THE METHOD OF ARTISTIC APPROPRIATION IN THE CONTEXT OF PAINTING IN LEVKAS, UKRAINE AT THE END OF THE XX – BEGINNING OF THE XXI CENTURY

Abstract

The aim of the paper is to classify the main theoretical and artistic-aesthetic methods of artistic appropriation in the context of painting on gesso in Ukraine of the late 20th - early 21st centuries. Relevance. The material of the article draws attention to the low degree of research in such a field as modern painting on gesso and emphasizes the need to analyse the principles of its formation, since borrowing and appropriation in art can change the conventional understanding of production and consumption, creation and copying, which allow art to expand its field of influence, removing traditional limitations. Methodology. The research used a comparative method and a comparative analysis of formative and conceptual features of works of painting on gesso. The scientific novelty lies in the analysis and
development of types of artistic appropriation in the field of modern painting on gesso, namely: direct appropriation, when images of existing works or art objects are used; parody or satire, which involves the displacement and transformation of existing non-painting patterns of mass culture into another context; sampling or collage, characterized by the use of fragments of original works in the synthesis of materials; and reconstruction, when existing shapegenerating elements become the basis for own interpretations and references to existing artistic experience. Practical significance: Appropriation becomes a means of synthesis and creative expression of Ukrainian artists and is considered as a tool for reproducing certain ideas, shapes, and contents, popularizing the idea of refuting pure‘ originality. It offers new ideas to old meanings and forces one to reconsider conventional concepts. Also, appropriation reveals common connections and references between different eras, cultures and branches of art.