Serhij Vasylʹkivsʹkyj: = Serhiy Vasylkivsky
Сергій Васильківський
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Ukrainian |
| Veröffentlicht: |
Kyïv
"Mystectvo"
2016
|
| Schlagworte: | |
| Online-Zugang: | Abstract |
| Beschreibung: | 207 Seiten |
| ISBN: | 9789665772361 |
Internformat
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Datensatz im Suchindex
| _version_ | 1824508922390642688 |
|---|---|
| adam_text |
C. I. BaCM/lbKiBCbKHpi.
0oto. 1890-ripp.
S. Vasylkivsky.
Photo. 1890s
Serhii Vasylkivsky Is one of the artists who formed the principles of Ukrainian landscape school which was actively
developing in the last quarter of the 19th century. The list also included V. Orlosvkyi, S. Svitoslavskyi, P. Levchenko,
I. Pokhytonov, M. Tkachenko, M. Berkos, K, Kostandi. For these people, the notion of Motherland was always accom-
panied by the idea of national originality. The everyday manifestations of ordinary life have become the embodiment of
beauty for them. They brilliantly introduced open-air painting concepts which were relevant for that period of time, thus
opening the way to sunlight and bright colors. Each of them discovered a personal path and their own painting priorities.
In general, they created art that contained an organic combination of national traditions and European painting achieve-
ments.
The artist was born on October 7 (19), 1854, at Sloboda Ukraine in the town of Izum, in a family of a minor
clerk. A great role in the formation of his artistic talent was played by Dmytro Bezperchyi, a painting teacher in the Second
Kharkiv Gymnasium where S. Vasylkivsky studied (1864-1872). Elis mentors at the Peterburg Academy of Arts (1876-1885)
were outstanding landscape artists Mykhailo Klodt and Volodymyr Orlovskyi who, despite the esthetic principles of academic
art, taught their students to paint life truly, without "any conditionalities and theories”. The young artist, awarded with the Great
Gold Medal for his work 'Along the Donets River (1885), received the right to a financed trip to Europe. Fie traveled there in
1886 with Mykola Samokysh, his fellow countryman and friend from the Academy of Arts.
203
In Europe, the matter of open-air painting which was relevant for S. Vasylkivsky took shape in painting her-
itage of French Barbizon school artists who were the closest to him in terms of their perception and reproduction of
the world. S. Vasylkivsky got assistance in his aspirations to master open-air painting techniques from Ivan
Pokhytonov, a Ukrainian by origin, self-taught artist and acknowledged landscape painter in the artistic circles of
France. Working with him side by side in the open, the young artist studied painting principles of his new friend which
were as technical and graphically impeccable as those of Barbizon artists.
While in Europe, S. Vasylkivsky traveled a lot. Together with I. Pokhytonov, he visited north and south re-
gions of France, London, Spain, even reached North Africa and traveled to Italia. His artistic language changed
a lot, his coloring technique became more complex and manifested desire to achieve exquisite elegance of brush
stroke. He did not become Pokhytonov's follower although he did borrow a lot of things from him, in particular, his
fondness of miniature forms and small size of his works, reverential treatment of the painting technique with its
characteristic ways of painting on densely primed wooden plates as their smooth surface enables truly accurate
and masterful finishing.
S. Vasylkivsky also did not become the Barbizon school follower although he made lots and lots of copies
of their works, giving his major attention to “soft” Charles-François Daubigny and highlighting his works among this
“countryside bohemia”. The Ukrainian artist knew how to perceive artistic traditions in a creative way and use them
as his base along with his own vision of the world and his feelings. That’s why the principles of academic mastering
of forms and life realism of the Itinerants who also influenced his art, and the romantic and poetic perception
of the world have found their way into his artistic style colored with his bright individuality, and merged organically.
An important role in the formation of S. Vasylkivsky’s creative personality was also played by the fact that he was
born in the Ukrainian Sloboda region, a singing land where wide steppes inspired people with their fresh air, culti-
vating the feeling of freedom and waking memories of the Cossack times still immersed in romanticism.
S. Vasylkivsky’s talent was revealed in its full force in Ukraine. He returned to his native lands in 1888 two
years early to finish his allowance term, and resided in his parents’ small house in the quiet Katerynynska Street in
Kharkiv till his death. He returned to immortalize the landscapes he had known since his childhood days - the town
suburbs, the Donets River, the Dnieper water meadows, steppes and villages of Ukraine - the perfect nature that
contained concentrated beauty and power of the world.
The two decades of creative work granted to him by destiny were marked not only by shifts in the social, po-
litical and scientific spheres that changed conceptions of the world but also rapid cultural processes that made artists
look for new forms to recreate it, which also manifested themselves in the landscape genre. Serhii Vasylkivsky was
not a reformer but he also was no traditionalist - perhaps, only in acknowledging the life model he painted as a per-
manent and unchanging value. He constantly elaborated and improved his formula of delivering nature based on
the organic combination of such principalities as space, light and color, expanding the range of its flowing and graphic
elements.
