Sketch for a Mosaic on Public Transport Stop Walls in Dubyna Village, Stryi District, Lviv Region

Vasyl Poliovyi

  • Sketch for a Mosaic on Public Transport Stop Walls in Dubyna Village, Stryi District, Lviv Region 2
  • Sketch for a Mosaic on Public Transport Stop Walls in Dubyna Village, Stryi District, Lviv Region 3
  • Sketch for a Mosaic on Public Transport Stop Walls in Dubyna Village, Stryi District, Lviv Region 4
  • Sketch for a Mosaic on Public Transport Stop Walls in Dubyna Village, Stryi District, Lviv Region 5
  • Sketch for a Mosaic on Public Transport Stop Walls in Dubyna Village, Stryi District, Lviv Region 6
Basic information
ID
Ж-8167_1_2_3
Author
Vasyl Poliovyi
Name
Sketch for a Mosaic on Public Transport Stop Walls in Dubyna Village, Stryi District, Lviv Region
Date of creation
1974
Country
the USSR
Culture
Ukrainian art of the Soviet period
Technique
original technique
Material
cardboard mixed media
Dimensions (height x width, cm)
49.5 x 79.5
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 three horizontal images on cardboard are preliminary sketches for the mosaic design of a public transport stop in the Dubyna village. Unlike the other sketches preserved in the Gallery, this one lacks a correlation between the proportions of the actual object and specific details present in the final sketches and the original mosaic. As for the general characteristics, these are three independent artworks executed in elongated rectangles. One upper composition is positioned almost at the centre with a slight leftward shift (Ж-8167/1, 14.2 х 31 cm) and two lower ones are located beneath it in the centre with a slight shift to the right (Ж-8167/2, 14 х 24.5 cm and Ж-8167/3, 14 х 24.5 cm). The colour scheme of all three images is cool, dominated by madder lake, ultramarine and their shades with tonal gradation and whiting. There are also subtle incorporations of ochre and earthy shades. The colouring significantly differs from the final sketches and the completed artwork. However, certain aspects of the colour exploration, such as the use of ultramarine, are absent from the final sketches but are introduced in the finished work and are essential evidence of the author's search and how the process of the work was carried out at all stages. In composition Ж-8167/1, one can observe the stages of searching for the central part of the mosaic. Against a stylised but recognisable forest background, two figures of ungulates from the deer family are in profile, the head of the first animal on the left facing forward. In the original mosaic, this part was modified, and instead of these animals, there is a group of three horses at different angles against the background of a pasture. Next to the deer in this scene is a version of the image used in a modified form for the finished work. In the subsequent sketch (Ж-8171), instead of depicting a male deer with large antlers, the artist portrayed a female one (deer living in the Skole Beskids National Park shed their antlers in February–March, which does not correspond to the season depicted in the sketch Ж-8171). Vasyl Poliovyi depicted a similar figure of a deer with branching antlers in his mosaic "Nature of North Carolina" (main street of Hendersonville, USA, 1993). The version of the sketch Ж-8167/2 shows a profile figure of an elk running in a stylised mountainous forest landscape. This image is a variation of the sketch Ж-8169, where the animal figure is presented from an angle and is static. Ж-8167/3 is a combined version of the sketches Ж-8178 (left part) and Ж-8170 (right part). Unlike the final versions of the composition, the figure of the deer on the left side is not lying down but standing. In the group of a female deer with a fawn, the latter is larger and stands near the upper part of the mother's body, which touches the back of his head near the ears with her head.
Inscriptions
In the lower right corner of Ж-8167/2, there is an inscription "В. Полев 74". In the lower right corner of Ж-8167/3, there is an inscription "В Полевой 74".
Legal regulation
Borys Voznytskyi Lviv National Art Gallery