New intalios of Andrii Levytskyi

Abstract

The purpose of this study is to analyze in detail the most characteristic and expressive intalios of Kyiv graphic artist A. Levytskyi, created in recent years, in particular “Beetle’s tree. Garden” (2019), “Dukedom Day”, “Dukedom Night” (both — 2020), “Toros Bravos”, “On the Bridge”, “Motus Animi Continuus”, “Poem about the cinchona tree (Jean de la la Fontaine)”, “The player. Dostoevsky vs Tolstoy” (all — 2021). The methodology. A. Levytskyi is an interesting modern Ukrainian graphic artist. The vast majority of publications about the artist’s creativity are just for reference or popular science (Katerynenko (2011), Lamonova (2003, 2022)). This is especially true for foreign editions (d’Arcy Hughes, Vernon-Morris (2008)). Several articles in the periodicals are devoted to the artist’s personal exhibitions (Lamonova (2004, 2004, 2004, 2009)) and his participation in group projects (Lamonova (2010)). Publications in professional editions, with one exception (Kvitka (2013)), also relate to the exhibition activities of the artist (Lahutenko (2001), Lamonova (2010)). The results. In the new intalios, in particular those created during 2019-2022, A. Levytskyi resorted to various innovations and experiments. He turns to non-figurative art, experiments with the form, composition and color scheme of his works. Particularly noteworthy is the emergence in the artist’s graphics of characters, both somewhat symbolic and quite full-fledged. The scientific topicality. This material is the first scientific publication about the creativity of A. Levytskyi. The practical significance. The research is a part of the individual planned theme of the author “Ukrainian graphics of 2000-2020 as a variety of author’s formal and stylistic interpretations” and the general planned theme of the Department of Fine and Decorative-applied Arts of M. T. Rylskyi Institute of Art History, Folklore and Ethnology of National Academy of Sciences of Ukraine “Domestic artistic and art history experience in the dimension of modern interpretive and historical and cultural strategies”. Conclusions. A. Levytskyi’s new intalios, in particular created during 2019–2022, demonstrate a wide range of artist’s searches. Particular attention is drawn to the emergence on the artist’s intalios of characters, both somewhat symbolic and quite full-fledged. This may indicate the beginning of a very new period in his creativity.