Serhii Vasylkivsky was a "universal” artist who worked successfully both with small-scale lyrical landscapes
and epic painting where he depicted synthesized image of the land. The most important element of his painting
poems about the nature was the sky. Modernists call S. Vasylkivsky “the sky master” by right. Among the Ukrainian
landscape painters, he is the only one who could recreate and paint the heavenly sphere so that it looks like it is
painted with air and not paints. His sky is always diverse - high, blue, clear and transpired, covered with light white
lacy clouds, hot, cold, heavy, lead-black that will rain down any minute.
The nature in its variety of manifestations was an objective value for the artist that lay in its inexhaustible es-
thetical possibilities. He longed to comprehend and learn both the primordial laws of its existence and the deep
meaning that transforms and enriches a human being spiritually. His works are always a match of his feelings of the
moment and the state of nature. Even the sorrowful motifs of his works sound like the elegiac and light melody of
204
peace and not a sad note. His landscapes are a revelation in which S. Vasylkivsky speaks of his admiration for
the world. For him, beauty Is embodied in the harmony he sees in the nature, the harmony of the Image and means
of its recreation - composition, form and color.
Serhii Vasylkivsky is the product of his era, with its enhanced feeling of national ideas. At the turning point
of centuries, it influenced rebirth of many cultures, including Ukrainian. His art mirrored the best features of a hu-
manitarian artist and patriot who truly loved Ukraine and its people, admired the glorious historical past of his
country. This is why the artist's works combine the nature and domestic and historical genres so beautifully.
Everyday life scenes of peasants are introduced organically in the landscape space, enhancing the feeling
of national importance of the artist's landscapes. The combination of these two genres was characteristic for the art
of the turn of centuries. Peasantry was deemed “the salt” of the Ukrainian land by the intellectual social groups of
that time, as someone who could preserve national traditions and historical heritage. Serhii Vasylkivsky traveled
across villages of Kharkiv, Poltava and Kyiv regions, collecting ethnographic materials, painting countryside yards
with white clay houses with straw roofs that depict not only the nature of their owners but the spirit of the nation itself.
His countryside landscapes are full of life optimism and the feeling for natural beauty - the qualities characteristic of
the Ukrainian people. The artist studied and collected ornaments which decorated houses, clothes, domestic every-
day things; he was the quintessence of people’s perceptions of the world in their shapes. Together with M. Samokysh,
he prepared the album “Ukrainian Ornament Patterns” (1912), and they published it in Leipzig with their own costs.
The acute feeling of national identity characteristic of thattime pushed the development of historical themes
in literature, music, science, and painting art even further. For S. Vasylkivsky, history was the memory engraved not
only in human thoughts but in the land itself. The landscape artist believed the heroic past was, first of all, manifested
in the images of nature. This is how his “Cossack Meadow” (1893) painting was born, the most famous work of
the artist that combined the lyrical and the epic, the everyday life and the historical heritage. The same topic
is depicted in “Chumaks’ RomodanivWay” (the 1900-ies) that shows the road of ancestors that the people associate
with the string of carts loaded with salt in their memory. The interpretation of the national history is related to
the image content of folk songs and ballads which the artist knew very well, recorded and listened to numerous
times, performed by Kobzars.
S. Vasylkivsky's admiration of the past was implemented in the creation of the album “From the Ukrainian
Old Times” (1900) which he illustrated with M. Samokysh (who designed and painted vignettes), while the text was
written by historian D. Yavornytsky. This edition was a true phenomenon in the cultural life of Ukraine; another mean-
ingful event was the erection of the Poltava County Council house (1903-1906) based on the project by
V. Krychevskyi, which was highly supported by S. Vasylkivsky at the tender. This was “the first Ukrainian-styled house”
that integrated modeling and pliant achievements of the modern style along with the traditions of folk architecture.
For the meeting chamber of the building, the artist created three large pictures - “Cossack Holota”, “The Chumaks’
RomodanivWay” and “Election of Colonel Martyn Pushkar”. Being the “master of small forms”, the artist failed
to embrace and feel the complete essence of combining architectural forms and paintings (5 x 10 m) which existed
in the imaging and pliant stylistics of the modern principles. Nevertheless, the works of S. Vasylkivsky for the Poltava
County Council became a new flow both in his own art that was reflected in the search for monumental forms, and
in the Ukrainian art, demonstrating one of the first steps in mastering the synthesis of painting and architecture
in a secular building.
Participating actively in the artistic and social life of not only Kharkiv but also all of Ukraine, S. Vasylkivsky
chose to stay alone in his personal art. He did not participate in academic exhibitions (since 1894), he did not join
the Itinerants movement although his works conformed with the esthetic basis of their art. The only artistic association
where the artist exhibited his works for many years was the Russian Watercolor Painters Association (1892-1916).
He created skillful works using light watercolors and drawing on their pictorial resources.
205
Being a painfully honest and steadfast person when It came to his beliefs, S. Vasylklvsky stood by his artistic
Ideals till the very end. His fellow artists P, Levchenko, M. Berkos and M. Tkachenko who represented the Kharkiv
painting school made a bold step Into the 20th century with the new understanding of open-air painting and means
of Its recreation. Serhil Vasylkivsky remained an artist of the 19th century in the context of his pictorial and form-
creating directions. The artist combined two personalities that lived in harmony: a realistic artist who longed to preserve
the form of life models he depicted and the romantic artist with his poetic spirituality in the perception of nature.
