РЕЦЕПЦІЇ МИКОЛИ ЛИСЕНКА У ВІЗУАЛЬНИХ АРТЕФАКТАХ МИТЦІВ ГАЛИЧИНИ
Receptions of Mykola Lysenko in Visual Artefacts by Western Ukrainian Artists

Summary/Abstract: The purpose of the article is to discover and reveal the symbolism of the artefacts by painters, sculptors, carvers, and other artists of Galicia, dedicated to Mykola Lysenko’s personality and achievements. The research methodology. The historical-retrospective method has been applied to find materials and documents about the existence of artefacts, determine the chronology and motivation for their appearance. The system-analytic method has enabled their systematisation by the types of visual arts and for analytical observations. The interdisciplinary method has been used to highlight the connections between music and visual arts through the embodiment of the composer's images by their representatives. The scientific novelty is that the topic is being considered for the first time. The Galician painters’ creativity was especially intensified before the celebration of Mykola Lysenko’s 35th work anniversary in 1903, and due to the composer’s 100th anniversary gala during the German occupation of Lviv in 1942. The peculiarities of the images of Lysenko by Ivan Trush, Osyp Kurylas and others, their stylistics and symbolism are considered. The problem also affects other artistic and visual gifts, which later became exhibits in the Lysenko room-museum at the Lviv Conservatory. Conclusions. Visual artefacts indicate piety to the founder of the national school of composers, his spiritual influence, which was spread not only among the musicians, but also the visual arts’ representatives. The Galician artists – painters, carvers, sculptors and architects, involved in artistic Lysenko Studies, were inspired by his bright image and purposeful service to the Ukrainian national culture. Most of them originated from Galicia (Ivan Trush, Osyp Kurylas, Yaroslav Pstrak, Mykhailo Parashchuk, Yulian Pankevych), others stayed and worked in Lviv for some time (Mykhailo Mykhalevych and Serhiy Lytvynenko). These artefacts became a kind of manifestation of the Artist-Patriot’ idealisation, his culture-creative mission.

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