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Kateryna Kosjanenko
1978 Born in Kyiv , Ukraine .

1989-1996 National Shevchenko’s School of Fine Arts .

1996-2002 Graduated from National ( Ukrainian ) Academy of Fine arts and Architecture (Theatre decoration and painting Departmtnt). Cllass by famous Ukrainian artist Danylo Lider.

2002 Joined National Union of Artists.

2002 - 2005 Post-graduate Department of the National Academy of Fine Arts and Architecture. Magistr of Painting.

1999 Begun her performance of all-Ukrainian’s and foreign art exhibitions.

2003 Participant of Salon D’Automne (Paris , Franc ). Grand prix for painting.

2004 Grant of the President of Ukraine for talented youth.

Articles:
  • Ukrainian baroque and national icon, Larisa Chlenova
    Icons reflect the style of Ukrainian art during the first half of 18 th century and illustrate its general direction. Though Ukrainian artists subscribed to the system of European painting, their work they rested upon their ancient tradition decorative art. The use of three-dimensional chiaroscuro modeling and phantom space did not disrupt monumental synthetic forms and unity of linear and pictorial plasticity. All these forms were absorbed by the general artistic system, which was characterized by integrity, pliability, and rich ornament.
    In the first half of 18th century baroque enters the mature stage of its development, becoming even more magnificent, mellow, and refined. The best examples of baroque painting are twin icons of the great martyrs Anastasia and Iulania, Barbara and Kateryna. These holy maidaens - delicate, fine, feminine, and graceful - are painted according to new beauty canons, leaving no place for ascetic severity or conditional alienation of images.
    Harmonious unity—refined forms, delicate chiaroscuro modeling, proportions of postures, and smoothness of the curved lines are the main characteristics of the icon paintings. But what gives them their true charm is coloring with paints twinkling and shining like gems. Finely painted ornaments on costly garments (glazing on golden and silver background) and gilded carvings add to the colorful symphony, developed with marvelous taste and nobility…

  • Art critic, Oleh Sydor-Hibelinda
    Kateryna Kosjanenko is by no means a humble prisoner of retrospectives and reminiscence. She is a beautiful blonde with eyes of a Renaissance maid who belongs to the 21 st century. To the very marrow of her bones. Íer favorite is Gentile da Fabriano (who "was painted the best," as a contemporary artist noted, fainting). Her elegant, yet youthfully saucy, despotism helps her to overcome iconographic stereotypes. And a line of poetic prose by Apollinaire―"Stabbed Dove and the Fountain"―hangs in the air in her work "Marichka swims away..." as a friend and namesake of mine noted. This technique she repeated only once, when decorating a disk for contemporary music band.
    …The two painting series exhibited are like two parts of a nut shell with a kernel inside―an idea used in her next series of works dedicated to Cossack Mamai, the Ukrainian Ulysses who was ´no one´. This description may not be not ideal. The possibilities of an artist, after all, go far beyond the triad, leading me to compare Kateryna to a generous tree bearing golden fruits in abundance. We just need to gather them into our baskets. Or open our astonished hands, which are not used handling such bounty.

  • Art critic, Lidia Hurs´ka
    Ukrainian Arts Academy awarded Kateryna Kosjanenko with the silver medal for "considerable achievements in painting" for her cycle "Calendar". Her work "Pokrova" received the Grand Prix for painting at the centenary Autumn Paris Salon (Salon de Paris), patroned by French President Jacques Chirac (2003).
    The originality and uniqueness of Kosjanenko´s rich painting shows through in subtly graduated, multidimensional works which mix textures and nuances through a compound score of colors. She often uses explosive but highly harmonious gold and crimson, clear red, cherry-brown, and penetrating cold blue colors. Pictorial surface seems to be maid of precious stones because of changeable play of thick spreads of paint and delicate, micaceous -looking, warmly twinkling layers of glaze, created with laborious repetitious touch of thin brush. Filigree modeled faces and hands of characters, filled with quiet warm light, sink into fanciful swirl of poly-semantic painting…


08.02.2007 — 11.03.2007
Anthology