Flint Zinovy Petrovich

Soviet Ukrainian artist of decorative and applied art, ceramist. Member of the USSR Academy of Arts. He graduated from the Lviv Institute of Applied and Decorative Arts (1965), where he studied under R. Selsky and K. Zvirinsky. Since the mid-1970s, Flint Z.P. – one of the leaders of the artistic process of the city of Lviv. He was called an indefatigable experimenter. Zenovy Petrovich Flinta was born in 1935 in with. Toki of the Ternopil region. In 1965 he graduated from the Lviv School of Applied and Decorative Mystetzva (Department of Art Pottery). Teachers in the specialty: G. Selsky, K. Zvirinsky, T. Porozhnyak. In 1965-1975 he worked as a teacher of the chair of ceramics of the same institute. In 1970 he became a member of the Union of Artists of the Ukrainian SSR. Since 1961 – participant of regional and republican art exhibitions, since 1968 – all-Union, and since 1973 – international. Group exhibitions of works 3. Flint, L. Medvidya, O. Minka were exhibited in 1982-1983 in Lviv, Kiev, Vilnius, and in 1986 in Moscow. In 1985, a solo exhibition of works of Flint (painting, graphics, ceramics) in Lviv took place. Since 1972 – Member of the Board and Chairman of the Applied Art Section of the Lviv organization of the Union of Artists of the Ukrainian SSR. In 1974 he was awarded the Honorary Diploma at the International Ceramics Exhibition in Faenza (Italy). He worked in the field of easel painting and art ceramics. The works of Lviv National Flint are kept in the Lviv National Museum, the Lviv Art Gallery, the Museum of Ethnography and Arts of the Academy of Sciences of Ukraine, the art museums of Sumy and Kemerovo, other art and public institutions and private collections in our country and abroad. Harmony of life and nature in all the dramatic nature of their co-existence Zenovy Flint argues in his works with consistent consistency. He induces the viewer to reflect on the eternity and incomprehensibility of a fast-flowing life, forcing him to survive the moment of the unique state of the soul. The artist liked to repeat: “It is important that things and the world constantly promise to tell us something new.” His attitude to the world he expresses the original artistic language, which hardly has analogues in the Lviv painting school. Flint is constantly experimenting, wants a harmonious relationship of space and plastic forms, the maximum expressiveness of the composition and the variety of colors. In his paintings, he gravitates to the finest nuancing, reaching finely mixed color combinations. In contrast to the majority of artists, Carpathian artists, the artist chooses restrained, but emotionally saturated colors. Through one of the qualities of reality – color – Flint creates a viewer in the viewer of other majesty of nature: about weight, statics, unsteadiness, constructive rigidity of the objective world, about space. As the critic noted, “Zenovy Flint as an artist is the most diverse and dynamic. It was this dynamic, the search and led him to harmony, thoughtfulness. It provides great importance to composition, drawing, and sketch preparation. Does not lend itself to spontaneous impulses in his work. ” Zenovy Flint wrote many diverse landscapes – here and seascapes, and steppe, and mountain, and urban. All of them have one characteristic feature: the artist perceives nature as something eternal, inexorable, as a manifestation of the beauty of its majestic forms and rhythms. Of the many details that create a landscape, the artist selects a few to this generalization to make the viewer feel the simplicity of harmony and the rhythm of nature. One of Flint’s most favorite cycles is the “Bread Field”. The first mowing, haymaking. Such landscapes are located horizontally. Before the spectator one after another there are several zones that are interrupted here and there by elements that unite the landscape in a general rhythm. Rounded forms of hills that go beyond the horizon seem to entail and again return back, like sea waves (“The First Mowers”, 1985). In Flint’s Crimean landscapes, his ability to correlate a separate motif with the scale of the whole earth and sky, to feel the plasticity of large color volumes, the heaviness of the mountains, and at times the great power of lava, once erupted from the depths to the surface and a stagnant capricious heap. And against the background of this greatness, the creation of the hands of human beings – the fortress (“The Crimea, Fortress Sudak”, 1981) grows. This mountain watchman on his walls, which is caked from the sun, bears the seal of time, of history. Comparison of a variety of masses, an unusual presentation of angles convey dynamics and a special atmosphere of the landscape. Flint has a whole gallery of completely different images, psychologically bright portraits of his contemporaries. They showed the characteristic features of the figurative system of painting the artist, which are inherent in most of his works. In his portraits there is no ceremonial celebration, they are written mainly in a lyrical tonality and bribed with warmth and sincerity. This “Portrait of a daughter” (1985). It completely disappears an echo

Фото : Зиновий Флинта “Сказочный пейзаж”

Photo: Zenoviy Flint. Cathedral of St. Yura, 1987. Keramika, the Emal