Творчість прикарпатського художника-графіка Остапа Гнатюка: синтез традицій та інновацій

Abstract

У статті розглянуто творчість івано-франківського графіка Остапа Гнатюка. Визначено основні чинники, що зумовили сюжетно-тематичну спрямованість, художньо-композиційну характеристику робіт художника та їх зв’язок з народним мистецтвом. Акцентовано увагу на аналізі графічних робіт митця 1960−1970-х років як періоду активних пошуків самовираження та ідентифікації.

В статье рассмотрено творчество ивано-франковского графика Остапа Гнатюка. Определено основные факторы, обусловившие сюжетно-тематическую направленность, художественно-композиционную характеристику работ художника и их связь с народным искусством. Акцентировано внимание на анализе графических работ художника 1960−1970-х годов как периода активных поисков самовыражения и идентификации.

The article deals with oeuvre of Ivano-Frankivsk graphic artist Ostap Gnatiuk. We define main factors that caused his plot and thematic focus with artistic and compositional characteristics and their connection with folk art. The periods of Ostap Gnatiuk’s work are singled out: the formation as the artist, the choice of own artistic method; the growth of skill and his recognition as a graphic artist, as a sculptor of monuments; the work during the period since Ukraine gained its independence. The attention is focused on the analysis of the artist’s graphic works of 1960–1970 years as a period of active self-expression and self-determination search. We reveal Ostap Gnatiuk works’ issues concerning the historical past of the Ukrainian people, the imaginative interpretation of folklore and ethnographic material, literary sources of his oeuvre. All the moral, psychological, social, ideological and aesthetic problems of human being that hide behind every plot element of Ostap Hnatiuk’s graphic sheets are defined. In his works the artist raised the important issue of creating an image of a contemporary. The influence of social and political processes upon the artist’s work is analyzed. Also, the peculiarities of his own technique – claymonotopy – are described, stylistic features of artist’s works are characterized. We analyze the influence of folklore, ethnographic, literary and scientific sources on the choice of imaginative, compositional and plastic means in his linocuts. Ostap Gnatiuk’s works belong to the dominant folk and decorative trends in graphics of 1960s in Western Ukraine, and, in particular, Ivano-Frankivsk region. He prefers folk and traditional settlement of images and the subordination of plastics to national art principles. In Ostap Gnatiuk’s oeuvre one can trace the tendency to generalize and decorate, to pastiche, to simplify as much as possible, to dominant with clear, concise composition solutions, to be dynamic and multilevel. We marked the ambiguous role of colour in artist’s linocut. The purpose of introducing the colour into a graphic work is strengthening the emotional stress without losing the significance of black and white. The connection of linocut with imaginative possibilities of traditional flat woodcarving is traced. Ostap Gnatyuk’s experience in decorative woodcarving became the basis of graphics plastic language and made the individual style of his graphic works more distinct. In creating of a typical contemporary’s image, an inhabitants of the Carpathians, the artist is primarily interested in highlanders’ atmosphere, aesthetics of their life and customs. Ostap Gnatiuk made a significant contribution to the art treasury of the Carpathians. We also specified the location of artist’s works and examined his exhibitions.