The Theme of Flowers as a Sign of Impressionism on the Example of the Work of Ivan Trush (1869-1941)
Article Sidebar
Main Article Content
Abstract
The end of the 19th and the beginning of the 20th century in art are associated with light and color in Europe, which were characteristic of the artistic philosophy of Impressionism. Prominent representatives of this movement created artworks based on a new approach to color choices and subject matter, including the depiction of real landscapes and floral compositions. The relevance of this research is driven by the need to study the artistic representation of floral compositions by the Ukrainian artist I. Trush through the prism of Impressionist stylistic elements. The research aims to identify the features of Impressionist philosophy in the works of I. Trush through a comparison of the artist's body of work with that of Impressionist contemporaries in the field of visual arts. In this research, scientific methods such as description, systematization, analysis, comparison, cultural-historical analysis, and generalization were employed. As a result of this scientific investigation, the fundamental characteristic traits of Impressionism as an art style in visual arts were studied, as well as the particular features that distinguish this artistic movement from previous artistic philosophies. The research also analyzed the conceptual framework of the term "Impressionism" and its origins. Furthermore, it examined the characteristic traits and features of the works of the Ukrainian painter I. Trush and Impressionist artists, allowing for the integration of the distinctive traits and features of Impressionism in the artist's work through comparison. Through the comparative analysis conducted in this scientific work between Impressionists and the artistic output of I. Trush, the involvement of the Ukrainian artist in the broader Impressionist movement was highlighted. This research can be utilized by scholars and art historians for further exploration of Impressionism as an artistic movement and its influence on the development of Ukrainian art.
Downloads
Article Details
This work is licensed under a Creative Commons Attribution 4.0 International License.
References
Ajvazi, I. (2023). The beginning of impressionism, and its characteristics. Humanities Commons, 1-2.
Albastova, E. (2022). Impressionism painting and an influence on the music creation: A topic for reflection. Periodica Journal of Modern Philosophy, Social Sciences and Humanities, 5, 51-52.
Babunych, Y. (2017). Impressionism in Ukrainian painting of the age of modernism: Regional features. Bulletin of the Lviv National Academy of Arts, 32, 44-55.
Chinghsin, W. (2021). Institutionalizing Impressionism: Kuroda Seiki and plein-air painting in Japan. In Mapping impressionist painting in transnational contexts (pp. 133-144). London, UK: Routledge.
Denvir, B. (2023). The impressionists at first hand. London, UK: Thames & Hudson.
Desmarais, M. D. (2021). Rethinking the origins of impressionism: The case of Claude Monet and Corner of a Studio. In Wiley Blackwell companion to impressionism (pp. 27-42). Hoboken, NJ: John Wiley & Sons.
Dombrowski, A. (2021). Incorporating impressionism: The Societe anonyme and the First Impressionist Exhibition in 1874. In Wiley Blackwell companion to impressionism (pp. 393-413). Hoboken, NJ: John Wiley & Sons.
Dominiczak, M. H. (2011). International year of chemistry 2011: The impressionists: Painting at the time of change. Clinical Chemistry, 57(3), 534-536.
Fleury, V. (2021). Claude Monet's graphic work and the myth of a plein air painter. In Artist complex: Images of artists in twentieth-century photography (pp. 49-68). Berlin, German: De Gruyter.
Gholamali, A., & Sadeghinia, S. (2021). Impressionist light in Abbas Kiarostami's cinema (A study on the film: The wind will carry us). Theoretical Principles of Visual Arts, 6(2), 30-39.
Hajianfard, R. (2021). Florescencism by Lida Sherfatmand in the context of floral art history. KUPAS SENI, 9(1), 104-114.
Herbert, R. L. (1988). Impressionism: art, leisure, and Parisian society. New Haven, CT: Yale University Press.
Ianchuk, K., & Harashchak, T.(2020). Analysis of the genre palette of F. Kiesler's creative activities. Architectural Studies, 6(1), 41-45.
