Пейзажі Тараса Шевченка 1848–1851 рр.: зміни в художній мові

Abstract

У даній статті розглядаються характерні риси пейза-жів Т. Шевченка 1848–1851 рр., в яких відображені зміни композиційного, світлотіньового, колористичного підходу митця до цілісності та виразності зображення. Такі зміни розвивались під впливом нового оточення та нової натури, з якою художник працював в Аральській та Каратауській експедиціях. This article is dedicated to the features of T. Shevchenko’s landscapes of 1848-1851. These landscapes show the changes in the way the artist handled composition, color and chiaroscuro to create complete and expressive image. Such changes were inspired by new environment and new nature, which Shevchenko saw in expeditions to the Aral sea and Karatau in 1848-1851. The nature of steppes, shores and islands of the Aral Sea was very different from what inspired the artist in Ukraine. This new nature put some new artistic problems: the artist started to compose space differently, the effects of chiaroscuro became bolder, the details became more concentrated and the main role was given to a distinct generalized silhouette. Very smooth tonal gradations and detailed composition in Shevchenko’s landscapes gave place to sharper contrast – chiaroscuro was integrated in big spots, the boundary between light and shadow became distinct. It increased the compositional integrity and facilitated the perception of the image. In expeditionary drawings Shevchenko started working with large contrasting dark and light masses, conveying the feeling of the bright sun in the steppe. The artist grouped all contrasting details, so the compositions became more concentrated and laconic. His pencil sketches of the mountainous shores of the Aral Sea (1848–1849) provide us a clear idea of how the laconism of the masses and spots was crystallizing in the Shevchenko’s manner. Shevchenko shifted accents in the framing of landscapes during the time of exile. The space of the sky gained equal to the relief role: it became a full participant in the compositional rhythm of the spots, balancing the masses of the rocks. Such equilibrium of sky and earth can be seen in aquarelle “AkmishTau” (1851). In watercolor landscapes of this period Shevchenko actively used the picturesque contrast of cold and warm tones to give the impression of atmosphere and to balance the image. In matter of compositional rhythmics, chiaroscuro integrity and coloristic subtlety the landscapes that artist created in 1848-1851 were a huge step toward new artistic view of nature.