The dissertation presents a comprehensive art historical study of the evolution of watercolor as an independent form of easel painting in the artistic process of Ukraine. It identifies the patterns of formation of Ukrainian watercolor stylistic traditions, analyzes their transformation throughout the twentieth century, and examines innovative practices of the early twenty-first century in the context of globalization and digitalization.
The relevance of the research is determined by the need to systematize historical and artistic materials on the development of watercolor painting in Ukraine, reconsider its role as an autonomous artistic medium, and investigate the integration of Ukrainian watercolor artists into the international art scene. Although numerous studies address individual artists and specific periods, no comprehensive research covering the twentieth and early twenty-first centuries from the perspective of stylistic traditions and contemporary artistic practices has previously been conducted.
The aim of the dissertation is to provide a comprehensive analysis of the development of watercolor painting in Ukrainian fine art during the twentieth and early twenty-first centuries, identify its stylistic transformations, and determine its place in the contemporary artistic process. The object of the study is Ukrainian watercolor painting of the specified period, while the subject comprises its stylistic traditions, artistic and plastic features, and contemporary artistic practices.
The first chapter substantiates the theoretical and methodological framework of the research and reviews Ukrainian and international scholarship on the history of watercolor, individual artists, regional schools, and exhibition activities. The source base, including exhibition catalogues, periodicals, art albums, and electronic resources, is systematized. The study clarifies the concepts of “watercolor painting,” “stylistic tradition,” “artistic practice,” and “individual manner,” and applies art historical, formal-stylistic, iconographic, comparative, cultural, and systemic methods.
The second chapter examines the development of Ukrainian watercolor painting in the twentieth century. It analyzes the formation of a professional watercolor school within academic art education and its interaction with folk decorative traditions. The synthesis of academic drawing, expressive color, and ornamental principles is identified as the foundation of the national stylistic tradition. The chapter also explores watercolor under Soviet ideological control, its role within Socialist Realism, and the innovative approaches of the Sixtiers and representatives of unofficial art, who expanded the expressive possibilities of the medium. Particular attention is paid to the pluralism of artistic strategies during the period of Ukraine’s independence, including the growing individualization of style, the development of plein air painting, thematic compositions, and abstract and metaphorical imagery.
The third chapter focuses on the contemporary stage of Ukrainian watercolor. It investigates the expansion of technical possibilities through mixed media, large-scale formats, experiments with paper texture, and original artistic techniques. The integration of Ukrainian artists into the international art community through exhibitions, symposia, biennials, and professional associations is analyzed. The influence of digital technologies is also examined, including the combination of traditional watercolor with digital media and the use of online galleries, social networks, and virtual exhibitions as new forms of artistic presentation and communication.
The conclusions demonstrate that Ukrainian watercolor painting evolved from an auxiliary technique into an independent and conceptually significant art form. The continuity of stylistic traditions and their adaptation to contemporary socio-cultural conditions are established. Contemporary artistic practices have expanded the expressive potential of watercolor and strengthened its integration into the global artistic and digital cultural space.
The scientific novelty of the research lies in the systematic analysis of the evolution of Ukrainian watercolor, the clarification of its periodization, and the determination of its place within contemporary Ukrainian fine art. The practical significance of the results consists in their application in art education, scholarly publications, exhibition catalogues, and artistic projects.
