The relevance of the article is based on the study of a certain trajectory of the development of the informal art of the Dnipro region in the 1970-2000s, which was created in a “closed” city and did not comply with the paradigm of socialist realism. The article introduces the creative work of artists of the “Ogrin circle” to the scientific context, establishing the definition of association as an artistic phenomenon and an underground format of creative resistance. The aim of the article is to analyse the artistic practices of “ogrintsi”. Among the methods of scientific research, art analysis is applied on the basis of complex systematization, comparison and generalization. This approach allows us to draw a number of important conclusions. “Ogrintsi” did not come into a fierce confrontation with the existing circumstances, did not take into account the lack of exhibiting. They knew the history of Ukraine, appreciated Ukrainian and world modern art. They abandoned archaisms or imitation of formal decisions uncharacteristic of Ukrainian culture. Artists skilfully used the aesthetics of naivety and the source base of folk ornamental paintings, professionally treated the vocabulary of decoration, relied on the transformation of primary impressions of nature, clearly focused on the specific Ukrainian system of artistic archetypes. The outlined discourse should become a catalyst for further research into the phenomenon of the “Ogrin circle” phenomenon.
How to Cite
Dnipro underground, plein air, painting, graphics, folk painting, naive painting, decorative art.
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