PETRO STEPANOVYCH SHARVAROK AND BYZANTINE REMINISCENCES IN HIS MURALS IN THE CHURCH OF THE NATIVITY OF CHRIST IN FLORENCE
DOI:
https://doi.org/10.32461/149907Keywords:
Sharvarok Petro Stepanovych, Church of the Nativity of Christ in Florence, M. T. Preobrazhensky, Byzantine iconography, , Art NouveauAbstract
Purpose of the article is to analyze the murals made by the Ukrainian artist, the of Ilya Repin’s student, Petro Stepanovych Sharvarok (1870 –1903) in the Church of the Nativity of Christ and St. Nicholas the Thaumaturge in Florence (1899 – 1903). The methodology is made up of the principles of historicism and art criticism based on empirical field research and the study of iconographic material that allow the construction of the painting program of the murals of the church and features of P. Sharvarok’s artistic style. The scientific novelty of the results obtained is in the fact that for the first time P. Sharvarok’s religious works are introduced and placed into scientific circulation. His works are the most original in the general program of church paintings made by famous masters. For the first time Sharvarok’s creative way was systematized from his studying at the Academy of Arts to his last paintings in the church of Florence. Conclusions. The cycle of murals made by P. Sharvarok in Florence is the most significant work in the artist’s creativity. The murals synthesized realism and Byzantine iconography, expressed in the spirit of the period of Modern. Also, his paintings are not only the brightest in the entire program of the murals but also one of the significant in the Orthodox ecclesiastical art in Western Europe of the late 19th – early 20th centuries.
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