DMYTRO KREMIN AND YOSYP CHERNIY: A HISTORY OF FRIENDSHIP AGAINST THE BACKDROP OF THE INTELLECTUAL-ARTISTIC LANDSCAPE OF ZAKARPATTIA
DOI:
https://doi.org/10.54662/veresen.2023.11Keywords:
artistic creativity, European modernism, ideology, opposition, self-expression, socialist realism, TranscarpathianAbstract
The article attempts an artistic-aesthetic analysis of modern art in Transcarpathian during the 1960s-1980s, characterized by nonconformism and underground movements. The liberalization of the political and ideological regime during the so-called Khrushchev's «Thaw» led to a shift in the principles of total control and a reduction in the influence of the Soviet system. The study argues that D. Kremin and Y. Cherniy genuinely opposed the established philosophical, ethical, and aesthetic codes of society and directed their art towards self-expression. The author of the article examines artistic processes not by focusing solely on official events but by combining ideas that shaped the specific development of the cultural environment during a particular historical period. The change in the overall cultural paradigm allowed for the inclusion of Transcarpathian artists in the all-Ukrainian context, whose creativity had been suppressed or briefly highlighted during Soviet times. In the works of individual artists, a revival of tradition is observed, particularly in the depiction of ethnic imagery. In painting, themes related to social and everyday life were actively explored, with ordinary peasants as the main protagonists, in contrast to the prevailing industrial themes in Ukrainian painting at that time. With the consent of the artist's family, a letter from D. Kremin to Y. Cherniy is published for the first time, providing additional insights into the cultural life of Transcarpathian on the brink of the 1970s-1980s. It serves as a vivid confirmation of the author's support during a period of intense criticism and persecution of the artist.
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