th century, Kharkiv school of monumental art, artistic image of the city.
Study rationale. Actualization of scientists' attention to artistic image of Ukrainian cities, region art schools of Kharkiv, Kyiv, Lviv, to factors which determined identity of their development and of their influence on the monumental art in Ukrainian regions, is caused by modern tendencies like increasing national identity, search for own cultural and historic oneness.
Realizing and complex research of regional art specificity, determining the factors which have formed these typological signs are important tasks of present-day Ukrainian study of art. Artistic life and art process of Kremenchuk in the latter half of 20th century are composed of single events and isolated facts nowadays. It is needed to determine, analyze and research the special
features of establishment, development and predicted pattern of artistic life in Kremenchuk in the latter half of 20th century to see the full and complete picture of developments at that time.
Researches and publications analysis. Ukrainian art of the latter half of 20th century is an object of fundamental works of leading art experts O. Rogotchenko [4], G. Sklyarenko [9; 10], R. Yatsiv [10]. Individuality of art school of Slobozhanshchyna, in particular, artistic and monumental art, is reviewed in the researches of Putyatin [3]. Kremenchuk scientists L. Yevselevskiy, A. Lushakova [2], V. Kovalenko, T. Gerasymenko [1], V. Hanko [5; 6] cover the culture and art of Kremenchuk in the Soviet times in their researches. Influence of representatives of Kharkiv Art and Industrial Institute on formation of artistic and monumental image of Kremenchuk in the latter half og 20th century is not investigated at present.
Research objective is analysis of influence of representatives of Kharkiv artistic school on formation of artistic and monumental image of Kremenchuk in the latter half of 20th century. The primary focus is on the contribution of graduates of Kharkiv Art and Industrial Institute working in Kremenchuk.
Presentation of main material. Due to its attractive geographic position, Kremenchuk in the post-war years was immersed into the industrial rebuilding. During two decades, starting from 1950-s, several industrial giants appeared one after another: KrAZ plant, technical carbon plant, carriage constructing, wheel, foundry plant and oil refinery, town CHP plant and others. At the same time the infrastructure was being built - kindergartens, schools, culture palaces, whose spaces needed monumental and decorative embellishment. The post-war reconstruction of Kremenchuk which was almost completely destroyed, meant not only infrastructure restitution, industrial objects and housing construction. Responsible executives of the region and the city paid significant attention to the artistic design of new buildings, to monumental art and so on. Monumental sculpture and painting were reviewed as ideologically significant branches of art, necessary for socialistic regime propagation. Understanding of importance of this activity promoted fast development of professional art in Poltava region.
In 1960-s a high priority in visual art development in the city was assigned to artistic and industrial studios, whose unchangeable director for a long time was O. Vereshchagin [2, 67]. Their activity was governed by Poltava Regional Artist Society, which in 1963, according to a decree of USSR Council of Ministers, was renamed into Poltava Department of USSR Artistic Foundation, which worked under Kharkiv Regional Organization of Ukrainian Artist Society. In the end of 1960-s a need in an own Poltava organization appeared. In autumn 1970 Poltava Department of Artist Society (the 14th in Ukraine) was created. In 1976 Kremenchuk society separated from Poltava one. A supposition for Kremenchuk organization of Ukrainian Artist Society (UAS) creation was presence of sufficient quantity of professional artists, large volumes of state orders for monumental and decorative works and support of the head of Kremenchuk city council V. Kozenko, who
found possibilities to provide young artists with all the necessary conditions for strong performance.
It is worth to mention that at that time members of Kremenchuk organization of Ukrainian SSR Artist Society performing the orders of agitation and propagation department of Regional CPSU Committee, could not provide the artistic and monumental component of the city by their own efforts. Therefore, with the support of the head of Kremenchuk city council V. Kozenko, in 1972 the first artist-monumentalist, S. Dereka, a graduate of Kharkiv Art and Industrial Institute, who studied under supervision of A. Konstantyn-opolsky and V. Kuznetsov, arrived in Kremenchuk. At once he started working on the composition "KrAZ. Main like of the conveyor" [10, 304]. S. Dereka's creative work is characterized by the paintings in public places, which are: Mykhailo Ostrogradskyi Kremen-chuk National University, pedagogical and medical schools. The author's compositions impress by their complexity and balance. To the pity, some of them are lost, as, for example, the panel picture "Life without weapons" in the premises of Mykhailo Ostrogradskyi Kremenchuk National University. Only the sketches and photos are left.
