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The Ethnology Notebooks. 2017, 4 (136), 920–927

UDK 75/76(477.87).”19/20”:7.071.1(477.87).Микита(043.5).

DOI https://doi.org/10.15407/nz2017.04.920

FORMATION OF CONCEPTUAL BASES OF NEOFOLKLORISM IN TRANSCARPATHIAN PAINTING of 1920S — early 1940S

Geiza Djorke — a graduate student of the Lviv national academy arts,

department of theory and history of art

str. Kubijovycha, 38, 79011, Lviv, Ukraine

Contacts: тел.0322 761 482

Abstract. The publication explores the social and artistic prerequisites, content and dynamics of the formation of the conceptual foundations of neo-folklore in the Transcarpathian fine arts of 1920s and early 1940s. The main types of reception of ethno-cultural traditions are revealed, their representation in different genres of painting is analyzed, the formative aspects of the synthesis of figurative expressive means of folk art and European modernism are considered in the works of leading masters, synaesthesia of verbal and visual sources of ethno-spirits is investigated, lines of continuity between the experience of the founders of artistic School and the creativity of subsequent generations of Transcarpathian painters.

Keywords: neo-folklore, dialogic type of perception of ethnocultural traditions, folk art sources of inspiration, modern sources of inspiration, figurative plastic synthesis, individual figurative-plastic concept.

Received 30.05.2017

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