Please use this identifier to cite or link to this item:
Title: Експресивні глибини творчості художника Дмитра Шайноги
Other Titles: Экспрессивные глубины творчества художника Дмитрия Шайноги
The expressive depths creativity of artist Dmytro Shainoha
Authors: Кузів, Михайло Петрович
Bibliographic description (Ukraine): Кузів, М. Експресивні глибини творчості художника Дмитра Шайноги / Михайло Кузів // Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка. Сер. Мистецтвознавство. – 2017. – № 1 (Вип. 36). – С. 241–248. – Бібліогр. наприкінці ст.
Issue Date: 2017
Publisher: Тернопільський національний педагогічний університет імені Володимира Гнатюка
Keywords: соцреалізм
Series/Report no.: Мистецтвознавство;
Abstract: У статті висвітлено особливості творчого доробку заслуженого діяча мистецтв України, тернополянина Дмитра Шайноги як носія традиційної львівської школи живопису з притаманним їй тяжінням до формалістичних тенденцій. Розкрито внесок художника у культурно-мистецьке життя краю. Охарактеризовано постімпресіоністичні з виразними елементами експресіонізму риси пейзажних полотен Дмитра Шайноги на тлі панівного на той час соцреалізму.
В статье освещены особенности творчества заслуженного деятеля искусств Украины, тернополянина Дмитрия Шайноги как носителя традиционной львовской школы живописи с присущим ей тяготением к формалистическим тенденциям. Раскрыт вклад художника в культурно-художественную жизнь края. Охарактеризованы постимпрессионистические с выразительными элементами экспрессионизма черты пейзажных полотен Дмитрия Шайноги на фоне господствующего в то время соцреализма.
This article talks about the peculiarities of creative heritage of the Honored Artist of Ukraine, a member of the Ternopil Association of the Union of Artists of Ukraine, Dmytro Shainoha. The research urgency is caused by the decline of the professional level of national schools of painting, and as a result – not very good study a younger generation of artists and the loss of many of the important features of the paintings. One of the reasons for this phenomenon, the author considers, is insufficient lighting of artistic names in nomination “Classic”, that deserve special attention, as they are the bearers of national schools of painting, traditional in their interpretations and technique. Especially it is important to display the creativity of Ternopil artists because of insufficient attention of professional art critics to it. It is carried out the detailed analysis of the biographical, critical, factual publications and visual material from the heritage of Dmytro Shainoha. It is concluded that the priority remains the show features of the paintings of the artist that allow to speak about existence of the modern trends in Ternopil painting of socialist realism that established on the background at that time. The article is based on own memories and retrospective analytical comparison of the artist with contemporary European trends in painting. Summarized the key points of the biography of the artist, which help to justify the choice that is made by the artist of the topic image, the patriotic sentiment, sacredness. Revealed the contribution of Dmytro Shainoha to the cultural life of Ternopil. In particular, it is characterized his early series of graphic works that show landscapes of the post-war Ternopil, the cycle of “Kamianets-Podilskyi”, a series of local and Siberian landscapes, a series devoted to the history of Ukraine, monumental mosaic and others which have undoubted artistic value. Dmytro Shainoha is shown primarily as a landscape painter, who is able to model and execute complex epic composition. Especially expressive of the artist’s works the author considers epic and panoramic landscapes, which are characterized by distinct expression, a special stroke, hundreds of shades and color transitions. In particular, it is made art analysis of paintings “The bitter memory of Siberia”, “Sayano-Shushensk expedition”, “Boat station”, “My land” as the most significant. They are fundamentally different from those in the period of socialist realism easel works with signs of innovation, which is tangible in color vision, and monumentality, formulation of the composition, expressiveness of lines and shapes, expressive color. Drawing parallels with the works of the best representatives of the schools of painting in Europe, namely the French Impressionists and post Impressionists, particularly Paul Cézanne, Maris de Vlaminkom, Vincent van Gogh, Edvard Munch, as well as Bulgarian artists of the second half of the twentieth century. The study introduced the group of Dmytro Shainoha paintings that have not previously been characterized and published, in particular, they are “The Winter silence”, “Summer still life”, “On the river”. All in all, almost all the artistic heritage of Dmytro Shainoha is characterized by expressive plasticity, generalization of the arrays of color, propensity to reflection of panoramele space, which suggests the transfer that is rather impression of nature than the actuality of the environment. It is proved that this style of performance brings the characterized works to the post-impressionism with elements of expressionism, and the author is considered as a bold experimenter and a bright carrier of the Lviv school of painting with its inherent tendency towards the formalistic tendencies.
Appears in Collections:Наукові записки Тернопільського національного педагогічного університету ім. В. Гнатюка. Сер. Мистецтвознавство. 2017. № 1

Files in This Item:
File Description SizeFormat 
Kuziv M..pdf491,52 kBAdobe PDFView/Open

Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.