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DOI: https://doi.org/10.37222/2524-0315-2020-12(28)-11

Maria Helytovych, Head of Ancient Ukrainian Art department, Andrey Sheptytskyi National Museum in Lviv, PhD (Art Criticism)

Ukrainian icons of the late 15th — early 20th centuries from the collection «Studion» in the collection of the Andrey Sheptytskyi National Museum in Lviv

Abstract:

The article deals with a number of icons belonging to the «Studion» Museum at the Monastery of Studyts fathers in Lviv, founded in 1909 on the initiative of Metropolitan Andrey Sheptytskyi and transferred to the National Museum in Lviv in 1939 and 1945. The most important monuments of this collection, which are essential for the study of various aspects of Ukrainian icons, in particular, iconography, creative heritage of masters, painting centers, formation and peculiarities of the iconostasis, etc. are analyzed. It emphasizes the importance of individual works and their complexes for the reproduction of artistic processes that took place in the sacral painting of the end of the XVI — the first half of the XVI centuries. In particular, it concerns the theme of the image of the Virgin in the Ukrainian icon. It is also about the activities of individual painters and painting centers, among which is the creativity of an anonymous painter with a pronounced creative style of writing, which worked for the church of St. Paraskeva in the village Novycia in Lemkivshchyna. For the first time, it is pointed the necessity to study and systematize the iconic heritage of the church in Novycia, from which the monuments from different periods are originated; most of them belonged to «Studion». The question is posed of a comprehensive study of the iconography of Lemkivshchyna, for which the works of this collection will be important. It is emphasized the importance of another painting direction related to the painting center, which was active in the XVII century in the city of Sudova Vyshnia, from which the complex of icons from the iconostasis of the Church of Archangel Michael in the village Dobra is still little studied. The latest research on the attribution of a number of works is presented. The significance of the collection for more comprehensive coverage of the features of the Ukrainian icon at different stages of its history is revealed. A number of new monuments are being introduced.

Keywords:  icon, master, «Studion», tradition, research.

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