Tag: Завершено

Karlo Zvirynskyi (1923-1997) — was a Ukrainian modernist artist and a reformer of art education. He was one of those who, during the totalitarian Soviet regime, managed to create a unique alternative art within the framework of late modernism. His work combines an in-depth study of ancient art, modern experiments, and spiritual syncretism expressed through abstraction.

The painting "Crimea 3" represents his transition to an abstract-expressive style. The composition is built on the interaction of color masses, tonal transitions, and dynamic forms, conveying the atmosphere of a place through inner perception. It is not a literal depiction of a landscape but rather a philosophical interpretation, where space is constructed through the interplay of light, shadow, and color.

The late 1950s marked a crucial stage in Zvirynskyi's artistic journey, during which he moved away from a naturalistic representation of nature in favor of its symbolic and emotional interpretation. During this period, he founded an underground school for young artists, known as "the "Zvirynskyi’s Underground Academy."". Його роботи цього періоду — це не просто пейзажі, а роздуми про структуру світу, взаємодію кольору та емоційного сприйняття.

Leopold Levytskyi (1906-1973) — was a renowned Ukrainian modernist artist, a prominent representative of the older generation of Lviv avant-garde and "Soviet modernism." He studied under the masters of Polish Secession at the Krakow Academy of Fine Arts, including W. Jarocki, K. Sichulski, F. Pautsch, and J. Mehoffer. Later, he was influenced by European avant-garde movements, working in the styles of Constructivism, Purism, and Expressionism. In the 1930s, he was a member of the left-wing radical avant-garde association "Krakow Group." 

Levytskyi worked in the techniques of etching, drypoint, monotype, and linocut. In his early period, he created abstract plastic compositions. His style is distinguished by the simple, concise stylization of natural forms and an omnipresent rhythm. His works often featured themes of — social satire and witty grotesque. 

The painting Banquet exemplifies Levytskyi's characteristic approach to stylization and formal simplification of multi-figure compositions. The work is structured through the rhythmic arrangement of silhouettes, creating an effect of chaotic yet structured movement. This scene serves as a metaphor for a society shaped by stereotypes.

The 1970s marked the crystallization of Levytskyi’s style. His works from this period, including Banquet, are defined by distinctive stylization, grotesque simplification of forms, and a deep social subtext. The painting is a significant example of Soviet modernism, blending artistic experimentation with social critique.

Mykola Trehub (1943-1984) was a Ukrainian avant-garde artist and a key figure in Kyiv’s underground art scene of the 1970s. He worked in the fields of easel painting, graphics, installation, and conceptual objects. 

At the core of the artist’s philosophy — was the contemplation of human existence in the context of complex circumstances. Mykola Trehub participated in informal and underground exhibitions, particularly those organized by the "Rukh" association. He was under constant surveillance by the KGB. One of his solo exhibitions was shut down before its official opening due to interference from the security services.

Flight into Orbit conveys the idea of movement, breakthrough, and stepping beyond the boundaries of the familiar space. The composition is filled with dynamics, rhythmic forms, and color contrasts, creating a sensation of flight and discovery. It reflects not only the technological progress of the space age but also humanity’s striving for knowledge and the expansion of personal horizons.

This work impresses with its bold visual language, deep symbolic richness, and sense of movement, making it multi-layered and open to individual interpretation.

Mykhailo Andriienko-Nechytailo (1894-1982) — was a world-renowned Ukrainian modernist and a prominent representative of the École de Paris. He worked in the field of experimental theatrical scenography in Odesa, Bucharest, Prague, and Paris. His artistic style encompassed avant-garde movements such as Cubism, Futurism, and Surrealism. His works are housed in museums in Paris (Centre Pompidou), London, Vienna, New York, and Rome.

Andriienko-Nechytailo was the first to introduce Cubo-Futurist aesthetics and optical illusion into European theater design. Many of his scenographic sketches are regarded by international critics as self-sufficient avant-garde works.

The painting "Abstraction" reflects the artist's experiments with the harmony of texture and color. The composition is structured in such a way that each element interacts with another, creating either tension or balance. The painting is perceived as a visual rhythm, dominated by the purity of lines and the intensity of color planes.

In the 1960s, Andriienko-Nechytailo merged early avant-garde influences with harmonious compositional solutions. His abstract works from this period exhibit a precise balance between form and color, giving them depth and expressiveness.

Mykhailo Andriienko-Nechytailo (1894-1982) was a world-renowned Ukrainian modernist and a prominent representative of the École de Paris. He worked in the field of experimental theatrical scenography in Odesa, Bucharest, Prague, and Paris. His artistic style encompassed avant-garde movements such as Cubism, Futurism, and Surrealism. His works are housed in museums in Paris (Centre Pompidou), London, Vienna, New York, and Rome.

"Still Life with Melon" Still Life with Melon demonstrates a masterful command of color and composition. The objects are arranged in a balanced equilibrium, while the color palette emphasizes their volume and texture. The melon, as the central element, draws attention with its shape and color, creating a sense of warmth and comfort. The composition is devoid of unnecessary details, giving it a sense of plastic clarity and aesthetic completeness.

