Olgа Кагреnkо wаs bогn on May 12, 1976, іn Dnіргореtгоvsk.
•1996 уеаг – graduated with honors from Dnіргореtгоvsk Агt Соllеgе named after Vuсhеtісh.
•1999 уеаг – mеmbег of Куіv Aгtists’ Unіоn (association of young painters and art critics).
•2002 уеаг – graduated from the Department of Easel Painting at the National Academy of Fine Art and Architecture (under professor Oleksandr Lopukhov).
•2005 уеаг – completed a graduate program at the Academy of Fine Art and Architecture (with Professor Lopukhov as her supervisor) and received her Master’s degree.
•2006 уеаг – senior lecturer of the State Academy for Senior Personnel in the Field of Culture and Arts (Institute of Design).
•2008 уеаг – member of Ukraine’s National Union of Artists.
2019 year - completed the full course of NATIONEL ACADEMY OF CULTURE AND ARTS field of study Fine Arts, Decorative Art, Restoration and obtained MASTER`S DEGREE with honour.
Supervisors: Supervisor
Phone: 0973514474
Address: Ukraine, Kyiv, Volodymyr Vynnychenko`s street
•1996 уеаг – graduated with honors from Dnіргореtгоvsk Агt Соllеgе named after Vuсhеtісh.
•1999 уеаг – mеmbег of Куіv Aгtists’ Unіоn (association of young painters and art critics).
•2002 уеаг – graduated from the Department of Easel Painting at the National Academy of Fine Art and Architecture (under professor Oleksandr Lopukhov).
•2005 уеаг – completed a graduate program at the Academy of Fine Art and Architecture (with Professor Lopukhov as her supervisor) and received her Master’s degree.
•2006 уеаг – senior lecturer of the State Academy for Senior Personnel in the Field of Culture and Arts (Institute of Design).
•2008 уеаг – member of Ukraine’s National Union of Artists.
2019 year - completed the full course of NATIONEL ACADEMY OF CULTURE AND ARTS field of study Fine Arts, Decorative Art, Restoration and obtained MASTER`S DEGREE with honour.
Supervisors: Supervisor
Phone: 0973514474
Address: Ukraine, Kyiv, Volodymyr Vynnychenko`s street
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Papers by Olga Karpenko
Malevich, O. Bogomazov, O. Exter) and conducts a comparative analysis with
the theories of composition in classicism and academicism. The subject of the
study is the theory of composition. The aim of the work is to identify the
common and distinctive features of theoretical concepts in academicism and
avant-garde. The study used a comparative method as well as a method of
extrapolation. As a result of the work, the main theoretical differences that
formed the basis of the artistic avant-garde were revealed. The results of the
study can be used in the course of lectures on composition theory, analysis of
artistic styles. Conclusions: artists of the avant-garde of the first third of the
20th year put forward theoretical concepts, which, on the one hand, were a
decisive break with traditional realistic (academic) art, on the other - inherited
the classical organization of the art plane.
Keywords: suprematism, pointless art, realism, mobileism, classicism,
theoretical concepts.
appears as an appeal to primitivism, a picture with known image of Cossack Mamay and
usage of pictures with horse as a symbol the Cossack luck and symbolical myth creature.
Also Davyd Burliuk creation activity is considered in the context of national-image component id the Ukrainian avant-garde.
Key words: avant-garde, archetype, cubofuturizm, expressionism, futurism, impressionism, intuition, neoprimitivism, mythology
art educational institutes; to find out the fundamental features that are worth to be inherited; to highlight the negative aspects of the system of tuition in Drawing and Painting and its methods. Methodology. The authors use the methods of watching and searching the peculiarities of the system of
teaching in a few Kyiv High Educational institutes. They also use comparting, system analysis and the
method of induction. Scientific novelty. The authors are the first who tried out the system comparative
analysis of the modern methods of tuition in such subjects as Drawing and Painting in Ukrainian Art
Educational Institutes. The authors distinguish the pluses and mines of the teaching and propose the
ways of their solutions. Conclusions. Having analysed the systems of tuition in the National Academy of Fine Art and Architecture, Kyiv National University of Technologies and Design, Boris Grinchenko Kyiv University, the National Academy of Managerial Staff of Culture and Arts, the authors
point out many positive aspects of teaching Drawing and Painting. They are opportunities to work
with a bared model, using the methods of the stylization and decoration of the model materials. The
authors pay their attention to the negative features of the tuition system such as the shortage of Theory
of Composition and Analysis of Art Styles in the institutes, a lack of time to study materials and get
the necessary skills and the dearth of connections between academic tasks and modern Art.
