AESTHETIC AND STYLE FEATURES OF MYKOLA HLUSHCHENKO’S PAINTING IN THE LATE 1940S AND 1950S

Abstract

The purpose of the work is to analyze the pictorial and aesthetic-stylistic means of the painting manner of Mykola Petrovich Hlushchenko (1901–1977) of the late 1940 and 1950s, based on the study of the artist's heritage from the collections of the Dnipro Art Museum, the Andrey Sheptytsky National Museum in Lviv, the National Art Museum of Ukraine (Kyiv). The research methodology is based on comparative, iconographic, and artistic-stylistic methods for the implementation of complex art-historical research; a number of general scientific methods are involved, such as analysis, synthesis and generalization. Scientific novelty. In the study, for the first time, the painting works of M. P. Hlushchenko of the "Soviet" period are considered from the point of modern Ukrainian art history discourse, the general features of the artist's artistic language of the late 1940s and 1950s are presented, and the features of the aesthetic evolution of the landscape genre in the artist's work are defined. The previously outlined chronological boundaries of creativity were clarified and further directions of research were indicated. Conclusions. Based on the research of the collections belonging to the state part of the Museum Fund of Ukraine from the art museums of Kyiv, Lviv and Dnipro, selected works of Mykola Hlushchenko were analyzed and the period of the late 1940s–1950s was identified as one of the turning points in the artist’s work, during which stylistics and aesthetics of the artist's painting undergo significant metamorphoses. According to the results of scientific research, the following key stages have been identified: 1) the end of the 1940s – the beginning of the 1950s – an effort to realize himself as a master of the socialist realist direction in the field of the landscape genre. Creation of a number of landscapes-paintings - generalized images of the country; 2) the second half of the 1950s – refusal to create "programmatic" landscapes and focus on the landscape-etude, as the leading genre in the work of M.P. Hlushchenko. As part of this stage, during the 1950s, a change in the aesthetics of the artist's art was recorded, namely, from scrupulous fixation of the motif to its subjective embodiment.