Копіювання рисунків класичних майстрів як метод викладання у вищому навчальному закладі

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.