Later a graduate of Kharkiv Art and Industrial Institute M. Hahin joined to this activity. These were the first masters who worked on the artistic image of the city. Their legacy comprises of more than twenty monumental panel pictures in mosaic, sgraffito techniques, several stained glass paintings [10, 196].
In 1975 the artists M. Anisimov and A. Kotlyar arrived in Kremenchuk. After graduating Kharkiv Art and Industrial Institute M. Anisimov taught "Composition" educational discipline at the same institute [5, 9]. After the move he worked in Kremenchuk department of Poltava Art Training Centre. He held a position of the head of the artistic council, city designer, was a member of regional authority of Ukrainian SSR Artist Society. But monumental and decorative art was always the main part in his creative activity. His creative legacy comprises of relief sculptures, mosaics, panel paintings, stained glass paintings. The master's works blend into the environment seamlessly, distinguish themselves by the modest coloring and thoroughly balanced formula. The ornaments are characterized by hot or cold encaustic. The stained glass paintings are made by the classic technology on the plumb bonding strip. A complex dynamic composition and soft and rich palette is characteristic for them. M. Anisimov's works decorate public places in Kremenchuk, Kharkiv, and Svitlovodsk. Among the bright artistic and monumental works of M. Anisimov and A. Kotlyar the following may be named: the mosaic in "Zoryaniy" camp, 1973; painting "Wedding" in the KrAZ plant canteen interior, 1975; a relief painting on the facade of Kremenchuk City Palace of Culture, 1976; a stained glass painting "And apple trees will blossom on Mars" for flight school in Kremenchuk, 1979; a relief painting "Our song" on the facade of "Naftohimik" Palace of Culture, 1978; stained glass paintings in the entrance hall of Kremenchuk National University, 1981, and so on. The artist's works are kept in the repository collections of Kremenchuk ethnography museum, Kremenchuk city
art gallery, in private collections. Many of works were performed in cooperation with a member of National Artist Society of Ukraine A. Kotlyar, an artist - monumentalist, well-known in Kremenchuk by a mosaic panel painting "Florentine mosaic". A. Kotlyar is a member of National Artist Society of Ukraine. He is the author of a memorial sign in the Independence Square to 400th anniversary of Kremenchuk foundation.
In 1971 N. Yuzefovych moved to the city and later dedicated about 40 years of her creative life to Kremenchuk. In 1956 she finished her studies at the faculty of monumental painting of Kharkiv State Art Institute. Her professors were M. Rybalchenko, Ye. Yegorov, O. Kokel. She was the first female student who Leonid Chernov has taken to his studio.
During all her creative career Natalya Vo-lodymyrivna took part in more than seventy exhibitions of different levels, ten of which are personal, among others there were some in Kyiv (1957), Ivano-Frank-ivsk (1958), Chernivtsi (1964), Ternopil (1960), Lviv (1964), Kremenchuk (1970), Poltava (1971), Moscow (1972), Velyko-Tyrnovo (Bulgaria, 1976), personal ones - in Ivano-Frankivsk (1958), Ternopil (1960), Poltava (1971, 1979), Kremenchuk (1976, 1981, 1982, 1992, 1993). Natalya Yuzefovych is the only artist in Kremenchuk who had her own art gallery. While alive, the artist tranferred it to the city. In her personal legacy there are more than 800 paintings, more than forty monumental murals. She presented more than 150 pictures to the city, which are kept and exhibited in the Art Gallery of Natalya Yuzefovych. As nobody else, she had a fine appreciation and ability to depict in her landscapes the hidden beauty of nature in Poltava region. Using the art media, she could reflect the unique coloring of the landscape, specific atmosphere and mood. Monumental murals by N. Yuzefovych are distinguished by lyrism, silverish coloring, prevalence of romantic, easy-going, "woman-style" landscapes. The murals decorate mostly public places. The works "April", "Autumn wind" in the rooms of Flight college are well-known.
