The Ethnology Notebooks. 2019, № 6 (150), 1598—1605
ORCID ID: https://orcid.org/0000-0002-0977-4470
PhD (candidate in Art Studies), Associate Professor,
Research Associate of the Department of Art Studies
The Ethnology Institute
National Academy of Sciences of Ukraine
15, Svobody ave, 79000, Lviv, Ukraine
Abstract. Introduction. The article considers the key positions of the cultural transfer’s theory and their potential for the studies of Ukrainian fine art. Whereas the contextual art history is focused on the cultural milieu, artistic contacts and connections, then the theory of cultural transfer can be applied for the interpretation of artefacts have been created as a result of cultural interaction. Problem statement. This theoretical model is suitable for the re-invention of the well-known Ukrainian art phenomena, for instance, a late Baroque religious painting of the Uniate tradition. Purpose. Based on the example of the creative biography of Luka Dolynskyy, a significant Ukrainian painter of the 18th c., the application of the specified methodology aims to give the interpretation of the artist’s artworks a broader Central European art context. «Creative biography» as a definition implies the artist’s activity, analyzed in the context of his displacements in space and cultural transitions during his life.
Methods. Using a cultural transfer method in art history, research is based on publications of L. Musner (2005), W. Moser (2011), W. Schmale (2012), M. Dmitrieva (2015). It should also be highlighted that the «geography of art» approach has been put forward by T. Da Costa Kaufmann (2004) and P. Piotrowski (2009) has developed it concerning Central European art history. However, J. Biaіostocki (1979) was their predecessor in certain aspects. In particular, he has argumented the active participation of the art periphery in the selection or rejection of some artistic models.
Results. In this special Dolynsky’s case changes of his artistic manner and technique after studies in Vienna can be clearly observed. Thereby, Dolynsky’s creative aspirations in his first major project in St. George cathedral in Lviv are directly related to the circle of his Viennese teachers as C.F. Sambach and Austrian monumentalists as D. Gran, F.A. Maulberch, M. Kremzer-Schmidt. Thus, from a local little-known artist, Dolynsky moves into a much wider cultural area, in which not only the Austrian but also the Italian school of the 18th century can be traced. Conclusions. As a conclusion has been proved that current theoretical progress in the cultural transfer methodology has opened up new opportunities for the creative biography analyses and made it possible to evaluate local artistic phenomena on a wider comparative background.
Keywords: cultural transfer, horizontal art history, creative biography, religious painting, Uniate Church.
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