Особливості книжкової графіки Миколи Стороженка 1958–1970- х років

Abstract

У статті розглянуто специфічні риси книжкової графіки Миколи Стороженка 1958–1970-х років, а також досліджено й проаналізовано стилістичні та композиційні особливості окремих творів у контексті еволюції його авторського стилю.

The article considers specific features of the book graphic arts of Mykola Storozhenko of the 1958–1970s, and also investigates and analyzes the stylistic and compositional features of individual works in the context of evolution of his own artist’s style. At the current time, the subject of the book graphic arts of Mykola Storozhenko remains understudied in Ukrainian art, and the problem of the artist’s creativity in the period of the 1958–1970s has not been practically investigated. Mykola Storozhenko’s book graphic arts, like his monumental works, make a significant contribution to Ukrainian art, and therefore require deep and well-grounded study. By using the method of comparative, formalistic and compositional analysis of the works of Mykola Storozhenko’s book graphic arts of the 1958–1970s, the article reveals the approach of the artist to the form and sculpturesque means of visual and graphic arts as the factors of the experimental space. On the example of illustrative series of works of the certain period it is shown that all means of artistic expression are directed by the artist to create a coherent, emotional and metaphoric space. The issues of visual perception, aesthetic influence and artistic self-sufficiency of each individual illustration were put by the master in a number of priorities, at the level of issue of whole book design.The article emphasizes that Mykola Storozhenko directed the search for new technologies and techniques of work in traditional and rarely used graphic arts techniques to create an original, expressive in style of publication, with maximum compliance with the content and contemporary art form. The author considered Mykola Storozhenko’s book graphic arts of the 1958–1970s in the broader art historical context of the stylistic landmarks of his age and issues of his own self-identification. As a result of the study, the author of the article proves that all the means of artistic expression, stylistic and compositional features of each of the stages of Mykola Storozhenko’s creativity in the field of book graphic arts of the 1958–1970s are organic components of the process of evolution of the artist’s own style. All materials of this analytical study are quite important in theoretical and practical application directly in the creative process: to improve the curriculum of composition, as well as an auxiliary methodological material for students of creative specialties and student — art experts.