Василь Іванович Гурін. Мистецькі роздуми

Abstract

У статті висвітлюються мистецькі погляди академіка, професо-ра, народного художника України Василя Івановича Гуріна в образотвор-чому мистецтві та педагогічно-освітній практиці формування художньої інтелігенції за останні півстоліття. Матеріали побудовано на основі бесід із В.І. Гуріним про мистецтво. The article highlights artistic ideas of the Academician, Professor, People’s Artist of Ukraine Vasyl Ivanovych Gurin in art and educational practice of forming the artistic intelligentsia over the past half century. The text is based on conversations with V. I. Gurin on art topics. The purpose of this article is to create a first generalized view through the art, history, philosophy, music, poetry, trying to get closer to the creative core of the artist. Future research of V. I. Hurin works will be based on this article. The article examines teaching and pedagogical activity of the Academician, namely the formation of creative thought at the stage of philosophical vision and immediate understanding of different artistic situations, because analysis of creativity through the study of his paintings and paintings of his students has been often covered in various publications. Member of the National Academy of Arts of Ukraine, People’s Artist of Ukraine, Professor Vasily Gurin was born on March 18, 1939 in the urban settlement Pervomaiske, Crimea. In 1965 he graduated from Kyiv Art Institute (Professor K.Trokhymenko), and thereafter studied at the art studio of the USSR Academy of Arts under the direction of S. Grigoriev (1968). Presently he practices in easel painting. In 1969 he began teaching in the National Academy of Fine Arts and Architecture, since 1987 – Professor, since 1989 – head of the department of painting and composition, since 1993 – chief of the educational-creative studio of easel painting. He was elected a chairman of the Kyiv regional department of National Union of Artists of Ukraine (1997–2005). In its present-day educational activities V. I. Gurin takes into account the shortcomings of art education in 1960th, that is focuses on formal composition. The first step in working on sketches is a choice of color solutions. This way a symphonic work involves certain musical instruments, but not all existing. Composer-painter also chooses a specific material such as white, english red, sienna, umber - and these colors must build all the beauty. Let us remind ourselves the impressionists - they were painting from nature using a limited color palette. All art comes from building harmony. Speaking of valor, it could be the best analyzed in pointillism, which felt invisible presence of paint. But the real painting begins only when the paint is no longer perceived as paint and begins to live its own life, gets inspiration. One of the most important things in painting is the tint. When Professor V. Kostecki came to class on painting in the 60th, he took a match, lit it and said, «Look at the match and fire, compare its tint and tone with the posing naked and check the difference between them». V. I. Gurin stresses the need to search many variations of composition, that is to search the same composite picture across different warm and cold, light and dark color balance and ratio. So he urges to gradually come to the final version of the painting through rational thinking, because pure emotions can lead to deadlock. The painting is a scientific problem, the picture is a conditional thing. There are two forms of creative education: the first – from the heart and senses and the second - scientific, rational. The way to create a picture can go from concept to formal composition or vice versa – it depends on the artist. Analysis of classical art has a great sense during the study. Take a look at Veronese, Velasquez and Vrubel paintings, Greek sculpture, note how differently is interpreted one and the same form (folds of clothing, human body, contrasts spots, etc.), analyze, for example, paintings of A. Plamenytskyj, who was lecturer at the Academy in previous decades, how they all were built on decorative spots, although presented realistically. Contemporary students must be taught how to look at nature. A great value in artistic culture in general is given to preservation of the student’s identity - it is most difficult not to create an own copy. Artist is a devotee of his work, and has to have an internal fire of art. Nobody knows where the paintings cove from, where to search for some new ideas; every artist has to feel that inside, on its own, individually. V. I. Gurin uses his historical artistic experience as well as philosophical and humanistic view of the world around us to create master artists in his students. He praises through the pictorial work a love for nature, family, mother and his father, who died during the Second World War. He keeps in his works fragments of history which we should not forget, continuing social educational practice.