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Sketch for a Mural

Vasyl Poliovyi

  • Sketch for a Mural 2
  • Sketch for a Mural 3
Basic information
ID
Ж-8198
Author
Vasyl Poliovyi
Name
Sketch for a Mural
Date of creation
1970s (?)
Country
the USSR
Culture
Ukrainian art of the Soviet period
Technique
mixed technique
Material
paper tempera
Dimensions (height x width, cm)
72 x 51
Information about author
Author
Vasyl Poliovyi
Artist's lifetime
b.1936
Country
the USSR, the USA
Biography
Vasyl Poliovyi is a Ukrainian painter and graphic artist, one of the leading authors of Soviet Nonconformist art. He was born on April 22, 1936, in Kryvyi Rih city. The artist's father, Petro Poliovyi, worked as an engineer, and his mother, Oleksandra, was a mathematics teacher. With the start of hostilities on the territory of the USSR on June 22, 1941, the family was evacuated to the Sverdlovsk region (RSFSR). There Vasyl Poliovyi studied in school, and after completing his education in 1954, he entered an art school in Yelets. However, the artist later transferred to the Tavricheskaya Art School (Leningrad, RSFSR) and then to the Higher School of Industrial Art named after Vera Mukhina. After completing his studies, he moved to Moscow, where he worked at an art collective with his wife, artist Yuliia Podohova. He focused mainly on the monumental and decorative design of the interiors and the exteriors of public buildings and governmental institutions. At the same time, he was involved in the circle of nonconformist artists in Moscow and Leningrad, including Dmytro Krasnopevtsev, Anatolii Zverev, Mykhailo Shemiakin, Oleh Tselkov, Eduard Steinberg, Volodymyr Sterlihov, and the Lianozovo Group, as well as writers like Serhii Dovlatov, Yurii Mamleev, and Vladlen Gavrilchik. He participated in unofficial exhibitions, including those in the Federal Republic of Germany, France, Italy, and Czechoslovakia. In 1965, while visiting his brother, the researcher and inventor Renat Poliovyi, the artist created a large cycle of thematic works about Ukraine. Some of them were exhibited in Moscow. Later he joined the Artists' Union of the USSR. In 1972, Vasyl Poliovyi moved to Lviv, where he worked on monumental and easel paintings. During this period, he interacted with the local art community, including Valerii Shalenko, Mykhailo Steinberg, Yurii Sokolov, Okhrim Kravchenko, Margit and Roman Selsky, Anatolii Semahin, art critics Hryhorii Ostrovskyi and Dmytro Shelest, and writer Ihor Klekh. In 1976, Vasyl Poliovyi was expelled from the Artists' Union, which made his professional activity practically impossible. As a result, the artist decided to emigrate from the Soviet Union to the United States, where he still lives and works in Greenville, South Carolina.
Object description
The work is a sketch for an as-yet unidentified monumental composition. In its depiction of mechanised processes, this work is visually and formally related to Vasyl Poliovyi's monumental mosaic on the PJSC "Rivneazot" facade, especially the images of industrial facilities in the upper part of the work. In mixed colours, the artist has developed a stylisation of a production facility for processing raw materials and preparing finished products (probably a metallurgical plant, given the presence of characteristic blast furnaces and special pipes for oxygen supply). The generalisation approach allows only a partial reconstruction of the purpose of the enterprise. Still, in general, it reveals an image that, given the modernist formal language, symbolises for the observer the special power of the country's industry, where the personnel and management involved were the expression of the ideological glorification of the man of work. The idea of the role of the proletariat not only in professional matters but, above all, in the political process, as well as the definition of it as the engine of progress, robust industrialisation, and a practical concept of social justice, is among the key elements in the development of this image. If we take, for example, the aforementioned mosaic by Vasyl Poliovyi from "Rivneazot", the workers in it are interpreted more like Byzantine iconography in monumental works, where the point is not to glorify the workers formally but to give their images a particular dimension, as the artists of Mykhailo Boichuk's circle and Mykhailo Boichuk himself once practised, after they had attempted to integrate the figurative and stylistic features of Eastern Christian sacred art into the monumental practices of early Soviet art with the development of a new style. Given Vasyl Poliovyi's communication with Oksana Pavlenko and his attention to the artistic practices of other artists in Mykhailo Boichuk's circle, it is natural that a wide range of inspirations was evident in the process of developing this and many other works.
Legal regulation
Borys Voznytskyi Lviv National Art Gallery