Keywords: painting elements, Drawing, Painting, composition, colour science, style, Avantgarde, Realism, tradition, intuition.
Analyzing the avant-garde art, researchers emphasize its revolutionary, dissimilarity with previous trends. The
article deals with the analysis of the peculiarities of teaching in Kiev's drawing school of Nicolas Murashko and the
methodological analysis of the teaching system in Anthony Azhbe and Shimon Kholloshy's school. These schools had an
affect on the worldview and skills of famous Ukrainian and Russian avant-garde artists.
The researchers of the avant-garde art O. Fedoruk and V. Markade distinguish two periods of the Ukranian
avant-garde. The first wave of avant-garde lasted from 1907 till 1914. During that period the Ukrainian artists adopted
artistic achievements of the European masters. The second one lasted from 1917 till 1934. It was characterized by a
consciousness and the national identity of Ukrainian avant-garde and the ideological provision on the top of its
development.
We begin our research from the analysis of the native art schools, which have influenced the education of future
pioneers of Ukrainian avant-garde. So touching upon the art situation in Kiev at the beginning of the twentieth century,
we have to underline the prominent role of Kiev's drawing school and its founder Nicolas Murashko. After the graduating
of the St. Petersburg Art Academy Nicolas Murashko got the idea of founding an art school in Kiev. There was not any
higher educational institutions that why many talented artists from Ukraine went to St. Petersburg to receive higher
education such as K. Trutovsky, L. Zhemchuzhnikov, A. Slastion, E. Agathon, M. Berkos, M. Fedorov, A. Murashko, S.
Vasilkovsky, M. Pimonenko, P. Levchenko, V. Orlovkuy etc. Some Ukrainian artists studied at the Moscow's Painting
School, Sculpture and Architecture, such as S. Svyatoslavskyy, F. Krichevsky, M. Zuk, A. Archipenko. The researcher L.
Savytska states that at the beginning of the twentieth century only three institutions study the artist. They were the Kiev's
art colledge, Lavra icon-painting School and School typography. Kiev Art School followed the traditions of Nicolas
Myrashko’s school. There were three main art instituions in Kharkov. They were Raevskaya M. Ivanova’s private drawing
school, E. Agafonov’s studio"Blue lily" ("Blue Lily") and A. Groth and E. Steinberg studio.
N. Murashko was an extremely thoughtful master and a talented teacher. He closely followed the modern artistic
life and analyzed the artistic tendencies in the sociaty. So he critisized the academic system of teaching for its idealism
and support the idea of the changable realist art.
The important feature of Murashko’ school studing was the development of the artistic imagination by drawing
on impressions or memories. Murashko borrowed it from Nikolai Kuznetsov, who was often abroad and brought out such
exercise from there. Murashko felt that the system of getting skills had to be changed. The popularity of realistic art, the
variability of the effects of light, color and impressionistic discoveries, changed the system of art learning. The cease
transformed into the real art. Later, Alexander Bogomazov who had learnt N. Murashko’s technique, called the
academism as the pernicious teaching method in his report at the National Congress of Artists in Kiev 1918.
