Papir

Veiledning for studentkunst

Fellows marching

Navn Klasse Dato

volodymyr loboda, Fellows marching (1971). Gjengitt i illustrasjonsøyemed; alle rettigheter forbeholdt rettighetshaver.

Fakta om verket

Kunstner
volodymyr loboda wahooart.com/no/artists/volodymyr-loboda/
Kunstnerens datoer
1943 – ?
Malt
1971
Opprinnelig størrelse
50 x 70 cm
Bevegelse
Suprematism Pure geometric shapes floating on plain grounds, meant to leave the visible world behind entirely.

I sammenheng

Fellows marching — volodymyr loboda

Hvor stor er den?

Originalen måler 50 × 70 cm (høyde × bredde), vist her ved siden av en voksen person med gjennomsnittlig høyde.

Når ble dette malt?

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

Skyggelagt: livsløpet til volodymyr loboda (1943–?) ▲ dette verket, 1971

Sammenlign med

Velg ett av verkene ovenfor: nevn to ting det har til felles med dette, og én ting som er annerledes.

Flere verk som kan stå ved siden av dette: wahooart.com/no/art/similar/volodymyr-loboda-fellows-marching-D35LLP-en/

Farger

Målt ut fra bildet

    Hovedfarge

    Putty #cdc4aa

    Katalogisert palett

    • #CDC4AA
    • #3C84BE
    • #383C42
    • #6F6858
    Hovedfargenavn
    Putty
    Intensitet
    Balanced Hvor mettede og varierte fargene er, fra en enkelt dempet nyanse til mange klare toner.
    Kontrast
    Balanced Hvor mye fargene varierer i lyshet og metning over hele bildet.
    Harmoni
    Discordant Palette Hvor godt fargene fungerer sammen, fra kontrastfylt til fullstendig harmonisk.
    Lysstyrke
    Balanced Hvor lyst eller mørkt bildet fremstår totalt sett, fra dype skygger til lyse høylys.
    Metning
    Subtle Color Hvor rene og sterke fargene er, fra nesten grått til helt livlige.

    Kunstner og museum

    Kunstner

    volodymyr loboda

    Født i 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.

    Les mer her

    Finn denne på nett

    QR-kode som lenker til nedlastingssiden for Fellows marching

    wahooart.com/no/art/download/volodymyr-loboda-fellows-marching-D35LLP-en/

    Kildehenvisning for dette kunstverket

    MLA
    loboda, volodymyr. Fellows marching. 1971, https://wahooart.com/no/art/volodymyr-loboda-fellows-marching-D35LLP-en/
    APA
    loboda, volodymyr (1971). Fellows marching [Painting]. https://wahooart.com/no/art/volodymyr-loboda-fellows-marching-D35LLP-en/
    Chicago
    volodymyr loboda. Fellows marching. 1971. https://wahooart.com/no/art/volodymyr-loboda-fellows-marching-D35LLP-en/
    Harvard
    loboda, volodymyr (1971) Fellows marching. Available at: https://wahooart.com/no/art/volodymyr-loboda-fellows-marching-D35LLP-en/

    Se nøye etter

    Fellows marching — volodymyr loboda

    Se nærmere etter

    Svar med egne ord. Det finnes ingen feil svar her – bare svar du kan forklare.

    1. Hva fanger blikket ditt først, og hvorfor?
    2. Hvilke farger eller former skaper stemningen – og hva er den stemningen?
    3. Hvor mange ansikter kan du finne? ____ (vår katalog teller 2 — er du enig?)
    4. Se tilbake på Gurzuf (1981), tidligere i denne guiden. Nevn to ting den har til felles med dette verket, og én ting som er annerledes.
    5. Suprematism: Pure geometric shapes floating on plain grounds, meant to leave the visible world behind entirely. Hvor kan du se dette i dette verket?

    Ditt svar

    Skriv et kort avsnitt om dette kunstverket. Bruk fakta fra de tidligere delene av denne guiden og svarene dine ovenfor.