The 1940s in his work became a period of searching for harmony in form, simplifying elements, and studying the interaction of objects in space. His still lifes combine traditional objectivity with a modernist vision, maintaining depth of perception and expressive composition.

This piece captivates with its harmonious structure, purity of form, and refined color, evoking a sense of tranquility and completeness.

Mykhailo Krasnyk (1959) is a Ukrainian painter and graphic artist, one of the pioneers of semiotic abstraction and assemblage in Ukrainian art. His body of work includes experiments with folk art archetypes, landscapes, and metaphysical fantasies.

Krasnyk’s artistic path bypassed the academic school; instead, he was open to Western European visual culture through self-education. His style is distinguished by abstraction, the use of rhythmic repetition, geometrization of forms, and interaction with textures.

Formal Experiments demonstrates the artist’s deep interest in exploring form and its interaction with space. The work reflects an attempt to grasp the balance between chaos and order, where lines, planes, and color accents create a rhythmic visual flow. This piece not only examines compositional equilibrium but also invites viewers to engage in personal associations and interpretations.

The mid-1980s marked a period when Krasnyk actively experimented with abstract forms, striving to push beyond traditional perceptions of painting. This was a time of expanding artistic possibilities when unconventional visual solutions became a means of expressing new ideas. His works from this period are notable for their complexity, multilayered nature, and openness to diverse interpretations.

Oleksandr Aksinin (1949-1985) — was a Ukrainian graphic artist, often referred to as the "Lviv Dürer" for his masterful command of etching techniques. His works are distinguished by complex multi-layered structures, symbolism, and philosophical depth. He combined the precision of graphics with metaphysical themes, creating works that are not only visually striking but also conceptually profound.

His style is based on precise geometry, a masterful balance of light and shadow, and hidden symbolic systems. Aksinin’s works resemble visual puzzles, where each element carries deeper meaning, inviting the viewer to contemplate. His art transcends traditional graphics, approaching a philosophical exploration of reality.

"Face of Buddha" — is a meditation on harmony, balance, and silence. The image of Buddha is not merely a sacred symbol but an idea of inner peace and deep contemplation. The composition creates a meditative immersion effect, where delicate lines and textural gradations evoke a sense of eternity and boundlessness.

The mid-1980s marked Aksinin’s period of engagement with spiritual and mystical themes. His works from this time serve as visual meditations, transporting the viewer into a space of deep symbolic reflection.

Pavlo Bedzir (1926-2002) was a Ukrainian artist, painter, and graphic artist, one of the leaders of the artistic underground in Zakarpattia. He began his artistic journey with realistic painting and drawing, later transitioning to graphic symbolism, abstraction, and mystical imagery. His work combines complex rhythmic compositions, archetypal symbols, and philosophical depth.

The painting "Masks in the Forest" conveys the dynamics of time, a sense of change, and spiritual searching. The composition is built on the interaction of graphic elements that create an effect of movement, cyclicality, and inner tension. The visual language of the work resonates with the ideas of an era when art transcended traditional forms, exploring the connections between space, time, and human consciousness.

This period in Bedzir’s artistic career was marked by experimentation and the rethinking of art as a meditative process. His works are distinguished by their multilayered nature and deep symbolism, making them significant in the context of Ukrainian modernism.

Pavlo Kovach (1959) is a Ukrainian artist, curator, painter, graphic artist, and performer, a member of the "Pop-Trans" group. He is a co-founder of the "Koridor" gallery and the Pavlo Bedzir Museum-Workshop, whom he considers his mentor. He began exhibiting in 1984, and five years later, he presented his works at an international biennale. He is known for his experiments in painting, installation, and video performances.

Wall embodies the idea of an obstacle, division, or protection. The composition conveys a sense of solidity and immovability, yet at the same time, the potential for breakthrough or change. The surface of the work contains imprints of time, historical layers, or personal experience, making it rich in interpretation.

The contemporary period of Kovach’s work is marked by the exploration of physical and mental barriers, as well as the possibilities of overcoming them. His works investigate the boundaries of form and space, combining symbolism, texture, and depth.

This work attracts attention with its conceptual richness, strict form, and ability to evoke associations with limits and the potential to transcend them.

Roman Zhuk (1955) is a Ukrainian artist and one of the founders of Ukrainian transavant-garde. His works have been exhibited worldwide. He worked in the styles of metaphysical realism, surrealism, and symbolism, combining realistic techniques with fantastic and ironic narratives. Everyday images in his paintings take on deeper or even mysterious meanings.

Merry Company conveys an atmosphere of ease, but beneath its outward lightness, it may conceal social satire, an allegory of human relationships, or irony about the very concept of "merriment." The composition is built on the interaction of characters, creating tension in the scene and adding ambiguity to the imagery.

The early 1970s marked a period of active creative exploration for Zhuk, during which he experimented with blending the real and the imagined. His paintings from this time are characterized by deep emotional expressiveness, well-thought-out symbolism, and openness to multiple interpretations.

This work captivates with its delicate interplay of form, color, and meaning, compelling the viewer to examine details and uncover new meanings behind each image.