http://195.20.96.242:5068/kvnaoma-xmlui/handle/123456789/78 2026-04-12T23:15:40Z http://195.20.96.242:5068/kvnaoma-xmlui/handle/123456789/620 Творчість Володимира Орловського: еволюція стилю в контексті розвитку пейзажного живопису другої половини ХІХ – початку ХХ століття Філімонова, Аліса Сергіївна; Filimonova, A. S. Дисертація є першим комплексним дослідженням життя і творчості В. Орловського в контексті пейзажного живопису другої половини ХІХ – початку ХХ ст. в історії українського і російського мистецтва. Охарактеризовано мистецькі процеси та становлення пейзажного жанру в Російській імперії означеного періоду. Досліджено характерні риси мистецького середовища Петербурга другої половини ХІХ ст. як провідного художнього осередку. Вивчено мистецько-освітні процеси в Києві другої половини ХІХ – початку ХХ ст. Розкрито умови становлення творчої особистості В. Орловського. Досліджено специфіку пейзажних творів митця часу навчання його в Академії мистецтв та пенсіонерської поїздки за кордон. Проаналізовано й систематизовано творчу спадщину митця. Визначено еволюцію стилістичних особливостей та специфіку художньої манери його творів другого київського періоду. The dissertation is the first comprehensive research of Vladimir Orlovskii’s life and work in the context of landscape painting of the second half of the nineteenth and early twentieth centuries. The artistic processes and the formation of the landscape genre in the Russian Empire of the designated period are described. It was a turning point in the development of stylistic tendencies, when in painting, instead of the established traditions of academism, a new realistic direction comes with its own specific ideological platform, the main postulate of which was the social orientation of art. These trends also reflected in the landscape genre because of the reflection of national identity, nationality, and realism. In place of idealized landscapes, a peculiar portrait of a real area comes. The characteristic features of the artistic environment of Petersburg, as a leading artistic center in the second half of the nineteenth century, are explored. This period is marked by the confrontation between the academic principles formed by the Petersburg Academy of Arts and new views on the tasks of art, which were argued by representatives of the new artistic association of the Association of Traveling Art Exhibitions. For the first time, the Academy loses its role as an artistic hegemon, is forced to adapt to new trends, to fight for the return of lost authority, and therefore for the adherence of the contemporary audience. The study of artistic and educational processes in Kyiv in the second half of the nineteenth and early twentieth centuries. At this time the artistic life of Kyiv is reviving. The Drawing School of M. Murashko, Art School were created, traveling exhibitions of wanderers, exhibitions of Kyiv artists, works of private collections were held. Ukrainian philanthropists and collectors are activating their activities. The conditions of the creative personality of Vladimir Orlovskii are revealed. The specifics of the landscape works of the artist of the time of study at the Academy of Arts and retirement abroad are researched. It was found out that such outstanding personalities as I. Soshenko, M. Chalii, T. Shevchenko played a significant role in the initial stage of the formation of professional skills of the artist. The teacher on the specialty at the Academy was O. Bogolyubov, an artist who introduced his students to the trends of European art. Familiarity with the Babrbizon school during a retirement trip had a significant impact on the artist's further creativity. The attentive attitude to nature, the objective truthfulness of its reproduction will become a characteristic feature of Orlovskii's creativity. The creative heritage of the artist is analyzed and systematized. The evolution of stylistic peculiarities and specificity of the artistic style of his works of the second Kyiv period is determined. Considerable attention is paid to works from Ukrainian museums. After returning to Kyiv, the stylistics of artist’s works evolved significantly from academic background to pleneric painting, a realistic reproduction of nature. In landscapes, the artist recreated the emotional image of landscapes, he was interested in various light effects, complex transitional states of nature. Wide was the thematic range of his works. With equally high skill, the artist wrote sun-filled wheat fields, rivers and lakes, which reflect the sunset or stormy clouds, sea views at various times of the day or in the seasons. In his portfolio of epic panoramas, chamber landscape motifs, a significant number of sketches, which, in their completeness, may qualify for independent existence. 2019-01-01T00:00:00Z http://195.20.96.242:5068/kvnaoma-xmlui/handle/123456789/618 Кураторська практика в сучасному мистецтві. Світовий досвід та український контекст Герман, Єлизавета Сергіївна; German, I. S. Дисертація представляє комплексне дослідження становлення та розвитку кураторства як самостійного фаху на тлі історії світового мистецтва ХХ – поч. ХХІ ст. та, зокрема, мистецької сцени України в1990-х – на поч. 2000-х рр. На основі вивчення низки важливих проектів та діяльності окремих видатних постатей систематизовано наявні тлумачення кураторства, дано власну класифікацію та характеристику його основних типів, проаналізовано провідні методи й теми проектів зазначеного періоду. Виявлено ключові закономірності розвитку професії в різних соціокультурних та історичних обставинах, що дає змогу аргументовано пов’язати український контекст кураторської практики із актуальним міжнародним досвідом. The paper presents a comprehensive study of curatorial practice’s emergence and development as an independent art occupation in a course of art history of XX – early XXI century in general and Ukrainian art scene of 1990–2000’s in particular. Based on a research of important projects as well as activities of major figures the paper classifies and analyses the key strategies, methods and concepts of foreign as well as Ukrainian curators. The author traces main aspects of the profession’s development in relation to different socio-cultural and historical backgrounds and preconditions. This gives a reasonable argument for linking the Ukrainian context of curatorship to the international practice. 