DOI issue:
Nr. 1
DOI article:Bartošová, Zuzana: Roky po Oslobodení ako pokračovanie pokrokových tradícií v slovenskom umení: (malʹba, grafika a kresba 1945-1948)
DOI Page / Citation link: https://doi.org/10.11588/diglit.51719#0065
59
IIocjieBoeHHMM nepnofl b Cjiobbijkom MCKyccTBe, kbk npoiorzKi'Hiie nporpeccMBHibix
TpaxiMijMň. (>Khboiihc, rpacfiHKa h piicyHOK 1945—1948 to^ob)
1945—1948 roflbí, c tohkm spcHiiíi pa3Bnrníi cJioBapKoro
M3o6pa3HTeJibHoro HCKyccTBa 20-ro BeKa, xapaKTepHbí 6ypjiH-
BblM pa3MaX0M XH3HH B COK>3aX XyflOXHHKOB, aKTMBHOCTblO
yHacTMB Ha BbicTaBKax h ôorarcTBOM xynoxecTBemioro TBop-
HecTBa. OTfleJibHbie .mtcminjmiibt stoto TBopnecTBa mmciot
eoScTBCHIiylO CneUH(|)HI<y pa3BHTHH H MHOrO oßlUMX npH3HaKOB.
K HHM OTHOCHTC5I, HanpHMep, OTKJIOHCHHe OT XyflOXeCTBCHHblX
cpeacTB, THriHHHbix pna BoeHHoro nappeajiHCTiiBCCKoro Kpyra
(3CKH3HOCTB yXC SaKOHMCHHOTO npOH3BepeHHM, MOHOXpOMHaa
nojiHTpa KpacoK, nannHiie MeTa<|>op b copepxanHH...) h npn-
OÖpeTeHHe COĎCTBCHHOrO Íl3btl<a B MCKyCCTBe npH6jlH3HTejlbHO
b cepepnHe 1946 ropa. TaK KaK 3to PBiixeiine iunpoKO 3axBa™.no
AaHHbiií neption b xhbotthcm, 0Ka3a.no bjihíihh6 Ha TeMaTMKy
npon3BepeHHM h hx hhch, to moxho roBopHTb o xapaKTepHOM
xyaoxcecTBeHHOM HanpaBJíeHHH nepBbix nocneBoeHHbix jict.
Pemaiom.ee BjmaHHe b noHCKax hoboto xypoxecTBernioro
BbipajKCHH», KOTopoe OTBenaJio 6bi iriMeiiHBtiieřicíi o6mecTBCH-
Hoif OÓCTaHOBKC MHpHOTO CTpOHTCJlbCTBa H KyJIbTypHOH aTMO-
c<[>epbi nanHoro nepiio.ua, mvteno ycTaHOBJíeHne kohthktob
C pa3BHTH6M MMpOBOTO MCKyCCTBa 3TOTO BpeMeHH, OCOÓeHHO
nepe3 no3HaHHe 3pejioro TBopnecTBa IlHKacco. Hoßyio xypo-
xecTBCHHyio (|)opMy hcbobmoxho npe/iCTaBHTb 6e3 coScTBCinibix
KOpHefi H CBÍ13H C TpaPHUHCH, KOTOpbie CneimclHIMCCKHM OÖpa3OM
npoMBHJiHCb b XHBOHMCH, rpa<|)HKe, pncyHKe (a raKxe u b cKyjib-
rrrypHOM MCKyccTBe, KOTopoe opnaKO, ne aBiiíteTcs npepMCTOM
flaHHOH CTaTbH).
TpacjiHKa, b noHCKax öonbmero cyMMapHoro Bbipaxemisi,
HcxoflHJia iieiiocpezicTBeiiHo h h3 cnoBanKoii pe3b6bi no pepesy,
h H3 rpac|>HKH KJiaccHKa cJioBauKoro Mo/iepinriMa — JIiopoBHTa
<řyjinbi. 0yjuioBCKHH comhbih kojiopht Konua 20-x tojjob 6bin
noHBoií pna hmctoíí hojihtpbi xhboithch nepBbix nocjieBoeHHbtx
JieT, b pncyHKe moxho npoc.nennrb (jmjiHaijHH, CB>i3aiiHbie
c npaMOJiHHeiÍHOH MaHepoň HHKOJiaa rajiaHpbi.
