Formát papíru

Průvodce studentskou tvorbou

Fellows marching

Jméno Ročník Datum

volodymyr loboda, Fellows marching (1971). Reproduková za účely dokumentace; veškerá práva jsou vyhrazena vlastníkem práv.

Zásadní informace

Autor
volodymyr loboda wahooart.com/cs/artists/volodymyr-loboda/
Datum vzniku díla
1943 – ?
Malováno
1971
Původní rozměry
50 x 70 cm
Pohyb
Suprematism Pure geometric shapes floating on plain grounds, meant to leave the visible world behind entirely.

V kontextu

Fellows marching — volodymyr loboda

Jak velký je?

Původní rozměry jsou 50 × 70 cm (výška × šířka), zde zobrazeno vedle dospělé osoby průměrné výšky.

Kdy bylo toto dílo vytvořeno?

  1. 1940
  2. 1950
  3. 1960
  4. 1970

Shaded: životopis volodymyr loboda (1943–?) ▲ toto dílo, 1971

Podobná díla

Vyberte si jedno z výše uvedených děl: uveďte dvě věci, které má společné s tímto dílem, a jednu věc, ve které se liší.

Další díla, která se k tomuto hodí: wahooart.com/cs/art/similar/volodymyr-loboda-fellows-marching-D35LLP-en/

Paleta barev

Určeno podle obrazu

    Hlavní barva

    Putty #cdc4aa

    Uložená paleta

    • #CDC4AA
    • #3C84BE
    • #383C42
    • #6F6858
    Název hlavní barvy
    Putty
    Sytost
    Balanced Jak nasycené a rozmanité barvy jsou, od jediného tlumeného odstínu až po mnoho jasných tónů.
    Kontrast
    Balanced Jak moc se barvy v rámci obrazu liší v jasnosti a sytosti.
    Harmonie
    Discordant Palette Jak dobře barvy spoluladí, od kontrastních až po plně harmonické.
    Jasnost
    Balanced Jak moc je obraz celkově světlý nebo tmavý, od hlubokého stínu až po jasný světelný vrchol.
    Nasycení
    Subtle Color Jak čisté a syté jsou tyto barvy, od téměř šedých až po plně živé.

    Umělec a muzeum

    Umělec

    volodymyr loboda

    Narozen v Dnipro, Ukraine

    A Life Etched in Nonconformity: The World of Volodymyr Loboda

    Volodymyr Loboda, born in Dnipro, Ukraine in 1943, stands as a pivotal figure within the landscape of Soviet nonconformist art. His journey is not merely that of an artist, but a testament to creative resilience against the constraints of a restrictive political and ideological climate. Emerging from a generation stifled by official Socialist Realism, Loboda carved out a unique artistic voice—one steeped in memory, identity, and a poignant exploration of the human condition. He wasn’t simply painting pictures; he was constructing narratives of resistance, subtly challenging the dominant discourse through symbolic imagery and an intensely personal aesthetic. His early life, rooted in the industrial city of Dnipro, provided a backdrop for observing the complexities of Soviet society—a world of both collective ambition and individual struggle. This observation would become central to his artistic vision.

    From Architecture to Artistic Rebellion

    Loboda’s formal education initially led him down a different path. He studied at the Kyiv Art School, followed by a period at the Faculty of Architecture in Dnipro. However, the rigid structure and utilitarian focus of architectural training proved insufficient for his burgeoning artistic sensibilities. While architecture demanded adherence to prescribed forms, Loboda yearned for the freedom of expression that painting offered. This shift wasn’t abrupt; it was a gradual awakening—a realization that art could be a more potent vehicle for conveying meaning and challenging established norms. He eventually dedicated himself fully to painting, graphic arts, and sculpture, embracing a multifaceted approach that allowed him to explore diverse avenues of creative inquiry. The influence of his architectural background is subtly present in some works, manifesting as geometric structures or spatial arrangements that hint at the built environment—a silent commentary on the societal frameworks he was navigating.

