СПЕЦИФІКА СТАНОВЛЕННЯ ТА РОЗВИТКУ ХУДОЖНЬОЇ МАНЕРИ МИКОЛИ МАЛИШКА (1961–1967 РР.)
THE SPECIFICS OF THE FORMATION AND DEVELOPMENT OF THE ARTISTIC STYLE OF MYKOLA MALYSHKO (1961–1967)

Summary/Abstract: The purpose of the article. The article identifies the main factors that influenced the formation and development of Mykola Malyshko‘s artistic style in the context of the cultural and artistic processes of the 1960s. Methodology. The following scientific methods are combined: analytical, systematic, historico-cultural, contextual, comparative, and art analysis. The use of these methods allowed us to investigate the period of study of Mykola Malyshko at the Kyiv State Art Institute in 1961–1967, to outline the circle of communication of the artist, as well as to determine the characteristic features of his creative style. Scientific novelty. The work is the first fixation of unknown facts from the creative biography of Mykola Malyshko. Conclusions. During the studied period, Malyshko tries himself as an easel painter, monumental painter (mosaic), sculptor. After analyzing the currently existing information, namely «Svoboda, yak vyiavliaietsia, – tse volia dlia svavoli… : [besida Oleny Yehorushkinoi ta Pavla Hudimova z khudozhnykom M. O. Malyshko ta yoho druzhynoiu N. M. Denysovoiu], s. Maliutianka, Kyivskoi obl., 2012–2013 rr.», we can confidently assert that the main factors that influenced the formation and development of Mykola Malyshko‘s artistic style in the 1960 s, were active participants in the activities of the club of creative youth «Suchasnyk» and attempts to move away from the methods of socialistic realism in art. This is clearly illustrated by: a mosaic portrait of T. G. Shevchenko made in 1961; exhibitions at the Taras Shevchenko Kiev State University 1963–1964; the development in 1967 of scenography on the occasion of the 70th anniversary of Les Kurbas, which he implemented together with colleagues Viktor Grigorov and Viktor Ponomarev during his studies at the Kiev State Art Institute and in sketches from summer student practice in 1962 and 1964, that the artist himself considers significant in the formation of personal creative style.

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