Ioffe, D. (2023). Avant-Garde versus tradition, a case study—Archaic ritual imagery in Malevich: The icons, the radical abstraction, and Byzantine Hesychasm. Arts, 12(1), 10.
Коzar, О. P., Іvancho,Т. R., & Mayboroda, I. Ye. (2016). The activity of the artist-teacher T.M.Yordan in the context of Transcarpathian school of painting. Scientific Bulletin of Mukachevo State University. Series "Pedagogy and Psychology", 2(1), 81-84.
Kruger, M. (2011). Impressionismus. In Metzler Lexikon Kunstwissenschaft (pp. 205-208). Stuttgart, German: J.B. Metzler Stuttgart.
Kuo, L. W., & Lai, C. C. (2018). The style of imagery: A colour study of landscape paintings. In Proceedings of International Conference on Applied Human Factors and Ergonomics (pp. 73-79). Los Angeles, CA: Springer International Publishing.
Mahmoud, M. D. F. (2022). The visual excitement of colour in impressionism and post-impressionism. Journal of Nabo, 31(39), 31-44.
Minkin, T. (2023). Ikebana UNBOUND: Call them the New Impressionists: Modern artists eschew ancient rules of the Eastern floral craft, creating soulful stories one stem at a time. Veranda, 37(3), 62-65.
Moran, C. (2021). Minor intimacies and the art of Berthe Morisot: Impressionism, female friendship and spectatorship. Dix-Neuf, 25(2), 137-157.
Novak, R. (2021). Transmedia principles in impressionism spanning painting, music and literature. Neohelicon, 48, 299-312.
Plakhta, S. L. (2013). Impressionism in the art of Galicia at the end of the 19th and the first half of the 20th centuries: A worldview and aesthetic analysis. Philosophy and Political Science in the Context of Modern Culture, 3(6), 25-29.
Sandanello, F. B. (2016). For a definition of literary impressionism (or beyond impressionism in literature). Afluente: Journal of Letters and Linguistics, 1(2), 155-175.
Selezn`ova, A.V. (2015). The symbolic meaning of the ornament of Podillya towel. Scientific Bulletin of Mukachevo State University. Series "Pedagogy and Psychology", 1(2), 74-78.
Skakandi, Y. Y. (2015). Art of landscape. Bulletin of the Kyiv National University of Technology and Design, 5(90), 254-260.
Trush, I. (1899). New trends in painting. Literary and Scientific Bulletin, 5, 143-155.
Wang, Y. L. (2022). Analysis of Monet's "Water Lilies" based on E. H. Gombrich's theory of iconology. In Proceedings of the 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022) (pp. 30-33). Amsterdam, Netherlands: Atlantis Press.
Wolf, N. (2015). Impressionism. Reimagining art. Munich, German: Prestel Publishing.
Yamash, Y. (2017a). The studios of Ivan Trush at the Munich school of Anton Ashbe. Bulletin of the Lviv National Academy of Arts, 31, 236-247.
Yamash, Y. (2017b). Trush paints Crimea: Mickiewicz's Crimean sonnets in the work of Ivan Trush. Lviv, Ukraine: Prostir-M.
Yang, J. J. (2021). The breakthrough and division of colour language in impressionist painting. Frontiers in Art Research, 3(2), 41-44.
Yan, Z., Guo, Z., & Guo, M. (2023). On the Combination of Oil Painting Techniques and Modern Illustration Art:--Take the Characteristics of Light and Color in Impressionism as an Example. Highlights in Art and Design, 4(1), 118-121.
Zavyalova, O., & Stakhevych, H. (2022). Female artist in European fine arts: Gender and professional status. Interdisciplinary Cultural and Humanities Review,1(1), 20-29.
Zhang, L. (2020). Study on the stylization of colour language in landscape oil painting. In Proceedings of 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020) (pp. 187-191). Amsterdam, Netherlands: Atlantis Press.