Serhil Vasylkivsky died on September 24 (October 8) of 1917. He left his house to the City of Kharkiv and
bequeathed 1,348 his works and a great amount of money to the museum of the Ukrainian Sloboda which had been
his dream and took a lot of his efforts to create. In total, the artistic heritage of the artist contains over 3,500 works of
art. His last work that he painted jointly with M. Samokysh "The Elegy ofThree Brothers" has become a symbolic and
almost Biblical testament of the already gravely III artist to his descendants - never betray, be noble and loyal to each
other.
The art of Serhii Vasylkivsky raised the Ukrainian landscape painting to a high new level by enriching it with
new motifs and painting techniques. His artistic quests, going through the prism of the high spirits of realism
and romanticism, were related to the Innovative trends and esthetic ideals of the era He was among those who stood
by the basics of the national Idea revealing Its deep meaningfulness in landscapes, historical scenes and everyday
life motifs. For him, the past and the present were the basis to manifest his belief in the inexhaustible potentials of
Ukraine and its people.
206 |
| any_adam_object | 1 |
| author | Žbankova, Olʹha Borysivna 1943-2021 |
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| bvnumber | BV044005785 |
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| spelling | 880-01 Vasylʹkivsʹkyj, Serhij Ivanovyč 1854-1917 (DE-588)136239870 art 880-03 Serhij Vasylʹkivsʹkyj = Serhiy Vasylkivsky tekst, uporjadkuvannja illjustratyvnoho materialu, tekstivky, rezjume ukraïnsʹkoju movoju Olʹhy Žbankovoï Serhiy Vasylkivsky 880-04 Kyïv "Mystectvo" 2016 207 Seiten txt rdacontent sti rdacontent n rdamedia nc rdacarrier Text ukrainisch, Bildunterschriften auch englisch. - Zusammenfassung in englischer Sprache Kyrillisch Vasylʹkivsʹkyj, Serhij Ivanovyč 1854-1917 (DE-588)136239870 gnd rswk-swf (DE-588)4145395-5 Bildband gnd-content Vasylʹkivsʹkyj, Serhij Ivanovyč 1854-1917 (DE-588)136239870 p DE-604 880-02 Žbankova, Olʹha Borysivna 1943-2021 (DE-588)1015942547 aut Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029413595&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract 100-01/(N Васильківський, Сергій Іванович art 700-02/(N Жбанкова, Ольга Борисівна aut 245-03/(N Сергій Васильківський текст, упорядкування іллюстративного матеріалу, текстівки, резюме українською мовою Ольги Жбанкової 264-04/(N Київ "Мистецтво" 2016 |
| spellingShingle | Žbankova, Olʹha Borysivna 1943-2021 Serhij Vasylʹkivsʹkyj = Serhiy Vasylkivsky Vasylʹkivsʹkyj, Serhij Ivanovyč 1854-1917 (DE-588)136239870 gnd |
| subject_GND | (DE-588)136239870 (DE-588)4145395-5 |
| title | Serhij Vasylʹkivsʹkyj = Serhiy Vasylkivsky |
| title_alt | Serhiy Vasylkivsky |
| title_auth | Serhij Vasylʹkivsʹkyj = Serhiy Vasylkivsky |
| title_exact_search | Serhij Vasylʹkivsʹkyj = Serhiy Vasylkivsky |
| title_full | Serhij Vasylʹkivsʹkyj = Serhiy Vasylkivsky tekst, uporjadkuvannja illjustratyvnoho materialu, tekstivky, rezjume ukraïnsʹkoju movoju Olʹhy Žbankovoï |
| title_fullStr | Serhij Vasylʹkivsʹkyj = Serhiy Vasylkivsky tekst, uporjadkuvannja illjustratyvnoho materialu, tekstivky, rezjume ukraïnsʹkoju movoju Olʹhy Žbankovoï |
| title_full_unstemmed | Serhij Vasylʹkivsʹkyj = Serhiy Vasylkivsky tekst, uporjadkuvannja illjustratyvnoho materialu, tekstivky, rezjume ukraïnsʹkoju movoju Olʹhy Žbankovoï |
| title_short | Serhij Vasylʹkivsʹkyj |
| title_sort | serhij vasylʹkivsʹkyj serhiy vasylkivsky |
| title_sub | = Serhiy Vasylkivsky |
| topic | Vasylʹkivsʹkyj, Serhij Ivanovyč 1854-1917 (DE-588)136239870 gnd |
| topic_facet | Vasylʹkivsʹkyj, Serhij Ivanovyč 1854-1917 Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029413595&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT vasylʹkivsʹkyjserhijivanovyc serhijvasylʹkivsʹkyjserhiyvasylkivsky AT zbankovaolʹhaborysivna serhijvasylʹkivsʹkyjserhiyvasylkivsky AT vasylʹkivsʹkyjserhijivanovyc serhiyvasylkivsky AT zbankovaolʹhaborysivna serhiyvasylkivsky |