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«Severe and Stylish. Art of the long sixties.»
13.03.2020 - 22.05.2020
Severe and Stylish.
Art of the long sixties.
This exhibition is a logical continuation of the 'Exhumation' project, which introduced the Odesa Fine Arts Museum visitors to the Socialist-Realist art collection.

'Exhumation' concluded with a departure from social realism in the form of the 'Art of the Thaw' (from the time of Krushchev), which provided an escape from the ideological and aesthetic dogmas of Stalin's grand style, replacing them with so-called 'small themes.' Rehabilitation of the ordinary, de-romanticizing of heroic characters ceased to be the bearers, in microcosm, collective heroism, and was instead depicted through personal experiences. The intermediate condition of this 'Soviet Biedermeier' style contrasted the austerity of the 'builder of the ideal world' with the human right to personal happiness, which in Stalin's time had been considered 'bourgeois.'
The artistic style evolved from the dogmatic, post-Itinerant realism of 'depicting life in the forms of life itself' towards 'lyrical impressionism,' emphasizing coloristic sophistication and the picturesque supremacy. The Art of the Thaw was a transitional episode from socialist realism to the 'Severe style,' aptly named by Oleksandr Kamenskyi, who defined the Soviet art of the 1960s.
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Social realism was officially declared to be realizable 'not by style but by the method.' It emancipated the artistic language of a whole generation of artists. Creating the opportunity for formal innovations and allowing a return to modernism's abandoned traditions and the avant-garde.

In these modern times, artists are no longer looking to depict already-achieved prosperity, but rather the process of accomplishing, requiring participation, silent perseverance, and achievement, from their contemporaries, and the artists themselves — direct and truthful expression. Strict romanticism becomes the mantra of the Sixties generation. Artists preferred conciseness and concentration, rather than the traditional ideal of sophistication in artistic works. Moreover, they worked with compositions that unfold outward towards the viewer; the impressiveness of large, generalized forms in the foreground, graphic silhouettes' expressiveness, and broad planes of color. Artists turn to model volume in color, employing thick masses of paint, the Cezanne-style techniques of the pre-revolutionary avant-garde, and monumental art techniques. An idealized, 'futurological' artistic reality is replaced by exacting judgments about the existence of today.
«Ранній — героїчний — "суворий стиль" принципово протиставляється світові щасливої безтурботності, сили та краси як системі свідомої цілеспрямованої "брехні", який створило сталінське мистецтво (і завершило його мистецтвом "відлиги"). Тому першим з'являється саме культ "суворої" — тобто позбавленої будь-яких ілюзій, безкомпромісної та нещадної — "правди" про людину, історію та навіть природу (пустельна та похмура природа "суворого стилю" не має нічого спільного із сонячною ідилією середини 50-х). Жодних чудес — тільки робота».

Олексій Бобриков
Gradually, the 'plot' action, which hitherto determined the meaning and revealed the hero's character, is replaced by an 'eventless' composition principle. The form of the picture is governed by the situation of the characters in their environment. Painting tends to static and plastic integrity of the state. The narrative pictorial course changes, and the dominant role is taken by the historical atmosphere, the era's emotional tone. This new movement is presented in the exhibition by late works of the founders of the 'Severe style': Viktor Ivanov, Petro Ossovskyi, Mykola Andronov, and their near, but independent, colleagues, Andriy Mylnikov, Dmytro Zhilinskyi, Anatoliy Nikych.
In addition to the futuristic enthusiasm of exploring virgin lands and outer space and the revolutionary heroics of the series of anniversary dates of the Soviet calendar, the Sixties also show renewed interest in national artistic traditions. Ukrainian masters turn to the pictorial practices of the inter-war wave of national revival, drawing inspiration from folk art, and it is here that a taste for primitives develops. This Ukrainian' severe style' is represented at the exhibition by Tetiana Yablonska's canvases with her folklore motifs. In the canvas of Mykhailo Antonchyk, 'My Teachers,' which declare the continuity of the experience of the Ukrainian avant-garde.
Most of the names represented in the exhibition are masters of the Odesa school of painting. Unlike the Moscow or Kyiv' Severe' artists, who could be said to be 'artists without Paradise,' Odesa artists sought and found their Paradise in the impressions of childhood. In the revivified emotions of post-war youth, in smear and color, and most importantly — in the eye-dazzling, iridescent reflections of the sea. Odesa artists rethought the South Russian school's colorful heritage and rediscovered the forgotten Odesa' Independents'. We can see this most strikingly in the works presented in the exhibition by Oleksandr Atsmanchuk, Yuriy Egorov, Viacheslav Tokarev, Volodymyr Vlasov, Oleksii Popov, and Mykhailo Todorov, as well as their immediate successors, Svyatoslav Bozhyi, Orest Sleshinsky, and Adolf Loza.
Виставка простежує розвиток «суворого стилю» — від 1956 року, моменту розвінчання культу особистості Сталіна, до середини 70-х, застійного брежнєвського часу. У 70-х роках вже немає спільного радянського українського мистецтва — існує багато його окремих випадків. І нонконформізм, що виник у ці роки, — це або вихід із «суворого стилю», або його наслідок.

Художні пошуки одеських «суворих та стильних» стали відправною точкою і дали поштовх художникам наступного покоління, у тому числі майбутнім нонконформістам. Тому на цій виставці ми вирішили також показати ранні роботи Людмили Ястреб, Віктора Маринюка, Валерія Басанца, Володимира Стрельникова, Валентина Хруща, Мойсея Черешні, Люсьєна Дульфана, Юрія Коваленка.

Ці художники згодом відкрили нову сторінку одеського мистецтва. Ось чому перш ніж говорити про сучасність, ми маємо показати, що буквально стояло перед цією сучасністю.
The exhibition is organized with the support of the Mayor of Odesa Hennadii Trukhanov
На виставці експонуються роботи із зібрання Одеського художнього музею, коллекцій Музею сучасного мистецтва Одеси та Одеського художнього коледжа ім. М.Б. Грекова, а також з колекцій родин Верник, Виродових-Вільштейн, Михайлових-Божій, Музальових, Шевчуків, Щербини і колекцій Валерія Басанця, Анатолія Ганкевича, Віктора Маринюка, Олександра Ройтбурда, Олександра Шевчука.
Preview of the exhibition
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