Повний текст - Інститут проблем сучасного мистецтва

Olexiy RogotchenkoThe totalitarian model of the art culture in Ukraine in 1930–1950 was completedby the synthesis of arts. The architecture stood on the racks of the socialistrealism and united sculpture and monumental painting in itself. The issue of thesynthesis took on political significance in Ukraine, as well as in the Soviet Unionin general. The project of the super-colossal Palace of Councils in Moscowbecame an architectural beacon and an example of the desirable synthesis. Thecomparison of the architectural and sculptural figures, painting works of theUkrainian art with the tendencies spread in other totalitarian systems of thatperiod reveals some similarity. Thus, characters of a strong and healthy man inthe works of Ukrainian painters Yu. Bershadsky, I. Muchnyk, S. Hryhoryeva,F. Klychko and others had typological likeness with the images of German paintersA. Kampf, S. Hiltz and Spanish R. Son-Scuv. At the same time, there is somedifference — German masters (painters I. Salinger, E. Zobberbir, sculptorsA. Breker, J. Thorak, J. Wackerle) depicted bared male and female bodies showingtheir works at the popular exhibitions. The Ukrainian art was prohibited topaint the bared figures, except for the students’ works (F. Klychko, F. Samusev,K. Shurupov). The principles of the antique art were not in favor at all.During 1930–1950 notwithstanding the fear that arose in the central andeastern parts of Ukraine with intensification of the totalitarian regime, theUkrainian art intellectuals tried to response with resistance to the obligation toadhere to the principles of the socialist realism. The most persuasive example wasthe activity of Boychuk’s school suppressed with repressions in 1937. However,the resistance still went on this or that way, especially in the genres that were infar distance from the politics (for example, landscape, and easel and book graphicsto some extent). The Soviet Ukrainian art of 1930–1950 still gave rise to manytalented and highly professional masterpieces even within the boundaries imposedby the socialist realism that degraded the creative personality and art quality.The theater life got some new interpretation in the given research. The providedexamples from the theater history of the thirties proved the European componentsof the Ukrainian art process; the war years of the forties represent theUkrainian theater as the source of the national self-identity and an advocate of thenational culture; the fifties were the years of struggle with the economic andpolitical crisis of the system — they marked the start of the new culture giving birthto the brilliant masterpieces of the theater art. The research explains a number ofunknown or suppressed facts from the history of the Ukrainian theater culture.604