A. Ashbe and S. Holloshy’s Munich school played the great role in forming Russian and Ukrainian avant-garde
because many native artists improved their professional skills in foreign art schools, studios, academies. Its system of
teaching had the innovations, which would be used by many brilliant artists of the twentieth century. Anthony Ashbe
taught the representatives of realistic school such as D. Kardovskyy, Russian impressionist I. Grabar and future
© Карпенко О. В., 2014
Мистецтвознавство
CEEOL copyright 2019
CEEOL copyright 2019
Вісник НАКККіМ № 4’2014 ISSN 2409-0506 (Online), ISSN 2226-3209 (Print))
135
abstractionist W. Kandinsky. Such wide variety of artistic trends tells us about his flexible system of teaching and his
perfect technique. The researches of A. Ashbe’s school, N. Molyeva and E. Belyutin said that the basis of A. Ashbe’s
creative method was the orientation on the transfering the most characteristic features of the model, finding the tools to
portray nature without imposing any canons that constrained the artist’s vision. ".
So, we can highlight some key points that distinguish N. Murashko, A. Ashbe and S. Holloshy’s schools from the
academic system, such as the attention on the study of the living model and the lack of stable canons. The last one
saves a student from the copying and helps to find their own way in art. A student has not to draw the reality, but to
describe his/her feelings. This new principle, entitled "Art of feeling" (Malevich’s term) is used by the Impressionists and
later avant-gardists.
Key words: avant-garde, academism, impressionism, manner, canon, a range of colours, plein air painting,
postmodernism, realistic art, socialistic realism, tendency, texture.
Malevich, O. Bogomazov, O. Exter) and conducts a comparative analysis with
the theories of composition in classicism and academicism. The subject of the
study is the theory of composition. The aim of the work is to identify the
common and distinctive features of theoretical concepts in academicism and
avant-garde. The study used a comparative method as well as a method of
extrapolation. As a result of the work, the main theoretical differences that
formed the basis of the artistic avant-garde were revealed. The results of the
study can be used in the course of lectures on composition theory, analysis of
artistic styles. Conclusions: artists of the avant-garde of the first third of the
20th year put forward theoretical concepts, which, on the one hand, were a
decisive break with traditional realistic (academic) art, on the other - inherited
the classical organization of the art plane.
Keywords: suprematism, pointless art, realism, mobileism, classicism,
theoretical concepts.
appears as an appeal to primitivism, a picture with known image of Cossack Mamay and
usage of pictures with horse as a symbol the Cossack luck and symbolical myth creature.
Also Davyd Burliuk creation activity is considered in the context of national-image component id the Ukrainian avant-garde.
Key words: avant-garde, archetype, cubofuturizm, expressionism, futurism, impressionism, intuition, neoprimitivism, mythology
art educational institutes; to find out the fundamental features that are worth to be inherited; to highlight the negative aspects of the system of tuition in Drawing and Painting and its methods. Methodology. The authors use the methods of watching and searching the peculiarities of the system of
teaching in a few Kyiv High Educational institutes. They also use comparting, system analysis and the
method of induction. Scientific novelty. The authors are the first who tried out the system comparative
analysis of the modern methods of tuition in such subjects as Drawing and Painting in Ukrainian Art
Educational Institutes. The authors distinguish the pluses and mines of the teaching and propose the
ways of their solutions. Conclusions. Having analysed the systems of tuition in the National Academy of Fine Art and Architecture, Kyiv National University of Technologies and Design, Boris Grinchenko Kyiv University, the National Academy of Managerial Staff of Culture and Arts, the authors
point out many positive aspects of teaching Drawing and Painting. They are opportunities to work
with a bared model, using the methods of the stylization and decoration of the model materials. The
authors pay their attention to the negative features of the tuition system such as the shortage of Theory
of Composition and Analysis of Art Styles in the institutes, a lack of time to study materials and get
the necessary skills and the dearth of connections between academic tasks and modern Art.
Keywords: painting elements, Drawing, Painting, composition, colour science, style, Avantgarde, Realism, tradition, intuition.
Analyzing the avant-garde art, researchers emphasize its revolutionary, dissimilarity with previous trends. The
article deals with the analysis of the peculiarities of teaching in Kiev's drawing school of Nicolas Murashko and the
methodological analysis of the teaching system in Anthony Azhbe and Shimon Kholloshy's school. These schools had an
affect on the worldview and skills of famous Ukrainian and Russian avant-garde artists.
