S. Kovbasiuk, PhD in History
Taras Shevchenko National University of Kyiv, Kyiv, Ukraine
DOI: https://doi.org/10.17721/1728-2640.2016.130.3.08
UKRAINIAN AVANT-GARDE IN THE EUROPEAN CONTEXT: BETWEEN ART AND IDEALOGY
This article looks at the Ukrainian avant-garde's ways of development in the European context. We focused mainly on the role of the political factor in the avant-garde artistic evolution. European sources of the Ukrainian avant-garde are revealed as well as the ideological basis and several features of formation and functioning of the two centres of art education in Germany and Ukraine (the "Bauhaus" school and the Kyiv Art Institute). We also analyse the main reasons of the persecution of avant-garde artists in the Nazi Germany and the totalitarian Soviet Union. As we have found out, the Ukrainian avant-garde as the Ukrainian Baroque style in the XVIIth century, was a vivid manifestation of a European civilization choice, which in 1930 was suppressed by the Soviet authorities. This kind of relationships' evolution between artists and authorities was also characteristic for the "Bauhaus" school as in times of the relative flexibility of the Soviet power and the "golden 20s" of the Weimar Republic avant-garde and politics were inseparable, complementing and supporting each other. When to replace the existing power structures came totalitarian regimes, avant-garde artists were persecuted or forced to emigrate. Their art was condemned as "a degenerate" as in the Nazi Germany, so in the Soviet Union. Instead of Cubism, Constructivism, Suprematism and Сubo-Futurism came totalitarian aesthetics – "social realism ", which for decades affirmed as the party approved, official art.
Key words: Ukrainian avant-garde, Bauhaus, Constructivism, Cubo-Futurism, Suprematism.
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