Особливості акварельного живопису в портретних творах Сергія Луньова
Features of watercolor portrait painting in the works of Sergei Lunev

Summary/Abstract: Works of Sergey Lunev are of particular importance for the development of portrait genre in Kharkiv XX-XXI centuries. The heyday of his watercolor searches coincides with the 1970 – 1980s. This period is considered the era of change in the socio-cultural situation in the state, which was associated with the so-called "thaw" of the 1960s. In Kharkiv art circle this process of selfdetermination and renewal of language plastic forms in painting came into force from 1970s. It is also found expression in Kharkiv easel portrait the last third of the twentieth century, which were characteristic for polystyle trends and finding alternative means of expression. Also, the subject of the portrait has changed. Leading trend of state order weakened, that was fixed in the time of domination of totalitarian power. This led to the chamber lyrical portraits without pathos of heroic biography of depicted workers: collective shock-workers, leading milkmaids, workers. Within the frame of specified chronology in Kharkiv worked artists, focused on different stylistic portrait solutions and individual creative experiments. Portrait works by Sergei Lunev varied with innovative features, atypical for a watercolor painting of the period. The structure of the artist’s paintings reflected the specific characteristics and principles of European art systems on the beginning of the twentieth century, which were deeply rethink and embodied in the author's interpretation. Going beyond the traditional format, which prevailed in the Kharkov art of watercolor last third of the twentieth century, Sergey Lunev enriched technical and stylistic arsenal of watercolor painting. In his works dominate the scenic quality of watercolors, which did not correspond to the traditional reckoning of the graphic material. As a result of such atypical for classical watercolors approaches, the artist expanded the possibilities of the material. In the period 1960-70-ies it was particularly important in the context of established opinion about this technique as occupy a secondary place in line with the technique of oil painting. On the basis of artistic and stylistic analysis of the male portrait "Thoughts about experiences," revealed the iconic watercolor of S. Lunev, which is defined by the author as stained glass. Abstract portrait’s background, broken into separate modules with the line, combined with a clear outline shapes builds associative array connected with stained glass technique. The line-jumper separates the colored segments in the background image and figure. Coloristic richness of color within each "piece" inadvertently causes a comparison with artistic features of "Favrile" glass. A variety of shades and nuances within a single sheet produced by Tiffany glassmakers, has won worldwide fame to this material. This effect was achieved when the glass of different colors, being in the liquid state, was poured on a table from different pots and kneaded to a desired thickness. Such way of work with paint we can see in the "Thoughts about experiences." Watercolor has a tendency not peculiar to its classic features. The artist uses heavily implicated paint leveled on the sheet with dense opaque layer. In addition to the effect of lead walls, between which are secured scenic spots like the pieces of colored glass – association with stained glass composition increases because of the way Lunev manages the portrait light. There is a sense of the light source at the rear of watercolor sheet. It is formed strong impression of light watercolor sheet "transmission". And as colored glass, which is composed portrait, is burning, lighting up by the rays of the setting sun. A picture tone color corresponds to the emotional mood of the hero image, which is further enhanced by Lunev selected color palette. An analysis of Sergey Lunev watercolors classified the main features of the artistic vocabulary of his portrait genre works in two directions. The first refers to the artist's experimentation with materials and tools of work. The second one deals with the use of methods and means of expression, characteristic of his creative approach to watercolor painting. Study of originals and reproductions of S. Lunev’s portrait works, as well as literary sources, including memories of artists who were familiar with S. Lunev, showed that the artist experiments with materials and tools of his work. It is the use of watercolors in combination with sand, wax, soap. Also, the individual effects of scenic textures in watercolor portrait achieved through the use of blades and brushes for oil painting. At the heart of iconic structures of S. Lunev portrait works is a decorative approach. Its main feature is the use of these artistic techniques: stylized form that finds a way to flattening and deformation volume, the space solution in the form of ornamental aligned planar background, stained glass, the use of rhythmic sequence, the use of contrast light-tone relations, as well working with color as a factor of psychological and emotional mood of the portrait. Among the main means of expression the basic place is given to the line, flatness and decorative spot. It is noticeable in works intention to the ornamental design background. Watercolor has a tendency not peculiar to its traditional characteristics. The artist uses heavily implicated paint lying on the sheet with thick opaque layers. Rich colors flow into each other, creating a unique richness of sound.

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