Відновлення та робота майстерні монументального живопису Київського художнього інституту в 60–80-х роках XX ст.

Abstract

Стаття присвячена діяльності майстерні монумен-тально-декоративного живопису Київського художнього інституту в 60–80-х рр. XX ст. Увагу акцентовано на основних передумовах, які сприяли відновленню навчально-творчої майстерні монументально-го живопису. Розглянуто специфіку побудови навчального процесу монументалістів, а також роль майстерні у формуванні монументального мистецтва України 60–80-х років. Studio of monumental painting was repeatedly reorganized during the XX century. Teaching staff, ideological foundations and methods of teaching were changed at different times. Its history started from the creation of the Ukrainian Academy of Arts. In the beginning it was M. Boychuk’s studio opened in 1917. Soon the department of monumental painting was created. It included a studio under the direction of M. Boychuk, L. Kramarenko, A. Taran. In 1930 department was transferred to the Kharkiv Art Institute. Only M. Boychuk`s studio was functioning but later it was closed for various reasons. Conditions for the reopening of the studio appeared in the second half of 1950. At this time there were important changes in construction. It led to the search for a new kind of monumental art. Active development of monumental art and need for qualified specialists became ground for reopening of the studio. The process of resurgence of monumental studio started in the early 60’s and lasted for several years. The first students enrolment took place in 1965. There were many different problems with preparation for the opening of the studio. The head of the restored studio was V. Chekanyuk (1965–1967, 1973– 2000) and T. Yablonska (1967–1972). Training program was developed by professors of the studio. Of course, the specific details of the training program would vary at different times, but the basic principles remained the same. The task of painting, drawing, composition fully met the specifics of studio and was created with all the features of monumental art. Learning process was based on the experience of monumental art of past years but did not break away from the realities of contemporary and innovative trends. Students studied deeply various monumental techniques: sgraffito and fresco were studied in the third year of education, mosaic in the fourth year and stained glass in the fifth year. Much attention was paid to synthesis of the art. Composition was in harmonious combination with architecture. Many generations of graduates from monumental painting studio embodied successfully their ideas in a variety of monumental objects in Ukraine and abroad. Many of them have succeeded not only in monumental art but also in other genres of fine art