O. Cherepanov was a graduate of faculty "Industrial art" at Kharkiv Art and Industrial Institute by speciality "Artistic construction". For a long time he worked as a leader of a design group in an industrial cooperation "AutoKrAZ", as a projecting artist of art and industrial studios of Kremenchuk; he also took part in the city, region, republic exhibitions of industrial design.
Thanks to the arrival of Kharkiv artists in 1976 the separation of Kremenchuk Department of Ukrainian Artist Society from Poltava UAS Department became possible. The suppositions for appearance of this organization were presense of sufficient number of professional artists, first of all the graduates of Kharkiv Art and Industrial Institute, large volumes of state orders for monumental and decorative works and support of the head of Kremenchuk city council V. Kozenko.
It is also necessary to mention the contribution into the artistic image of the city made by Kharkiv artists who did not live in Kremenchuk, but whose works are the embellishment of the city. Thus, in 1973 to the 30th anniversary of the city liberation the memorial sign
"To eternally alive" was unveiled. Its author is a honoured arts worker of Ukraine, laureate of T.G. Shevchenko State Prize of Ukrainian SSR, a sculptor N. Ovsyankin, a bright representative of Kharkiv scup-ture school. A composition of seven figures, six meters and a half high, is situated in the place of one of the six concentration camps where more than 70 000 war prisoners died.
In 1983 a bust monument of Alexander Pushkin made of marble was unveiled in Kremenchuk. Its author is a Kharkiv sculptor I. Yastrebov. Later he created A. S. Makarenko bust, which was unveiled to the 100th anniversary of the pedagogist's birth (sculptors I. Yastrebov, architects V. Shyryayev, V. Havrylyuk).
In October 1986 in the territory of A. S. Makarenko museum an unveiling of the monument "Makarenko and children" took part; one of the authors was V. Agibalov - Soviet and Ukrainian sculptor, ped-agogist, people's artist of Ukranian SSR, also a representative of Kharkiv artistic school. He studied at Kharkiv Art School, later in 1934 - 1942 - at Kharkiv Art Institute under the supervision of the professor L.A. Blokh, who was born in Kremenchuk. For a long time V. Agibalov worked at Kharkiv sculpture factory of art foundation of Ukrainian SSR Artist Society, was a contestant of republic, all-Soviet Union, international exhibitions.
Scientific novelty is in a complex and system research of the contribution of Kharkiv Art and Industrial Institute graduates to the establishment of artistic and monumental style of Kremenchuk.
Conclusions. The literature review showed that the influence of Kharkiv Art and Industrial Institute graduates on the creation of monumental image of Kre-menchuk is underinvestigated.
Formation of artistic image of the city started in 1972 with the arrival of Kharkiv Art and Industrial Institute graduates S. Dereka and M. Hahin, whose common legacy comprises of more than 20 monumental panel paintings in mosaic, sgraffito, stained glass painting techniques. In 1975 M. Anisimov and A. Kotlyar joined them. Monumental murals of public places were also performed by N. Yuzefovych and O. Cherepanov. Sculpture works by N. Ovsyankin, I. Yastrebov and V. Agibalov completed and enriched the monumental image of the city.
Monumental compositions in the city were performed in mosaic, sgraffito, stained glass painting, relief painting, encaustic techniques.
Due to the sufficient amount of professional artists, first of all graduates of Kharkiv Art and Industrial Institute, in 1976 Kremenchuk Department of Ukrainian Artist Society was created.
In further researches it is planned to analyze and investigate the contribution of representatives of other artistic schools into the monumental legacy of Kremenchuk, and also the artistic contribution of graphic artists born in Kremenchuk - V. Lytvynenko, G. Kravtsov, A. Dyachenko.
References
1. Kovalenko, V., & Gerasimenko, T. (2001). Our green Kremenchuk. Kremenchuk: Shvydka [in Ukrainian].
2. Lushakova, A., Evselevsky, L. (2001). The streets of the old Kremenchug. Kyiv: Technique [in Ukrainian].
3. Putiatin, V.D. (2011). Monuments of the monumental art of Slobozhanshchyna. A collection of popular science articles for the 70th anniversary of birth. Kharkiv: Cursor [in Ukrainian].
4. Rogotchenko, O.O. (2007). Socialist Realism and Totalitarianism; Institute of Contemporary Art Problems of the Academy of Arts of Ukraine. Kyiv: Phoenix [in Ukrainian].