B pesyjibTaTe Bbime npiiBenemibix HMnyjibcoB nosBHJiocb
mhoto KaaecTBeHHbix xypoxecTBCHHbix npoH3BeacHMÍí. b koto-
paix CTpeMJieHHe k meppo pemeHHOMy pa3Mepy coBnannoíí
KapTHHbi, oöi.neMV BH/jy, nacTO orpaiiw-iemiOMy peKopaTHBHO
JlOMaHHOH JlHHneií, Í1CH0H rapMOHHH KpacoK CBH3aH0 C COflep-
XaHHCM, COOTBCTCTByiOmHM HOBOH OÖipeCTBeHHOH OĎCTaHOBKC.
Paóonie h ropoacKHC mothbbi, npoMbinuieHHbie unzibi
CBH3aHbl no CMbICJly C BOCCTaHOBJíeHHeM yHMHTOXCHHBIX BOHHOH
ueHHocTefl; HaTiopMopTbi, xeHCKHe tojiobkh h nopTpeTbi cbíi-
3aHbI C HHTHMHOCTbJO MHpHOM 5KH3HH. HeGbl BBB bl ií pa3M.aX
npHo6pe.n <|ionbKjiopHbiH OKpyr tcm, b kotopom motjih 6ojiee
ecTecTBeHHO npoaBHTbca TeHflemiHH k hoboh (jiopivie, cooTBeT-
CTByiomne BpeMeHH. /lna cnoBaiiKoro Haponnoro HCKyccTBa,
KOTopoe (JiojibKJiopHOMy OKpyry tcm c.nyxHT noóyxnenHeM,
xapaKTepHa Bbiconaíi Mepa opHaMenTajibHOH u reoMeTpnsy-
K>meíí CTHJlH3ailHH, npOCTOTa <j)OpMbl H KyjlbTypHOCTb ÍICHOií
nOJIHTpbl KpacoK.
B tot xe caMbiií nepiion houbjiihotcíi h npon3Beaeiiníi c íiciio
BbipaxeHHOH aHTHBoeHHoii TeMaTHKoií, a TaKxe nponsBeaeiniii.
TeMaTHHCCKH CBSBailHbie CO CjIOBailKHM HaiJHOHajlbHblM BOCCTa-
HHeM. To, HTO B BOCHHbie TO/II.I MOXHO 6bU10 H3o6pa3HTb npH
noMoiim CHMBOJia hjih MCTa(|>opbi, cTano nempanbiibíM moth-
BOM TBOpneCTBa MHOTHX XyHOXHHKOB, KOTOpbie TaKHM o6pa3OM
BbiCKasaiiH cBoe oanosHannoe nenoBenecKoe h xyaoxecTBeHHoe
MHeHHe.
HaTiopMopTbi, BHflbí, xeHCKHe nopTpeTbi roBopm o noKOH
OÖHOBJieHHOH MHpHOM XH3HH, paĎOMHC MOTHBbl OTpaXaiOT
aKTHBHOCTb C03HIiaHHÍI, (|)OJIbKJIOpIIBIC TCMbl HepnaiOT H3 HCTOM-
HHKOB CJIOBailKOTO HailHOHajlbHOTO MCKyCCTBa, ailTHBOeHHbie
TCMbl H TCMbl O BOCCTaHHH TOBOpítT O bpaXflaHCKOM OTHOHieHHH
xyaoxHHKOB. Bce sto 6bi.no OTMeneno hohckom hobbix cpepcTB
XyflOXeCTBeHHOTO BbipaxeilHÍI, 6bIJI0 CB113ailO C <|>0pMajIbHblMH
POCTHXeHHBMH flOBOCHHOH CJIOBaUKOH XHBOnHCH H COflepXaJIO
c ophoíí CTopoHbí, nocJiaHHe HCKyccTBa bociihbix roflOB, c zipy-
TOH — AOCTHXeHHM MHpOBOTO MCKyCCTBa H, TaKHM OÓpa3OM,
noMorjio BHecTH BKnaa b pa3BHTHe nporpeccHBHOH xyflo-
XeCTBeHHOM TpaflHLIHH.
The Post-Libération Years as a Continuation of Progressive Traditions in
Slovák Art. (Painting, Graphics and Drawing 1945—1948)
From an evolutional aspect of 20th-century Slovák art the
years 1945—1948 are characterized by an impetuous develop-
ment of social life, exhibition activity and abundant artistic créa-
tion, individual disciplines of which had their own developmental
specificities as well as numerous common signs. One of them is,
for instance, a déviation from the means of expression that ušed to
be typical of the war Surrealist circuit (sketchiness even of an
already finished work, a monochrome colour palette, contents
metaphor...) and an acquisition of one’s own Creative language,
approximately in mid-1946. Since this movement had a consi-
dérable impact on the contemporary endeavours and did affect
also the topical scale of works and their mental world, we may
speak of a spécifie Creative style of Slovák fine arts in the first
postwar years.
