Fragments of frescoes from the medi

Fragments of frescoes from the medieval Rus period have been found in the Church of the Tithes in Kyiv (late 10th century), the Cathedral of the Transfiguration in Chernihiv (11th century) and the St. Sophia Cathedral in Kyiv (early 11th century). In style these 11th-century frescoes are similar to those of the middle period of Byzantine art.
According to the Primary Chronicle portable icons were being painted in the 10th and 11th centuries, but none so old have survived to our time.
Only a few paintings (mostly in Western Ukraine) survived the turbulent years of the 13th century, Mongol invasion—the frescoes in Transcarpathia, and in the Armenian Cathedral in Lviv, built in 1363.
In Ukraine portrait painting as a separate genre emerged during the Renaissance (16th century) and was strongly influenced by the icon tradition. The first portraits were not used for religious purposes included official portrayals of nobles and Cossack hetmans and officers, as well as more intimate portraits of nobles.
Many Ukrainian painters were attracted to the newly established Academy of Arts in St. Petersburg (1757), which cultivated the classicist style of painting then popular in Europe. Better-known Ukrainian artists who contributed significantly to the development of art in Russia were A.Losenko, K.Holovachevsky, I.Sablukov, D.Levytsky and V.Borovykovsky. The exception was T.Shevchenko, who devoted most of his painting (like his writing) to Ukrainian interests and has been considered the father of modern Ukrainian painting. Shevehenko painted numerous portraits, self-portraits, and landscapes which recorded the architectural monuments of Ukraine.
During the 19th century landscape painting appeared as a separate genre, and not only in the work of Shevehenko. Inspired by romanticism, I.Soshenko, A.Kuindzhi, I.AivazOvsky, S.Vasylkivsky and S.Svitoslavsky devoted their talents to depicting scenery at its most beautiful.
In the last few decades of the 19th century Ukrainian painters studying art in Russia were influenced by the Peredvinzhniki society, formed in 1870 in St. Petersburg by artists who were opposed to the classicist traditions of the Academy of Arts.
Artists of Ukrainian origin who became active in the society were I.Repin, N.Ge, I.Kramskoi, A.Kuindzhi, M.Kuznetsov, K.Kostandi, P.Levchenko, PMartynovych, O.Murashko, P.Nilus, L.Pozen, M.Pymonenko, and S.Svitoslavsky.
Many other artists were influenced by its ideas to paint realistic genre pictures.
In Austrian-ruled Western Ukraine artists adapted to European trends, particularly those prevalent in Vienna and Crakow, where some of them had studied. Among them were L.Dolynsky, K.Ustiyanovych, and T.Kopystynsky, all of whom depicted rural life through a romanticized ethnographic prism and were active in decorating churches. Both M.Ivasiuk, who was known for its panorama historical canvases and A.Monastyrsky remained dedicated realists.
Impressionism made itself felt in the work of several Kyiv artists who had worked in Paris, including P.Levchenko, A.Manevich, M.Burachek, O.Murashko and the exceptionally versatile V.Krychevsky.
The early 20th-century avant-garde movement had a direct impact on Ukrainian painting. The most prominent of the representatives were K.Malevich, D. and V.Burliuk, A.Ekster, L.Baranoff-Rossine and V.Tatlin.
During the brief period of Ukrainian independence the Ukrainian State Academy of Arts (1917-22) was established in Kyiv. The Kyiv State Art Institute, made it possible for Ukrainian painters to pursue advanced art training in their homeland. V.Krychevsky was its first rector, and one of the most influential teachers was M.Boichuk, who revived fresco painting and aspired to develop an art for the masses based on a combination of Ukrainian traditions and Western models instead of the Peredvizhniki.
V.Yermilov in Kharkiv and O.Bohomazov, V.Palmov and A.Petrytsky in Kyiv experimented with abstraction; Yu.Mykhailiv, who was fascinated with mythology, continued the traditions of the symbolists.
In the 1930s all avant-garde activities in Soviet Ukraine came to a halt with the introduction of socialist realism. The narrow confines of socialist realism were widened somewhat after the death of I.Stalin, particularly during N.Khrushchov’s cultural thaw. Artists such as R.Selsky, M.Selska, V.Monasty’rsky, T.Yablonska and V.Zaretsky turned to Ukrainian folk themes.
After the failure of the Ukrainian revolution in 1919-20 and after the Second World War a good number of Ukrainian painters became emigrants and settled in the West. Many of them gained international prominence.
Changes brought about by glasnost and perestroika resulted in greater creative freedom and a proliferation of styles and manners of depletion. Artists whose work had been suppressed had solo exhibitions. Many painters showed great inventiveness.
After decades of restraint and isolation artists in Ukraine are now free to continue the development of various artistic traditions and have prospects of rejoining the international artistic mainstream.

