Solovei O. Mykola Storozhenko’s Creative Universalism in the Art of Ukraine of Second Half of ХХ Century and at the Beginning of ХХI.

The work is devoted to the study of artistic and educational heritage of Mykola Storozhenko. The scientific novelty lies in determining the evolution of the artist’s signature style in the social and cultural context of 1950–2015 on the basis of thorough art analysis of paintings, graphic art and monumental works, as well as in the systematization of his educational and methodological heritage. The formation of M. Storozhenko’s creative principles was considered, the influence of education at OSAC and KSAU, as well as the social and cultural processes of 1945–1956 on his formation and development was determined. The viewing and genre features of the artist’s work have been studied, and the formal and plastic principles of the 1960s and early 1970s have been identified that have manifested in experimental searches within the framework of European modernism. The tendencies to allegorical and baroque interpretation of the topic in the beginning of 2000–2004 were traced. The analysis of the series “Amazon” and “Orpheus” allowed to outline the experimental field of plastic visions of the artist in solving ancient themes. The changes in the artistic imagery of M. Storozhenko in 2005–2013 were determined on the basis of analysis of the polyptych named “Anticipation of Golgotha”. It was found that the artist accumulated different stylistic trends, synthesizing them into unique author’s signature style. The artistic and plastic features of M. Storozhenko’s book graphic art of 1958-2004 were considered. The analysis of illustrative series of 1970–1979 testified to the transition from narrative to conventional plastic solutions and geometric abstraction, which represented the modernist search and witnessed a radical change in the paradigm of the artist’s imagery. The development of M. Storozhenko’s plastic concept in monumental art forms and the specifics of his technological developments were studied. Based on the art analysis of mosaic panels “Kyiv-Mohyla Academy of the 17th–18th centuries” and “Lviv Stavropegial Brotherhood of the 16th–17th centuries”, the direction of the artist’s search for the period 1968–1971 was determined, which consisted in the sphere of figurative and plastic transformation of the plane as a synthesis of different kinds of arts. Formalistic, compositional and technical innovations of the master of 1977–1981 was determined on the basis of the analysis of the “Illuminated by light” encaustic painting. The artist experimented with the means of conveying space and perspective, developed own author’s version of the technique of hot encaustic painting. The analysis of the panel “Scythian Ukraine - Steppe Greece” showed the changes in formalistic and figurative system of the artist in 1987–1991, revealed the principles of synthesis of the form and antiform in the implementation of historical vision of Ukraine. The development of the concept of Neo-Baroque by M. Storozhenko in 1997–1999 was traced and on the basis of the analysis of painting “Holy Trinity with four archangels”, the synthesis of Baroque and Byzantine traditions was revealed. The public activity of the artist was considered and his theoretical work was characterized. The educational activity of the artist was investigated. Based on the program of M. Storozhenko’s painting and temple culture workshop at the National Academy of Fine Arts and Architecture, it was determined that his educational system includes principles of academic tradition, analytical rethinking of European and domestic modernism, Ukrainian iconic painting, Medieval and Baroque art. Directing the development of worldviews and artistic potential of the students, the artist aimed to help them to form their own unique style. In the thesis, it was proved that the universalism of M. Storozhenko’s work positions him as a significant phenomenon in the national art space of the middle of the XX – beginning of the XXI century.