FIGURATIVE AND PLASTIC METAPHORICITY OF MYKOLA STOROZHENKO'S BOOK GRAPHICS OF THE 1980S

Abstract

The purpose of this article is to consider the peculiarities of the figurative and plastic structure of Mykola Storozhenko's book graphics of the 1980s and to trace the genesis of its metaphoricity on the basis of the editions of this period illustrated by the master. Study methods. The study is based on the principles of compositional and structural, formal and plastic, and comparative analysis, which made it possible to determine the peculiarities of figurative metaphoricity of the artist's book graphics of the 1980s. Results. It was found that since the beginning of the 1980s, the artist's concept of book graphics has been significantly transformed due to a rapid retreat from the narrative, caused by changes in the author's internal vision. An all-new “artistic optics”, determined not only by a formal and constructive, but also by a philosophical component, appeared in the master’s works. The article examined and analyzed M. Storozhenko's illustrations to the collections “Among the Steppes. A Day on the Shepherd field” by Panas Myrnyi (1982) and “Sonnets” by Ivan Franko (1984), as well as to the edition of “Ukrainian Folk Tales” (1987). The analysis of individual works made it possible to reveal the artist's tendency to create complex figurative and metaphorical constructs with multiple content and symbolic aspects within a certain illustrative series. It was determined that in order to maximally enhance the metaphorical nature of the image, M. Storozhenko used not only the conceptual logics of sign and symbolic systems, but also a complex author's technique that allowed to achieve the effect of multidimensionality in 3D-format. Conclusions. As a result of the study, it was found that the metaphoricity of M. Storozhenko's book graphics of the 1980s was an important vector of the master's figurative and symbolic system. It was proven that the forceful metaphorical component of the illustrative series actually allowed the artist to reveal the entire spectrum of the semantic content of the literary work. It was established that by turning to the metaphoricity as one of the most important factors of the artistic imagery structure, M. Storozhenko evinced outwards the deep content potentials of the text, increasing the semantic load of the illustration and also initiating the artistic and communicative processes. The proposed topic is related to the urgent issues of domestic art of the middle of the 20th - beginning of the 21st century. The study can also constitute a theoretical basis for art critics and students of artistic specialties.