У статті розглянуто малярський колористичний потенціал прози відомого українського
письменника-шістдесятника. З'ясовано художні функції кольорів і світлових ефектів, їх аналоги
в картинній композиції, роль у розкритті змістових, настроєвих акцентів і конотаційних підтекстів,
відповідність малярським виражальним ресурсам, зафіксованим у теорії мистецтва.
The paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It
focuses on the functions of colors and color effects in the text, their analogues in painting, and the
role of the colors in showing semantic and mood accents or expressing some implicated meanings.
The researcher traces accordance of the literary means with expressive resources of painting art as
they are recorded in the theory of art.
Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s
attention to the plastic wealth of the outside world and its coloristic potential. The search for the
graphic forms of a psychological analysis, as well as the mood dominant, the background of event,
the expressive color markers of semantic accents or meaningful image components of exposition,
and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic
experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the
culture of visual perception and constructive imagination.
The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary
apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright
hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature.
Such artistic approach to the theme generates enormous, and at the same time ideologically typical,
pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art.
The development of coloristic culture in the works of the prose writer is rooted in his attention to the
rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a
psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety
of sensory experience and underline important semantic implications the writer skillfully works on the
parameters of achromatic light environment which becomes symbolized or transformed in a fantastic
and hyperbolic way due to the expressive function of light markers.
The light and color contrasts or combinations of hues may underline some essential semantic
aspects of the verbal picture components within the reproduction of a landscape. The analysis of
figurative and modeling means proves the artistic functionality of the verbal analogues of painting in
V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.
