Abstract:
Стаття присвячена проблемам копіювання рисунків класичних майстрів у вищих навчальних художніх закладах. Наведені приклади різноманітних версій інтерпретування графічного класичного спадку.
Perception, contemplation and imitation of the world around
us are among the inherent functions of a human being. While perceiving the
environment, an artist uses certain mimetic efforts, synoptically replicating
the experience of previous artistic generations in his or hers practical
training. While creating an illusion of space and life, an artist goes through
unique school of abstraction, one that he or she could never pass through
using own resources. Imitation of a classical master’s artwork could serve
as guide, as it is an exemplary key to understanding certain laws of creation.
Exceptional thoroughness of the rendering, one that excludes voluntarism
of the interpretation, is a condition of a successful representation.
However, sometimes the very arbitrariness of the graphic rendering in the
process of classical drawing imitation renovates maestro’s formed creative
personality, as it happened with Nicolai Fechin’s imitations of Hans Holbein
the Younger’s drawings, which Fechin reimagined, shifting the attention
from linear aspect that dominates the art of XVI century German artist,
to light-and-dark one, more relevant to XX century artist. Mastering of
patterns, distant from traditional fine art poetics, like with Far Eastern
xylography in the context of Van Gogh, is a special case; such practice
means exploring the territory of the Other. Pictorial rendering provides a
vast array of possibilities, because it potentially implies mastering the ins
and outs of tone facture, sometimes – color and, in the broadest sense,
the author’s style. Thus, multifunctionality of pictorial imitation matches
the diversity of stylistic examples, which are offered to an art student for
imitation, examples focused on both artists of classical past and also our
contemporaries and compatriots, faculty members and graduates of the
National Academy of Visual Arts and Architecture. Each of them offers a
student its own variant of reality interpretation. In his or her turn, student
either replicates, interprets or works out the technical feature of an artwork,
depending on the task. Therefore, apart from undeniable advantages of
scientific and technical nature, pictorial imitation provides a student with
a moment of existential and creative choice, based on his or her genuine
creative potential and also on traditions of Ukrainian artistic pedagogy. Our
article is dedicated to reactualization, elaboration and positive rethinking
(via classic world examples of pictorial and graphic art) of this idea.
