Повний текст - Інститут проблем сучасного мистецтва

Olexiy Rogotchenkoart and colour and composition similarity with Spaniard Diego Rivera, ItaliansMario Sironi, Ferruccio Ferrasi, Ubaldo Oppi, Giorgio di Chirico, GermanChristian Schad. The ideological doctrine of the Ukrainian SSR insisted on painter’sbalance between the utopian realism and realistic (natural) depiction of theevents. An artist had necessarily to emphasize the historicity of the moment.Nowadays it becomes clear that the national consciousness and desire to work onthe national sacral painting doomed M. Boychuk and his progenies to the physicaldestruction. The ideology and terror became the essential basis of the fine artsin the totalitarian Ukraine for the following decades.The Ukrainian sculpture development had its own traits in the thirties. Firstof all, this was the instructed literary characters that were popular with plainconsumers, that is, quite clear to the winner-nation. The slogan «the countryshould know its heroes» would be widely spread in the country; the sculptorswould get involved in such a popularizing activity and this would explain the twokey principles of the Ukrainian and Soviet sculpture of those times. Firstly, asculptor would glorify and support the new regime on his own will or by force;secondly, the art would get a lot of characters which could not have claimedbefore, even theoretically, for the slightest art praise. These two componentsmultiplied by art politicization would direct the development of the SovietUkrainian sculpture in quite a different channel. The other paradox would lie inthe fact that, notwithstanding the infringement and dictates of the regime, thefine arts (sculpture in this case) would not lose but gain the traits of skills andprofessionalism. It became clear for millions of people of little education andserved a perfect agitator during the wartime. The powerful totalitarian regimeneeded sculpture to realize its propaganda ideas and to strengthen the dictatorship.The post war period would start its sculptural steps on the city and villagecemeteries where the bronze, copper, concrete and alabaster classical monumentswould be erected touching the subconscious feelings of the people in theirhonor to the memory of the fallen heroes. The best samples of such monumentswould be spread over the whole country. Perpetuation of the victory memorywould be a favorable theme followed by the period of the giant structures. Thesculpture art would hold a firm place in the ideological policy of the totalitariancountries. Of course, the totalitarianism of the Soviet Ukraine ranked it with thehighly developed European countries — Russia, Germany and Italy. If theGerman sculptors who supported the fascist ideology were copying the principles590