Women’s Images in the Creative Work of Sculptor Opanas Shevchukevych

Abstract

The purpose of the article is to explore how the image of a woman is represented in the sculptural works of Opanas Shevchukevich and to identify the stylistic features of such representations. The methodological basis involves the application of art criticism analysis, synthesis, methods of generalisation, classification, and comparison, which allowed for an analysis of the gender aspect of O. Shevchukevich’s plastic art. The classification method made it possible to determine the main authorial concepts and compositional elements, where the theme of woman is predominant. The scientific novelty lies in outlining the stylistic features of the sculptor’s works as a unique phenomenon formed under the influence of expressionism; a comprehensive analysis of the artist’s views on the role of women in the context of societal development in Europe and Ukraine in the first half of the 20th century; and the introduction of newly discovered works of the artist into scientific circulation. Conclusions. The choice of thematic focus, stylistic characteristics, and emotional expressiveness of Opanas Shevchukevich’s (1902–1972) plastic art indicate the influence of both Ukrainian and German cultures (particularly expressionism) on the formation of his personality; they demonstrate the kinship of social and artistic concepts of Ukraine and Europe in the early decades of the 20th century. The image of women interested the artist throughout his creative path, with the most fruitful periods for its exploration being the early period and the time of flourishing (1923–1947). In such compositions, he highlighted the significance and multifaceted role of women in society, while also artistically reflecting the life of the contemporary social environment. The analysis of the implementation of feminist ideas in the sculptural works of O. Shevchukevych revealed themes that interested the artist: the woman-creator, the scholar, a person with a socially active civic and feminist position (portraits of Käthe Hirsch, Käthe Kollwitz, Maria Mayer); the woman as a symbol of the social and artistic views of the era (depictions of Olha Kobylianska, Lesia Ukrainka, and Yevheniia Yaroshynska); the woman as an embodiment of love; images of the Madonna and mother; priestesses of life. The stylistics of the artist’s works show noticeable parallels with European movements from 1900 to 1936, particularly expressionism. The creativity of O. Shevchukevych once again proves that the development of Ukrainian art in the first third of the 20th century occurred within the context of European culture.