2016-01-01T00:00:00Z http://195.20.96.242:5068/kvnaoma-xmlui/handle/123456789/616 Життєвий шлях і творча діяльність Джона Генрі Дерла в контексті руху «Мистецтва і Ремесла» (друга половина ХІХ – перша третина ХХ століття) Мартиненко, Наталія Миколаївна; Martynenko, N.M. Дисертація є першим комплексним дослідженням життєвого шляху, творчої та освітньої діяльності Д. Г. Дерла в контексті культурно-мистецького руху Великобританії«Мистецтва і Ремесла» другої половини ХІХ – першої третини ХХ століть. Проаналізовано теоретичні та практичні засади руху«Мистецтва і Ремесла» як джерела формування творчої особистості Д. Г. Дерла. Досліджено соціальне середовище. Реконструйовано і введено в науковий обіг життєпис митця. Проаналізовано та систематизовано творчу спадщину митця. Визначено стилістичні особливості художньої манери, специфіку художньої мови його творів. Висвітлено освітню діяльність Д. Г. Дерла і його внесок у розвиток індустріального дизайну Великобританії. This dissertation is the first comprehensive and systematic scholarly study of J. H. Dearle, focusing on his life, creative work and educational career within the context of the Arts and Crafts Movement. It examines philosophical, social and artistic writings of T. Carlyle, J. Ruskin and W. Morris as formative ideas behind the Arts and Crafts Movement, which had decisive influences on J. H. Dearle’s ideological and aesthetical beliefs. The work explores the Arts and Crafts Movement and J. H. Dearle’s social circle as a formative source of his creative personality. It discusses economic, social and artistic preconditions of the Arts and Crafts Movement and the rise of decorative arts, and art and industrial design. It touches on historical aspects regarding the origin and the development of industrial art education in the country, which shaped J. H. Dearle’s professional path. The research explores the origin and activity of the West London School of Art as one of the leading art education establishments in the second half of nineteenth century Britain. It explores the role of the school in developing formative characteristics of typical national British designers, such as J. H. Dearle, who would be capable of leading the country to the fore of world industrial production. The study provides an account of the founding preconditions, and artistic and commercial activity of Morris & Co, which helped to shape the Arts and Crafts Movement in general, and the work of J H. Dearle in particular. At the same time the work assesses J. H. Dearle as an individual artist, rather than a mere shadow of his renowned teacher W. Morris and colleague E. Burne-Jones, in order to re-evaluate his life and achievements. The research looks at the Arts and Crafts Exhibition Society, where J. H. Dearle was a longstanding member, and its role as the key practitioner and main promoter of the ideals of craftsmanship versus the industrialisation of production. The study examines J. H. Dearle’s family background, early school education, economic and religious influences on his creative personality. For the first time J. H. Dearle’s biography is researched and reconstructed in great detail, including his early years spent at the Gladhill’s Collegiate School. The work highlights how J. H. Dearle’s professional responsibilities at the Merton Abbey works had a lasting impact on the diversity of his creativity. The study gives a fuller critical analysis of J. H. Dearle’s stained glass work and reconsiders his overall contribution to the production of Morris and Co sacral windows. It examines the stylistic qualities of his memorial stained glass. The work discusses J. H. Dearle’s tapestries and the extent of his involvement in the production process. The research examines J. H. Dearle’s stylistic specifics and artistic contribution to the development of distinctive British carpet design, which incorporated Middle Eastern influences transformed through the prism of his national vision. The study identifies and systematizes structural particularities in the composition of repeat pattern designs, looks at the colour schemes and explores the semantics of floral ornamentation with references to floriography, mythology, fine art and literature. The study presents a detailed account of J. H. Dearle’s activity in the area of industrial art education. It focuses on his particular role in preparing the next generation of designers, by examining and judging students’ work, and redefines his contribution to the development of British industrial design in the first third of the twentieth century. 