Пейзажі Анатолія Петрицького 1920–1930-х років в контексті розвитку міських мотивів у вітчизняному живописі

Abstract

У статті проаналізовано пейзажну творчість А. Г. Петрицького 1920–1930-х років. Виявлені особливості еволюції пейзажного живопису художника на основі збережених досьогодні творів. Окреслено особливості впливів різних мистецьких течій на пейзажну модель майстра і взаємозв’язок міських краєвидів Петрицького й театральної декорації. Досліджено основні мотиви у пейзажі художника та різновиди краєвидів митця у межах усталеної в мистецтвознавстві типології.

В статье проанализировано пейзажное творчество А. Г. Петрицкого 1920–1930-х годов. Определены особенности эволюции пейзажной живописи Петрицкого на основе сохраненных до сегоднешнего времени произведений. Очерчиваются особенности влияний разных течений искусства на пейзажную модель мастера и взаимосвязь городских пейзажей Петрицкого и театральной декорации. Исследуются основные мотивы пейзажей художника и разновидности пейзажей творца в рамках устоявшейся в искусствоведении типологии.

The article is dedicated to Anatol Petrytsky’s landscapes of 1920–1930’s. This genre was not dominant in the works of the artist. Moreover, many samples have not reached our time. This publication sheds the light on the features of the evolution of landscape painting according to the artist’s stored samples. The particular qualities of influences of the different artistic trends on the master’s landscape model and the relationship between Petrytsky’s urban landscapes and theatrical scenery are shown. The basic motifs in artist’s landscape, and landscape types within the established in art criticism typology. The interest to the easel paintings, particularly to landscape painting, goes through the entire master’s creative life. Despite his busy life in the theater, Petrytsky in Kharkiv’s and the first Kyiv’s period (1920–1930) gave dominant attention to his painting, working on landscapes, portraits and still lifes for several hours a day. A painter determined easel art as a foundation for theatrical decoration. Particular attention to the easel art forms can be traced from the time of Petrytsky’s studing in art school, because then works of Oleksandr Murashko and Fedor Krichevskyi greatly influenced on the formation of the young artist. In the future, in the Moscow period, he continued his studies of easel painting in the Drevina-Udaltsov’s studio of the VHUTEMAS, notwithstanding the total domination in the art of that time the monumental and decorative forms, that had more functional value and were identified as priority by the state policy, while the value of easel painting was downplayed. Lyrics, appeal to the panoramic image, depiction of the unassuming corners of the urban environment are the major trends, which characterized the Petrytsky’s landscapes of 1920–1930’s. In some works decorativism and flatness, crossing with the language of the theatrical decorative art are traceable. Some theatrical scenery Petrytsky in form and theme continued improvements landscape painting of artist. The artist in his creative landscape turned to rethinking of impressionism and post-impressionism tendentions, to avant-garde practices; local color, convention of images and range of landscapes motives it is an appeal to the European artists, such as Deren and Utrillo. Landscapes of A. Petrytsky stand apart from other Ukrainian artworks, because on the one hand, the artist is interested in urban motifs, on the other hand, artist does not glorify urban achievements and development of the industry in his works, but, unlike ideological followers of realistic painting, whose views are mostly rustic, Petrytsky resorts to the depiction of the environs and cluttered backyard, sometimes to the rural landscape, that are filled in his work with special dreamy colors, but even there author depicted altered states of nature, as the storm sky, the sunset (“From the work” (1938), “Morning Watering-place” (1935), which bring the master to the romantic tradition. The artist in his landscapes is the continuator of this line, but sometimes his landscapes (including “Evening Kharkiv” (1934–1935), “Kharkiv’s Corner” (1925), despite the chosen simple motif, are romanticized in their mood.