DIRECTIONS OF STYLISTIC SEARCHES OF SILVER AGE ARCHITECTS ON THE EXAMPLES OF VINNYTSYA

Manifestations of stylistic decisions aimed at finding national means of expressiveness are analyzed on the example of architectural works in Vinnytsya. Visual prints of the main paradigms of national or international self-awareness in Vinnytsya were: in the "international" spirit of the Viennese Secession – the mansion of a retired captain, teacher O.M. Chetkov (1910-1911, with outdoor services and decorative fencing); in the modernized Neo-Russian – the Church of the Resurrection of Christ in the Orthodox cemetery (project 1902, construction 1910); in the Ukrainian folk, or, as they said in Vinnytsia, "Galician" style – the mansion of the future figure of the UPR doctor M.A. Stakhovsky (1914). Artistic ideologues were differently affected by the awareness of the intelligentsia of the Russian Empire of the importance and common heritage of historical Russia. In addition, on the example of the work of G.G. Artinov, against the background of the search for "new-national" (in the words of the bright memory of Y.S. Aseev), the dominance of the classicist tradition is indisputable, especially in the imagery for public buildings. The modernization of the forms of classical orders with the observance of Renaissance architecture and, thus, the emphasis on belonging to the centuries-old cultural development was associated with the best achievements of European architecture. Stylistic means reflected three main paradigms of self-awareness of artists in the river of architecture of Modern: internationalist and two of Rus – neo-Russian and Ukrainian. Each of the paradigms or their combination became the focus of certain aesthetic experiences and conceptual embodiments of cultural inheritance. This analysis allowed us to formulate the concept of aesthetic compassion on the theory of creative work.