Літографія у творчості київських художників-графіків 1960-х років

Abstract

Стаття присвячена творчості київських художників-графіків 1960-х років, які працювали в літографській техніці. Розглянута тематика їхніх естампів та подано характеристику образно-стилістичних та технологічних особливостей графічних творів. The Kyiv graphic school based in Kyiv State Arts Institute developed lithography art significantly. The group of Kyiv graphic artists from the experimental printmaking shop which worked successfully in the period from the 60s to the 90s made a great input in the depository of the Ukrainian drawing art. The modern artists use lithography technique rather rarely because of complicated printing technology. Timeliness of research of the Kyiv lithography school is caused by lack of fullscale studies in the relevant scholarly literature. As of today there are many untapped issues concerning activities of Kyiv graphic artists who used lithography technique. These issues need detailed analyses, systematization and in-depth research. The matter of research. Some students of theGraphic Faculty of the Kyiv State Art Institute have chosenlithography for their diploma thesis using it for easel graphic works as well as for book design and illustrations. Professor Pashchenko’s students worked at his easel graphic workshop on depiction of revolution, the Civil War, socialist development of their country and routine life of the Soviet people. It is worth mentioning the following artists: Mykhaylo Turovskyy who created series of prints “On the Eve of Revolution” (1960), Yuliy Sheynis with his series of colored lithographs “Metal” (1961), Mykhaylo Andriychuk – series “The Milkmaids” (1962), Oleksandr Sholomiy – Series “The Fishmen” (1962), Viktor Vandalovskiy – series about revolutionare Artem (lithograph- asphalt, 1963). In 1963 the Head of Graphic Arts Department Professor Pashchenko deceased, and his successor and disaple, Associate Professor Selivanov made a great input in the tutoring of the graphic artists. During the 60-s the students of the above mentioned workshop continued to develop “socialist realism subjects” as it was required by the country leaders. The teacher urged truthfulness, veracity and realistic approach in depicting of historical events and creating of scene painting. Therefore, the students made the series of lithographs: Oleksandr Kalachykov “Pages of Kobzar’s Life” (1964), Vitaliy Hubenko – “Hryhoriy Skovoroda”, (1969), Ihor Matseychuk – “Kolgosp Village” (1964), Ivan Kyrylov – “Seamen – Submariners” (1967). Some artists focused on the historical topics - Mykhaylo Morisov’s diploma thesis was “Oleksandr Parkhomenko” (1965) and Oleksandr Skyba’s series of lithographs “H. I. Petrovskiy” (1969). Students of the book illustration workshop for their diploma thesis chosed designing and illustrating books by the Ukrainian and Russian classical writers and modern writers as well. The graduates made the following illustrations: Alla Sholomiy – for A.Gaydar’s short story “Blue Cup” (1964), Volodymyr Selivestrov – for M. Sholokhov’s “Fortune of a Man” (lithography-stamping, 1965), Yevhen Honcharenko – for S. Sklyarenko’s “The Carpathian Mountains” (1961), Ihor Yashchenko – for M.Kulish’s «97» (1969). Mykola Kompanets – for Mykhaylo Starytskyy’s dram a “Cathing Two Hares” (1964), Vasyl Avramenko – for Taras Shevchenko’s “Haydamaky” (1962), Valentyna Ulyanova – for O.Kobylyanska’s “On Sunday Morning Digged Up Herbs” (lithographs-asphalt, 1965). The best diploma thesis of the graduates from the Ukrainian art schools were exhibited at the art shows organized by the Union of Artists of the USSR and Ministry of Culture of USSR. Thus, in 1965 the diploma thesis of Oleksandr Kalachykov, Mykhaylo Marisov, Volodymyr Seliverstov, Valentyna Ulyanova and Mykola Kompanets were presented at the exhibition of diploma thesis, drawings, designs and the best works created by the students of Kyiv State Art Institute. The book “In terms of Graphic Arts” by Leonid Vladych contained reviews of the most interesting diploma thesis created during the above mentioned period of time, the authors of which had original vision, interesting composition approach and diversity of descriptive means. It is worth mentioning graduates Mykola Kompanets, Vasyl Avramenko and Valentyna Ulyanova who used lithography technique. At that time the young Ukrainian graphical artists were significantly influenced by the art works of the prominent Ukrainian, Russian, Baltic, German, Polish, American graphic artists and Mexican artists (members of popular art workshops) – Vasyl Kasiyan, Mykhaylo Deregus, Yevheniy Kibryk, Aldona Skirutite, Kathe Kollwitz, Rockwell Kent, Jose Guadalupe, Celia Calderon and others [2]. Kyiv graphic art school was based on the art of the above mentioned artists, however the artists developed their own style, creating form and content with the the signs of national identification. In the 60-s many Kyiv graphic artists presented their lithographs at the regular art exhibitions, namely “Soviet Ukraine” national exhibition (1960), annual exhibitions (1961, 1963) and the one dedicated to the 50-th anniversary of the October Revolution. Borys Ginsburg, Vasyl Kaluga, Volodymyr Boldyrev, Ivan Krupskiy, Volodymyr Novykovskyy, Yevhen Hapon, Nina Bozhko, Inna Movchan, Nadiya Lopukhova, Hanna Horobiyevska and Mykola Popov presented series of easel graphic works.Those artists who consistently followed the rules of socialist realism were unable to avoid artificiality of situations depicted in their art works, where the wishful replaced the real things and social state of society was exaggerated and idealized. In 1965 the works presented at “Protecting Peace” National exhibition featured the war subjects referring to the historical events the Ukrainian people participated in.Prints made by Nina Bozhko, Vasyl Kaluga, Viktor Vandalovskiy, Zinoviy Tolkachov and Borys Shats were demonstrated there Nadiya Lopukhova approved herself a gifted master of lithograph.She focused on woman’s life in the series of lithographs called “Women’s fortune in Shevchenko’s writing (1964) presented at the National Art Exhibition dedicated to 150th anniversary of Shevchenko Conclusions. The lithographs created by the Kyiv graphic artists in 60-s are interesting and unique samples of the national graphic art. They carried out an experiment trying to create new tools and means in order to express their state of mind. Unfortunately they had to work during the tough time which considered to be a peak of socialist realism and during Khrushchov’s Thaw known for combating signs of “extraneous bourgeois art” and formalism. Despite political bias and ideological pressure the graphic artists managed to express their own attitude and vision of the social processes, to reflect a positive side in the life of people and to make their input in the development of book design and illustrations.