5. Sklyarenko, G. (2009). "New wave" and Ukrainian art of the late twentieth century. Contemporary Art, 6, 188-196 [in Ukrainian].
6. Sklyarenko, G. (2013). Materials to the History: Monumental and Decorative Arts of Ukraine of the Second Half of the 20th Century. History of Ukrainian Art, 5, 643-648 [in Ukrainian].
7. Khanko, V. (2002). Anisimov Nikolay Tikhono-vich: Kremenchuk artist. The dictionary of Poltava region artists. Poltava: Poltava, 9 [in Ukrainian].
8. Khanko, V. (2007). Poltava region: the flow of art, figures: art studies. Kyiv: Publisher O. Khanko [in Ukrainian].
9. The dictionary of Poltava region artists (2002). Poltava: Poltava [in Ukrainian].
10. Yatsiv, R. (2006). Ukrainian art of the twentieth century. Names, phenomena, personalities. Lviv: Institute of Ethnology, NAS of Ukraine [in Ukrainian].
ФОРТЕП1АНН1 ОФЛАЙН ТА ОНЛАЙН МАЙСТЕР-КЛАСИ У РЕАЛ1ЯХ СУЧАСНОСТ1
Чинчевий К.1.
Астрант
кафедри теорИ та icmopii музичного виконавства НацюналъноЧ музичноi академи iм. П.1. Чайковського
PIANO OFFLINE AND ONLINE MASTERCLASSES IN THE REALITIES OF MODERNITY
Chynchevyi K.
Graduate student
of the Department of Theory and History of musical Performance of the National Tchaikovsky Academy of Music
Анотащя
Наукова проблема. В статп розглянуто офлайн та онлайн форми майстер-класу на приклащ на-вчально-виконавських заходiв А.Вардi та Л.О.Андснеса. Не зважаючи на актуальшсть, дана проблематика й дос залишаеться недостатньо дослвдженою, хоча i пов'язана з нагальними проблемами сучасних форм навчання та виконавства. Мета. Прослщкувати спшьне та ввдмшне у процес проведения рiзних форм майстер-класу в сучаснш виконавськш практицг Методолопя спираеться на науковi музикознавчi розввдки, а також системний шдхвд, порiвняльний та лопко-аналггичний методи. Результата. Розглянуто фортетан-ний офлайн майстер-клас А.Вард^ визначено комплекс професшних музичних порад майстра для викона-вцiв, виявлено сучасну форму подачi матерiалу - сторггейлшг. Проаналiзовано онлайн майстер-клас Л.О.Андснеса у контекст специфiки роботи над фортетанними творами у дистанцiйному режимi. Висно-вки. В результатi проведеного дослщження виявлена характерна для обох майс^в детальна робота над усiма складовими музичного твору. Визначено^два шляхи досягнення мети: вiд цiлiсного осягання вико-навцем твору до роботи над окремими фрагментами i навпаки. Виходячи з аналiзу вищезазначених майс-тер-клаав, ми можемо дiйти висновку, що онлайн майстер-клас при деяких недолшах надзвичайно актуальна форма передачi досввду i знань, а також самопрезентаци майстра.
Abstract
Scientific problem. The article considers offline and online forms of master class on the example of training and performance activities of A. Vardi and L.O.Andsnes. Despite its relevance, this issue still remains insufficiently studied, although it is associated with urgent problems of modern forms of learning and performance. Goal. To trace the common and difference in the process of conducting various forms of master class in modern performing practice. The methodology is based on scientific musicological explorations, as well as a systematic approach, comparative and logical-analytical methods. Results. A. Vardi's offline piano master class is considered, a set of professional musical advice of the master for performers is determined, a modern form of presenting storytelling material is revealed. The online master class of L.O.Andsnes is analyzed in the context of the specifics of work on piano works in remote mode . Conclusions. As a result of the conducted research the detailed work on all components of a musical work characteristic of both masters is revealed. There are two ways to achieve the goal: from the holistic comprehension of the work by the performer to work on individual fragments and vice versa. Based on the analysis of the above master classes, we can conclude that the online master class with some shortcomings is extremely relevant form of transfer of experience and knowledge, as well as self-presentation of the master.
