Transcarpathian school of painting in the context of Ukrainian art of the second half of the twentieth century

The article is focused on the analysis of the features of Transcarpathian school of painting and on its place and role within Ukrainian art of the second half of the 20th century, covering the late Soviet decades and the period of Perestroika. Formed in the 1920s-1930s under the influence of major tendencies of early modernism and through realization of figurative and plastic potential of the folk-art, that has served as a method of national self-affirmation, the Transcarpathian school of painting became after the inclusion of Transcarpathia to SovietUkraine a part of soviet culture as a whole. Nevertheless, the Transcarpathian school of painting has preserved its main artistic principles, among which were concentration on the permanent themes of native nature and of general rural life traditions, while maintaining its attention to the colour and to the decorative aspects of painting. In the mid-1950s — 1960s, the works of the Transcarpathian artists that reflected a unique local landscape and folklore had a strong effect on the Ukrainian art overall. These works brought out a new and distinct subject which was embodied through different forms of art — painting, graphic arts and cinema. Painting of Transcarpathian school was perceived then by the Ukrainian artists as continuation of traditions of European modernism forbidden in the USSR in 1930 — the first half is 1950. However influence of socialistic realism already in 1970-1980th resulted in deceleration of creative development. New tendencies were designated in the art of together Transcarpathia with perestroika.