2016-01-01T00:00:00Z http://195.20.96.242:5068/kvnaoma-xmlui/handle/123456789/614 Графіка Т. Г. Шевченка 1847–1861 рр.: особливості художньої мови Гомирєва, Олена Іванівна; Gomyreva, O. I. Працю присвячено дослідженню графічної спадщини Тараса Шевченка. Наукова новизна полягає у вивченні стилістичних особливостей творчості художника за допомогою мистецтвознавчого аналізу значного масиву графічних творів Т. Шевченка 1847–1861 років. На основі вивчення цих робіт та узагальнення результатів аналізу виявлено індивідуальні особливості художньої манери митця, розвиток і зміну цієї манери за періодами творчості, поєднання різностильових тенденцій, зокрема академізму, романтизму, реалізму та українського народного мистецтва. У результаті дослідження простежено вирішення митцем таких художніх проблем: розробки просторових, пластичних, емоційних можливостей виразної світлотіні; пошуків композиційної цілісності й рівноваги; відпрацювання графічних прийомів і тональних контрастів у різних техніках; пошуків колористичної виразності в акварелі. Проведений порівняльний аналіз мистецької манери Т. Шевченка з творчими методами інших художників, які вплинули на нього (П. Соколова, К. Брюллова, Рембрандта Харменса ван Рейна). Наведені у дисертації дослідження та висновки дають змогу скласти комплексне уявлення про художнє бачення українського митця та його поступовий розвиток. The work is devoted to studying of Taras Shevchenko's graphic art of 1847 -1861. The purpose of the research is to provide a thorough stylistic analysis of the artist’s graphic heritage, which will help to unveil the peculiarities and evolution of his artistic vision. From the exploring of scientific findings on the topic, it became clear that at the moment the issue of the features and development of Shevchenko's artistic manner, his use of graphic means of expression are insufficiently studied . The scientific novelty of the paper consists in studying the stylistic traits of the artist's work on the basis of analysis of a considerable volume of Shevchenko's graphic works of 1847–1861, including previously unanalyzed works. The research explored how the foundation of the artist’s individual manner was laid in the period before 1847. In the main part of the thesis, the works of the exile period (1847–1857) and after it (1857–1861) were analysed. The exile period was divided into three stages (1847–1850, 1851–1855, 1856–1857), based on biographical information and stylistic changes in the work. The influence of the new environment on the artist's work in years of exile has been explored. Changes in the approach to composition appeared: concentration and balance in the distribution of masses, the emergence of complex spatial and lighting effects, a clear scheme for accentuation on the composition centre. The chiaroscuro schemes in portraits, landscapes and genre scenes have been determined; the significance of light and skilful shape modelling has been traced. Watercolours show the use of colour relationships as the leading means of expression. Shevchenko's graphic exercises in mastering shading and stains, using various tool s have been investigated. The analysis of the artist's work with graphic techniques of watercolo ur, sepia, pencil, and black chalk showed a new method based on a combination of generalized and contrasting visual elements with tonal and detailed ones. The manifestations of stylistic tendencies of academism, romanticism, realism, motifs and schemes of Western European and Ukrainian folk art in works of the exile period, especially in the “Telemachus–Diogenes” and the “Parable of the Prodigal Son” series, have been characterized. Based on the analysis of Shevchenko's post-exile works (1857–1861), the improvement of the skills of using black chalk, sepia, various tools in the drawing, etching and aquatint, has been analysed. Portraits, landscape sketches, genre sepias and etching copies show the use of contrasting means of expressi on and various tools, confident and free modelling and composition arrangement. The result of the evolution of Shevchenko's artistic vision, which has acquired integrity, expressiveness and freedom, has been formulated. The common and distinctive features in the creative methods of Shevchenko and Rembrandt have been identified on the basis of a comparative analysis of general compositional thinking, use of light, work techniques in etching, the character of portraits and self portraits in the creative heritage of both artists. The research clarified how Shevchenko repeated Rembrandt’s methods and how his academic tendencies and his tendency to open, theatrical compositional schemes restrained his realistic search. The research described the specifics of genres in Shevchenko’s works (portrait, landscape and thematic images) and revealed his tendency to combine several genres into one image. I n each genre artist developed specific artistic tasks: the psychological significance of chiaroscuro in portraits; the diversity of compositional and lighting solutions in landscapes, but one prevailing scheme for thematic works; combination of romantic, academic and realistic tendencies in landscape and genre motives; the archaeographic nature of pencil landscapes, while solving purely artistic problems in watercolour; development of schemes for floodlighting, artificial and backlighting in genre works. The issue of the peculiarities of Shevchenko's graphic manner and their correlation with the influence of other artists’ stylistics (in particular, K. Brullov, P. Sokolov) has been investigated. The artist's style differs by the development of specific artistic problems: balanced ratio between detail and generalization; calligraphic elaboration of shading for showing material effects; expressive interpretation of the background to emphasize the main objects; the leading role of contrast; use of simultaneous contrast in graphic images. The study of expressiveness of light and its emotional and spatial role represent the particular feature of Shevchenko’s artistic vision. It is proved in the thesis that the stylistic peculiarities of his graphic art formed a completely original artistic language, which shows the artist's achievements beyond one style and distinguishes him among the representatives of artistic tradition of that time. 2019-01-01T00:00:00Z