The researchers of the avant-garde art O. Fedoruk and V. Markade distinguish two periods of the Ukranian
avant-garde. The first wave of avant-garde lasted from 1907 till 1914. During that period the Ukrainian artists adopted
artistic achievements of the European masters. The second one lasted from 1917 till 1934. It was characterized by a
consciousness and the national identity of Ukrainian avant-garde and the ideological provision on the top of its
development.
We begin our research from the analysis of the native art schools, which have influenced the education of future
pioneers of Ukrainian avant-garde. So touching upon the art situation in Kiev at the beginning of the twentieth century,
we have to underline the prominent role of Kiev's drawing school and its founder Nicolas Murashko. After the graduating
of the St. Petersburg Art Academy Nicolas Murashko got the idea of founding an art school in Kiev. There was not any
higher educational institutions that why many talented artists from Ukraine went to St. Petersburg to receive higher
education such as K. Trutovsky, L. Zhemchuzhnikov, A. Slastion, E. Agathon, M. Berkos, M. Fedorov, A. Murashko, S.
Vasilkovsky, M. Pimonenko, P. Levchenko, V. Orlovkuy etc. Some Ukrainian artists studied at the Moscow's Painting
School, Sculpture and Architecture, such as S. Svyatoslavskyy, F. Krichevsky, M. Zuk, A. Archipenko. The researcher L.
Savytska states that at the beginning of the twentieth century only three institutions study the artist. They were the Kiev's
art colledge, Lavra icon-painting School and School typography. Kiev Art School followed the traditions of Nicolas
Myrashko’s school. There were three main art instituions in Kharkov. They were Raevskaya M. Ivanova’s private drawing
school, E. Agafonov’s studio"Blue lily" ("Blue Lily") and A. Groth and E. Steinberg studio.
N. Murashko was an extremely thoughtful master and a talented teacher. He closely followed the modern artistic
life and analyzed the artistic tendencies in the sociaty. So he critisized the academic system of teaching for its idealism
and support the idea of the changable realist art.
The important feature of Murashko’ school studing was the development of the artistic imagination by drawing
on impressions or memories. Murashko borrowed it from Nikolai Kuznetsov, who was often abroad and brought out such
exercise from there. Murashko felt that the system of getting skills had to be changed. The popularity of realistic art, the
variability of the effects of light, color and impressionistic discoveries, changed the system of art learning. The cease
transformed into the real art. Later, Alexander Bogomazov who had learnt N. Murashko’s technique, called the
academism as the pernicious teaching method in his report at the National Congress of Artists in Kiev 1918.
A. Ashbe and S. Holloshy’s Munich school played the great role in forming Russian and Ukrainian avant-garde
because many native artists improved their professional skills in foreign art schools, studios, academies. Its system of
teaching had the innovations, which would be used by many brilliant artists of the twentieth century. Anthony Ashbe
taught the representatives of realistic school such as D. Kardovskyy, Russian impressionist I. Grabar and future
© Карпенко О. В., 2014
Мистецтвознавство
CEEOL copyright 2019
CEEOL copyright 2019
Вісник НАКККіМ № 4’2014 ISSN 2409-0506 (Online), ISSN 2226-3209 (Print))
135
abstractionist W. Kandinsky. Such wide variety of artistic trends tells us about his flexible system of teaching and his
perfect technique. The researches of A. Ashbe’s school, N. Molyeva and E. Belyutin said that the basis of A. Ashbe’s
creative method was the orientation on the transfering the most characteristic features of the model, finding the tools to
portray nature without imposing any canons that constrained the artist’s vision. ".
So, we can highlight some key points that distinguish N. Murashko, A. Ashbe and S. Holloshy’s schools from the
academic system, such as the attention on the study of the living model and the lack of stable canons. The last one
saves a student from the copying and helps to find their own way in art. A student has not to draw the reality, but to
describe his/her feelings. This new principle, entitled "Art of feeling" (Malevich’s term) is used by the Impressionists and
later avant-gardists.
Key words: avant-garde, academism, impressionism, manner, canon, a range of colours, plein air painting,
postmodernism, realistic art, socialistic realism, tendency, texture.