Повний текст - Інститут проблем сучасного мистецтва

The distinctive features of the fine arts in the Soviet Ukraineof the statue plastic of Polycletus and Praksiteles and the technique ofMichelangelo, Rodin and Hildebrandt, the Ukrainian masters under the Partyguidelines had to find their style that was typical for that period and to become apart of the Soviet ideological doctrine. A sculptor should support the myth aboutthe extraordinary significance of the Party policy, demonstrate his full agreementwith it and confirm the non-competence of the art. It was strange thatirrespective of the ideological grips the general level of the sculpture school ofthe Soviet Ukraine in 1930–1950 improved and strengthened in the skills gainingthe experience of the Aesop language.With the beginning of the thirties the Ukrainian painting, as other plasticarts, was at the verge when all non-realistic achievements and gains were ratherdangerous for creators. Before that time the Ukrainian culture, as a branch of theEuropean art chain, was under the same impact which was common in othercountries. This similarity was supported by the relations with the exhibitionactivity of France, Germany, Austria, Romania, Czech Republic, Poland as wellas the painters’ visits (mainly those from the Western Ukraine) to Canada and theUSA. The Ukrainian painters of the mentioned period used to achieve the worldsuccess. A strong body, sound mind and iron will of the nation became the directivestandard of the new art. The allegoric meaning of N. Ostrovsky’s «How theSteel Was Tempered» (1932–1934) was an upbringing method for Bolsheviks. Thephrases «the iron will of the leader and the party», «the iron unity of Bolsheviks»,«iron pilots and tankmen», «iron wings» were the logical continuation of depictionof a strong man and his leader. The leaders of the totalitarian countries, infact, supported the idea of a superman while depicting a leader and his actions.The Hitler’s ideals were «bodies of soldiers as strong as steel». However, theUkrainian painting phenomenon lied in the fact that under existing conditions ofthe forced choice and fear of imprisonment the creation of most painters did notfall into decay, but on the contrary, improved in its professionalism. The triumphof the socialist realism method did not come at once as it may seem now. It shouldbe remembered that Ukraine, though being a Soviet republic, remained theEuropean country and its art was advancing in the European context. The socialorders used to reign in painting, that is, there were desirable and undesirablethemes. Depiction of a strong and sound man was among the favorites. FedirKrychevsky seems to have become the most typical here — in 1926 he painted«Self-Portrait in the White Sheepskin» where he depicted himself as a mythic591