The décisive factor in the search for a new expression that
would correspond to the altered social situation of a peace-time
construction and cultural atmosphère of the limes, was contact-
taking with the ongoing development of international art, and
IIocjieBoeHHMM nepnofl b Cjiobbijkom MCKyccTBe, kbk npoiorzKi'Hiie nporpeccMBHibix
TpaxiMijMň. (>Khboiihc, rpacfiHKa h piicyHOK 1945—1948 to^ob)
1945—1948 roflbí, c tohkm spcHiiíi pa3Bnrníi cJioBapKoro
M3o6pa3HTeJibHoro HCKyccTBa 20-ro BeKa, xapaKTepHbí 6ypjiH-
BblM pa3MaX0M XH3HH B COK>3aX XyflOXHHKOB, aKTMBHOCTblO
yHacTMB Ha BbicTaBKax h ôorarcTBOM xynoxecTBemioro TBop-
HecTBa. OTfleJibHbie .mtcminjmiibt stoto TBopnecTBa mmciot
eoScTBCHIiylO CneUH(|)HI<y pa3BHTHH H MHOrO oßlUMX npH3HaKOB.
K HHM OTHOCHTC5I, HanpHMep, OTKJIOHCHHe OT XyflOXeCTBCHHblX
cpeacTB, THriHHHbix pna BoeHHoro nappeajiHCTiiBCCKoro Kpyra
(3CKH3HOCTB yXC SaKOHMCHHOTO npOH3BepeHHM, MOHOXpOMHaa
nojiHTpa KpacoK, nannHiie MeTa<|>op b copepxanHH...) h npn-
OÖpeTeHHe COĎCTBCHHOrO Íl3btl<a B MCKyCCTBe npH6jlH3HTejlbHO
b cepepnHe 1946 ropa. TaK KaK 3to PBiixeiine iunpoKO 3axBa™.no
AaHHbiií neption b xhbotthcm, 0Ka3a.no bjihíihh6 Ha TeMaTMKy
npon3BepeHHM h hx hhch, to moxho roBopHTb o xapaKTepHOM
xyaoxcecTBeHHOM HanpaBJíeHHH nepBbix nocneBoeHHbix jict.
Pemaiom.ee BjmaHHe b noHCKax hoboto xypoxecTBernioro
BbipajKCHH», KOTopoe OTBenaJio 6bi iriMeiiHBtiieřicíi o6mecTBCH-
Hoif OÓCTaHOBKC MHpHOTO CTpOHTCJlbCTBa H KyJIbTypHOH aTMO-
c<[>epbi nanHoro nepiio.ua, mvteno ycTaHOBJíeHne kohthktob
C pa3BHTH6M MMpOBOTO MCKyCCTBa 3TOTO BpeMeHH, OCOÓeHHO
nepe3 no3HaHHe 3pejioro TBopnecTBa IlHKacco. Hoßyio xypo-
xecTBCHHyio (|)opMy hcbobmoxho npe/iCTaBHTb 6e3 coScTBCinibix
KOpHefi H CBÍ13H C TpaPHUHCH, KOTOpbie CneimclHIMCCKHM OÖpa3OM
npoMBHJiHCb b XHBOHMCH, rpa<|)HKe, pncyHKe (a raKxe u b cKyjib-
rrrypHOM MCKyccTBe, KOTopoe opnaKO, ne aBiiíteTcs npepMCTOM
flaHHOH CTaTbH).
TpacjiHKa, b noHCKax öonbmero cyMMapHoro Bbipaxemisi,
HcxoflHJia iieiiocpezicTBeiiHo h h3 cnoBanKoii pe3b6bi no pepesy,
h H3 rpac|>HKH KJiaccHKa cJioBauKoro Mo/iepinriMa — JIiopoBHTa
<řyjinbi. 0yjuioBCKHH comhbih kojiopht Konua 20-x tojjob 6bin
noHBoií pna hmctoíí hojihtpbi xhboithch nepBbix nocjieBoeHHbtx
JieT, b pncyHKe moxho npoc.nennrb (jmjiHaijHH, CB>i3aiiHbie
c npaMOJiHHeiÍHOH MaHepoň HHKOJiaa rajiaHpbi.
B pesyjibTaTe Bbime npiiBenemibix HMnyjibcoB nosBHJiocb
mhoto KaaecTBeHHbix xypoxecTBCHHbix npoH3BeacHMÍí. b koto-
paix CTpeMJieHHe k meppo pemeHHOMy pa3Mepy coBnannoíí
KapTHHbi, oöi.neMV BH/jy, nacTO orpaiiw-iemiOMy peKopaTHBHO
JlOMaHHOH JlHHneií, Í1CH0H rapMOHHH KpacoK CBH3aH0 C COflep-
XaHHCM, COOTBCTCTByiOmHM HOBOH OÖipeCTBeHHOH OĎCTaHOBKC.