    Themes of Memory and Identity

    Loboda’s art is profoundly introspective, often delving into themes of memory, loss, and the search for identity within a collective history. His works are not grand pronouncements but rather intimate reflections—fragments of experience rendered with raw emotional honesty. The human figure frequently appears in his paintings, often depicted as solitary or isolated, conveying a sense of alienation and existential questioning. He masterfully employs symbolism, layering meaning into seemingly simple compositions. Recurring motifs—such as doorways, windows, and fragmented landscapes—evoke feelings of displacement, longing, and the elusive nature of belonging. His palette is often muted, favoring earthy tones and somber hues that amplify the melancholic undertones of his subject matter. Sorrow, Leaning Woman, for example, encapsulates this emotional depth, portraying a figure burdened by unspoken grief—a universal symbol of human suffering.

    A Legacy of Nonconformity and Enduring Influence

    Throughout the 1970s and 80s, Loboda’s work remained largely outside the official art system, circulating within underground circles and private collections. This period of artistic isolation was not without its challenges; he faced scrutiny from Soviet authorities due to his nonconformist stance. However, this adversity only strengthened his resolve—fueling a commitment to artistic integrity and independent expression. The first individual exhibition in 1990 at the Lviv Art Gallery marked a turning point, bringing his work into wider public view. Since then, Loboda’s art has garnered increasing recognition both within Ukraine and internationally. He is now considered one of the most important representatives of Ukrainian nonconformist art, inspiring generations of artists to challenge conventions and explore their own unique voices. His works serve as a powerful reminder of the importance of artistic freedom and the enduring human spirit in the face of oppression. The recent attention surrounding his passing in December 2023 further solidifies his place within art history—a testament to a life dedicated to truth, beauty, and unwavering creative vision.

    Major Achievements & Continued Exploration

    Loboda’s achievements extend beyond the canvas; he is also recognized as a poet, adding another layer of depth to his artistic expression. His poetry often complements his visual work, exploring similar themes of memory, identity, and social commentary. He has exhibited extensively throughout Ukraine and Europe, with works held in numerous private and public collections. His ability to seamlessly blend painting, sculpture, and poetry sets him apart, creating a holistic artistic experience that resonates deeply with viewers. Even as he matured, Loboda continued to experiment with new techniques and materials, demonstrating an unwavering commitment to innovation. His later works often incorporate collage elements—as seen in Collage from the book 'Bratyna'—reflecting a playful exploration of form and texture. He remains a vital force within contemporary Ukrainian art, his legacy continuing to inspire artists and audiences alike.

    Více informací zde

    Najděte si online

    QR kód odkazující na stránku ke stažení Fellows marching

    wahooart.com/cs/art/download/volodymyr-loboda-fellows-marching-D35LLP-en/

    Citace tohoto díla

    MLA
    loboda, volodymyr. Fellows marching. 1971, https://wahooart.com/cs/art/volodymyr-loboda-fellows-marching-D35LLP-en/
    APA
    loboda, volodymyr (1971). Fellows marching [Painting]. https://wahooart.com/cs/art/volodymyr-loboda-fellows-marching-D35LLP-en/
    Chicago
    volodymyr loboda. Fellows marching. 1971. https://wahooart.com/cs/art/volodymyr-loboda-fellows-marching-D35LLP-en/
    Harvard
    loboda, volodymyr (1971) Fellows marching. Available at: https://wahooart.com/cs/art/volodymyr-loboda-fellows-marching-D35LLP-en/

    Podívejte se pozorně

    Fellows marching — volodymyr loboda

    Pohlédněte blíž

    Odpovídejte vlastními slovy. Neexistují zde žádné špatné odpovědi – pouze odpovědi, které dokážete vysvětlit.

    1. Co vás zaujme jako první a proč?
    2. Které barvy nebo tvary vytvářejí atmosféru – a jaká to je atmosféra?
    3. Kolik tváří dokážete najít? ____ (náš katalog jich počítá 2 — souhlasíte?)
    4. Zhlédněte si znovu dílo Gurzuf (1981), které jste v tomto průvodci viděli dříve. Uveďte dvě věci, které má společné s tímto dílem, a jednu věc, která je odlišná.
    5. Suprematism: Pure geometric shapes floating on plain grounds, meant to leave the visible world behind entirely. Kde je v tomto díle můžete spatřit?

    Vaše odpověď

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