The enduring stereotype of impoverishment in the art of artistic dynasties does not withstand criticism in the case where artistic practices in each successive generation are renewed, complexified, and transformed into a unique aesthetic-philosophical paradigm, as it happened with the creativity of the Ivanjuk family. Their ambitious art project recently concluded at the Museum of the History of Kyiv. The exhibition "Harmony" consists of over 50 canvases created by the artists throughout 2018, built on the principle of juxtaposing classical and contemporary painting. Art Ukraine editor Roxana Rublevska writes about the aesthetic dialogue of generations and genre transformations.
The establishment of Ukrainian classical landscape painting took place during the 19th century. Until that time, nature in paintings was only present episodically - as a background or an attempt to depict the "portrait" of the locality. Only at the beginning of the 19th century did the image of Mother Earth gain independent significance. The elder generation of the Ivanjuk family, Oleksiy and Oksana, after graduating from the M. Samokysh Crimean Art School, founded their own art school in Pyriatyn, a small town in the Poltava region, which they supported with their own funds for a decade and a half. Growing up under the influence of classical art, the couple preferred working with nature, portraying classical still life and monumental canvases. The secret to their compositional and dramatic strength lay in using naturism as the fundamental worldview concept.
Oksana Ivanjuk's dynamic floral compositions showcase a harmonious interplay reminiscent of the baroque style. Upon first observation, seemingly secondary elements take on central roles within the artworks. Her lavish arrangements embody universal floral imagery, reflecting the complexities of a binary culture, resonating with deep meanings that address essential existential needs. For Oksana Ivanjuk, portraying flowers is an avenue for sharing personal experiences, unveiling her perspectives on life's circumstances. The artwork itself serves as a catalyst, evoking thoughts of a metaphysical foundation by merging Renaissance principles such as Truth, Aesthetics, and Humanism.
Throughout art history, bouquets have symbolized the fleeting nature of earthly pleasures, akin to the transient beauty of flowers. Oksana's exhibited pieces are no different, telling stories through their subjects. The traditional symbolism of red poppies extends to sleep, death, and the sacrifice of Christ, while chrysanthemums represent anticipation and solitude. Forget-me-nots, on the other hand, evoke memories of childhood, the nurturing embrace of a mother, and the threshold of parental love.
It can be assumed that the profound idea of the project is to demonstrate the historically conditioned continuous act of alienation of humans from their origins, nature, lineage, and even themselves. By pursuing the inner quest for illusory freedom and arming ourselves with the benefits of scientific and technological progress, we allow ourselves to lose connections with our genetic past, leading to a longing for tradition, roots, and harmony with the surrounding world. Accordingly, during the practical-philosophical exploration of nature through artistic imagination, the four authors create a mythologized ideal world, which appropriates human beings, transforming them into carriers of culture.