Paóonie h ropoacKHC mothbbi, npoMbinuieHHbie unzibi
CBH3aHbl no CMbICJly C BOCCTaHOBJíeHHeM yHMHTOXCHHBIX BOHHOH
ueHHocTefl; HaTiopMopTbi, xeHCKHe tojiobkh h nopTpeTbi cbíi-
3aHbI C HHTHMHOCTbJO MHpHOM 5KH3HH. HeGbl BBB bl ií pa3M.aX
npHo6pe.n <|ionbKjiopHbiH OKpyr tcm, b kotopom motjih 6ojiee
ecTecTBeHHO npoaBHTbca TeHflemiHH k hoboh (jiopivie, cooTBeT-
CTByiomne BpeMeHH. /lna cnoBaiiKoro Haponnoro HCKyccTBa,
KOTopoe (JiojibKJiopHOMy OKpyry tcm c.nyxHT noóyxnenHeM,
xapaKTepHa Bbiconaíi Mepa opHaMenTajibHOH u reoMeTpnsy-
K>meíí CTHJlH3ailHH, npOCTOTa <j)OpMbl H KyjlbTypHOCTb ÍICHOií
nOJIHTpbl KpacoK.
B tot xe caMbiií nepiion houbjiihotcíi h npon3Beaeiiníi c íiciio
BbipaxeHHOH aHTHBoeHHoii TeMaTHKoií, a TaKxe nponsBeaeiniii.
TeMaTHHCCKH CBSBailHbie CO CjIOBailKHM HaiJHOHajlbHblM BOCCTa-
HHeM. To, HTO B BOCHHbie TO/II.I MOXHO 6bU10 H3o6pa3HTb npH
noMoiim CHMBOJia hjih MCTa(|>opbi, cTano nempanbiibíM moth-
BOM TBOpneCTBa MHOTHX XyHOXHHKOB, KOTOpbie TaKHM o6pa3OM
BbiCKasaiiH cBoe oanosHannoe nenoBenecKoe h xyaoxecTBeHHoe
MHeHHe.
HaTiopMopTbi, BHflbí, xeHCKHe nopTpeTbi roBopm o noKOH
OÖHOBJieHHOH MHpHOM XH3HH, paĎOMHC MOTHBbl OTpaXaiOT
aKTHBHOCTb C03HIiaHHÍI, (|)OJIbKJIOpIIBIC TCMbl HepnaiOT H3 HCTOM-
HHKOB CJIOBailKOTO HailHOHajlbHOTO MCKyCCTBa, ailTHBOeHHbie
TCMbl H TCMbl O BOCCTaHHH TOBOpítT O bpaXflaHCKOM OTHOHieHHH
xyaoxHHKOB. Bce sto 6bi.no OTMeneno hohckom hobbix cpepcTB
XyflOXeCTBeHHOTO BbipaxeilHÍI, 6bIJI0 CB113ailO C <|>0pMajIbHblMH
POCTHXeHHBMH flOBOCHHOH CJIOBaUKOH XHBOnHCH H COflepXaJIO
c ophoíí CTopoHbí, nocJiaHHe HCKyccTBa bociihbix roflOB, c zipy-
TOH — AOCTHXeHHM MHpOBOTO MCKyCCTBa H, TaKHM OÓpa3OM,
noMorjio BHecTH BKnaa b pa3BHTHe nporpeccHBHOH xyflo-
XeCTBeHHOM TpaflHLIHH.
The Post-Libération Years as a Continuation of Progressive Traditions in
Slovák Art. (Painting, Graphics and Drawing 1945—1948)
From an evolutional aspect of 20th-century Slovák art the
years 1945—1948 are characterized by an impetuous develop-
ment of social life, exhibition activity and abundant artistic créa-
tion, individual disciplines of which had their own developmental
specificities as well as numerous common signs. One of them is,
for instance, a déviation from the means of expression that ušed to
be typical of the war Surrealist circuit (sketchiness even of an
already finished work, a monochrome colour palette, contents
metaphor...) and an acquisition of one’s own Creative language,
approximately in mid-1946. Since this movement had a consi-
dérable impact on the contemporary endeavours and did affect
also the topical scale of works and their mental world, we may
speak of a spécifie Creative style of Slovák fine arts in the first
postwar years.
The décisive factor in the search for a new expression that
would correspond to the altered social situation of a peace-time
construction and cultural atmosphère of the limes, was contact-
taking with the ongoing development of international art, and