„Sobie – wolny... Boże, więc – wolny!”. Malarstwo Vincenta van Gogha w poetyckiej recepcji Liny Kostenko (na podstawie wiersza Van Gogh z cyklu Sylwetki)

Abstract

This article outlines the interest of the Ukrainian 1960s generation and dissident circles in the life and work of Vincent van Gogh, the renowned Dutch artist. It focuses on an analysis of Lina Kostenko’s poem Van Gogh from the cycle Silhouettes, considering its relationship to the original paintings. The poem is interpreted in two complementary ways: (1) as an ekphrasis inspired by the poet’s impressions of multiple iconic works by van Gogh-such as Cypresses (1889), Cypresses with Two Female Figures (1889), Wheat Field with Cypresses (1889), Road with Cypress and Star (1890), Wheat Field Under Clouded Sky (1890), Wheatfield with Crows (1890), Mountains at Saint-Remy (1889), A Meadow in the Mountains (1889), Mountainous Landscape Behind Saint-Paul Hospital (1889), Olive Trees with the Alpilles in the Background (1889), and Shepherd with a Flock of Sheep (After the Storm) (1884); and (2) as an ekphrasis of a single canvas - The Starry Night (1889) - where individual elements are synthesized into a unified artistic whole.