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dc.contributor.authorСапак, Наталія-
dc.identifier.citationСапак, Н. Мистецькі об'єднання та їх роль у художньому житті Півдня України кінці ХIХ – початку ХХ століття / Наталія Сапак // Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка. Сер. Мистецтвознавство. – 2017. – № 1 (Вип. 36). – С. 254–262. – Бібліогр. наприкінці ст.uk_UA
dc.description.abstractУ статті проаналізовано діяльність громадських об’єднань і творчих угрупувань. Наголошено на ролі меценатів, художників у роботі Одеського, Миколаївського і Херсонського товариств красних мистецтв. Визначено характерні особливості творчих пошуків головних представників Товариства південноросійських художників, ставлення критики до їх творчості. Охарактеризовано творчі завданнях учасників “Салонів” В. Іздебського, Товариства “незалежних” художників на чолі з М. Гершенфельдом і творчої групи “Гілея”.uk_UA
dc.description.abstractВ статье проанализирована деятельность общественных организаций и творческих объединений. Акцентировано на роли меценатов, художников в работе Одесского, Николаевского и Херсонского обществ изящных искусств. Выделены характерные особенности творческих поисков главных представителей Товарищества южнорусских художников, отношение критики к их творчеству. Охарактеризированы творческие задачи участников “Салонов” В. Издебского, Общества “независимых” художников во главе с М. Гершенфельдом и творческой группы “Гилея”.uk_UA
dc.description.abstractThe activity of art associations of the South of Ukraine at the end of the ХIХ – at the beginning of the XX century has been analyzed. The merit in the formation of the creative environment belonged to the Fine Arts Societies, patrons of art, as well as artists who were part of their composition has been determined in the article. The great role of private collections of Odesa collectors, which had influenced for the forming of tastes of artists and art funs, was noted. The main components of the activities of the Societies such as the foundation of art museums, the formation of collections, the content of educational institutions, the organization of exhibitions are noted. We focused on the role of the founders of the Societies: F. Morandi and G. Marazli in Odesa, N. Gedroits in Mykolaiv, A. Konoshchenko (Grabenko) in Kherson. Attention is paid on the Association of South Russian Artists in Odesa, on its representatives’ creative searches. We emphasized on the determination of artists’ achievements by local criticism from the democratic art point of view. Therefore, attention is focused on the elder artists who worked in the genre picture, portrait and landscape. K. Kostandi, the leader of the Odessa artists was a master of small genre compositions in the spirit of the Wanderers. At the same time, his picturesque manner was close to Impressionists’ painting. Similar searches were in the works by N. Kuznetsov, G. Ladyzhensky, G. Golovkov, E. Bukovetsky, P. Nilus Many members of the association were artists from other cities, for example L. Inglesi, the artist from Mykolaiv. The further evolution of artists’ creativity connected with the search for expressive means in the transmission of the light and air environment as characteristic of the masters of the southern school has been underlined. However, the exhibited works by V. Kandinsky, were not consistent with the creativity of most of the union's representatives. The creativity of the members of the Association allows us to make a conclusion about the peculiarities of the southern pictorial school. It is combination of professional academic basis, ideological and thematic searches, close to the Wanderers, pictorial tasks connected with the achievements of French art. The role of “Salons” by V. Izdebsky in the popularization of the newest trends in art has been noted and the exhibitors were named. We underlined the attitude of the Mykolaiv and Kherson press towards the exhibition of K. Kostandi, the leader of the Odessa artists. “Salons” were the first large expositions of contemporary art, their experience led to the organization “Spring Exhibition of Paintings” in 1914. This exhibition became the basis of the Society of “independent” artists. Its leader, M. Gershenfeld inherited the creative views of representatives of the new trends in French art. “Gilea” group was apart from the representatives of the newest trends. Creative views with futuristic direction of young artists and writers had no support in the local artistic environment. At the turn of the ХІХ and ХХ centuries, artistic life was manifested in the activities of the Fine Arts Societies. It was dealt with the organization of museums, exhibitions, and art education. Creative artists’ searches developed in the mainstream of the ideological and artistic tasks of the main association of the Association of South Russian Artists, youth creative groups, exhibitions of contemporary art. The activity of creative associations has become defining factor in the artistic life of the three cities of the South of Ukraine.uk_UA
dc.publisherТернопільський національний педагогічний університет імені Володимира Гнатюкаuk_UA
dc.subjectновітні течіїuk_UA
dc.titleМистецькі об'єднання та їх роль у художньому житті Півдня України кінці ХIХ – початку ХХ століттяuk_UA
dc.title.alternativeТворческие объединения и их роль в художественной жизни Юга Украины конца ХIХ – начала ХХ столетияuk_UA
dc.title.alternativeCreative associations and their role in the artistic life of the South of Ukraine at the end of the XIX – at the beginning of the XX centuriesuk_UA
Appears in Collections:Наукові записки Тернопільського національного педагогічного університету ім. В. Гнатюка. Сер. Мистецтвознавство. 2017. № 1

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