Specifics of Siberian Identity in the Context of Formation of the Artistic Concept �siberia� in the Works of Krasnoyarsk Artist Anton Dovnar

Abstract

This article is devoted to the study of the concept "Siberia" and its specifics of visualization in paintings on the example of the contemporary Krasnoyarsk artist Anton Dovnar. Of particular interest is the fact that the authors propose to consider the concept of "Siberia" not on the verbal, but rather on the visual level. The relevance of the study is in determining the additional possibilities of forming a regional identity, in expanding the characteristics and content of the concept "Siberia" owing to the variety and depth of the painterly artistic image. The article presents the results of analysis of such concepts as "a Siberian", "Siberian mentality", as well as formation of the concept "Siberia" in the artistic milieu of the city of Krasnoyarsk. The practical part of the article presents the results of the study of the art of the painter, his works in the genre of still life, which is defined as a genre of visual art that can figuratively reflect important aspects of life, tastes, habits, social position of people through the material nature of specific objects. The findings show the specifics of visualization of the concept "Siberia" in the works of Anton Dovnar at all levels of expressiveness, available to painting: colour scheme, composition and subject matter. The study used general scientific methods of research, as well as the descriptive-discursive, analytical, generalizing-synthetic methods of art criticism. KEYWORDS Concept Siberia, visualization of the concept Siberia, Anton Dovnar, Siberian identity, modern Siberian art.

The Image of the Yenisei in the Paintings of Krasnoyarsk Artists

“…person's cultural identity, are devoted to its study (Tarasova, Grigorieva, 2011;Pimenova, Marysheva, 2011;Mirkes, Sergeeva, 2011;Kolesnik, Mirkes, 2011;Kistova, Tamarovskaya, 2015;Ilbeykina et al, 2015;Avdeeva, Degtyarenko, Shpak, 2017). This process is also impossible without appealing to the visual arts of the region (Sertakova, Gerasimova, 2011;Semyonova, Bralkova, 2011;Bulak, 2014;Bulak, 2018;Amosova et al, 2019) and paintings of some artists (Semenova, Soshenko, 2011;Kolesnik, et al 2017;Panteleeva, 2018).…”