Результаты (английский) 2:

Fragments of frescoes from the medieval Rus period have been found in the Church of the Tithes in Kyiv (late 10th century), the Cathedral of the Transfiguration in Chernihiv (11th century) and the St. Sophia Cathedral in Kyiv (early 11th century ). In style these 11th-century frescoes are similar to those of the middle period of Byzantine art.
According to the Primary Chronicle portable icons were being painted in the 10th and 11th centuries, but none so old have survived to our time.
Only a few paintings (mostly in Western Ukraine) survived the turbulent years of the 13th century, Mongol invasion-the frescoes in Transcarpathia, and in the Armenian Cathedral in Lviv, built in 1363.
in Ukraine portrait painting as a separate genre emerged during the Renaissance (16th century ) and was strongly influenced by the icon tradition. First portraits were The not used for religious purposes included official portrayals of nobles and hetmans by Cossack and officers, as well as Forum more intimate portraits of nobles.
Many Ukrainian painters were attracted to the newly established Academy of Arts in St. Petersburg (1757), which cultivated the classicist style of painting then popular in Europe. Better-known Ukrainian artists who contributed significantly to the development of art in Russia were A.Losenko, K.Holovachevsky, I.Sablukov, D.Levytsky and V.Borovykovsky. The exception was T.Shevchenko, who devoted most of his painting (like his writing) to Ukrainian interests and has been considered the father of modern Ukrainian painting. Painted numerous portraits Shevehenko, self-portraits, and landscapes which recorded the architectural monuments of Ukraine.
During the 19th century landscape painting appeared as a separate genre, and not only in the work of Shevehenko. By romanticism Inspired, I.Soshenko, A.Kuindzhi, I.AivazOvsky, S.Vasylkivsky and S.Svitoslavsky devoted their talents to depicting scenery at its most beautiful.
In the last few decades of the 19th century Ukrainian painters studying art in Russia were influenced by the Peredvinzhniki society, formed in 1870 in St. By artists who petersburg were opposed to the classicist traditions of the Academy of Arts.
Artists of Ukrainian origin who became active in the society were I.Repin, N.Ge, I.Kramskoi, A.Kuindzhi, M.Kuznetsov, K.Kostandi , P.Levchenko, PMartynovych, O.Murashko, P.Nilus, L.Pozen, M.Pymonenko, and S.Svitoslavsky.
Many other artists were influenced by its ideas to paint realistic genre pictures.
In Austrian-ruled Western Ukraine artists adapted to European trends, particularly those prevalent in Vienna and Crakow, where some of them had studied. Among them were L.Dolynsky, K.Ustiyanovych, and T.Kopystynsky, all of whom depicted rural life through a romanticized ethnographic prism and were active in decorating churches. M.Ivasiuk Both, who was known for its panorama and historical canvases A.Monastyrsky remained dedicated realists.
Impressionism made ​​itself felt in the work of several artists Kyiv who had worked in Paris, including P.Levchenko, A.Manevich, M.Burachek , O.Murashko and the exceptionally versatile V.Krychevsky.
The early 20th-century avant-garde movement had a direct impact on Ukrainian painting. Most prominent of The representatives were the K.Malevich, D. and V.Burliuk, A.Ekster, L.Baranoff-Rossine and V.Tatlin.
During the brief period of Ukrainian independence the Ukrainian State Academy of Arts (1917-22) was established in Kyiv. The Kyiv State Art Institute, made ​​it possible for Ukrainian painters to pursue advanced art training in their homeland. Was its first V.Krychevsky rector, and one of the most influential teachers was M.Boichuk, who revived fresco painting and aspired to develop an art for the masses based on a combination of Ukrainian traditions and Western models instead of the Peredvizhniki.
V. Yermilov in Kharkiv and O.Bohomazov, V.Palmov and A.Petrytsky in Kyiv experimented with abstraction; Yu.Mykhailiv, who was fascinated with mythology, continued the traditions of the symbolists.
In the 1930s avant-garde all activities in Soviet Ukraine came to a halt with the introduction of socialist realism. The narrow confines of socialist realism were widened somewhat after the death of I.Stalin, particularly during N.Khrushchov's cultural thaw. R.Selsky such as Artists, M.Selska, V.Monasty'rsky, T.Yablonska and V.Zaretsky turned to Ukrainian folk themes.
After the failure of the Ukrainian revolution in 1919-20 and after the Second World War a good number of Ukrainian painters became emigrants and settled in the West. Of them gained Many international prominence.
Changes brought about by perestroika and glasnost resulted in greater creative freedom and a proliferation of styles and manners of depletion. Artists whose work had been suppressed had solo exhibitions. Showed great painters Many inventiveness.
After decades of isolation and restraint artists in Ukraine are now free to continue the development of various artistic traditions and have prospects of rejoining the international artistic mainstream.

Результаты (английский) 3:

Fragments of frescoes from the medieval Rus period have been found in the Church of the Tithes in Kyiv (late 10th century, the Cathedral of the Transfiguration in Chernihiv (11th century) and the St. -Cathedral in Kyiv (early 11th century). In style these 11th-century frescoes are similar to those of the middle period of Byzantine art.
According to the Primary-Large at Chronicle portable icons were painted both appearing in the 10th and 11th centuries, but none so old have survived to our time.
Only a few paintings for in Western Ukraine) survived the turbulent years of the 13th century, Mongol invasion-the frescoes in Transcarpathia, and in the Armenian Cathedral in Lvov, built in 1363.
In Ukraine portrait painting as a separate genre emerged during the Renaissance (16th century) and was strongly influenced by the icon tradition. The first portraits were not used for religious purposes included column official portrayals of nobles and Cossack hetmans and officers, as well as more intimate portraits of nobles.
Many Ukrainian painters were attracted to the newly established Academy of Arts in St. Petersburg (calling from), which cultivated the Classicist style of painting then popular in Europe. Better-Arcus Ukrainian artists who contributed significantly to the development of art in Russia were-Losenko, K.Holovachevsky, I.Sablukov, "D.Levytsky and V.Borovykovsky. The exception was T.Shevchenko,