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Woman in the House, Man in the Field

Oleksandr Saienko

Basic information

ID: Г-I-1164
Author: Oleksandr Saienko
Name: Woman in the House, Man in the Field
Date of creation: 1921
Technique: watercolour
Material: paper watercolour pencil
Dimensions: 18.3 x 23.6 cm (height x width)

Additionally

Type: graphic art
Genre: genre art
Provenance: Purchased from Saienko N., 1990

Information about author

Author: Oleksandr Saienko
Artist's lifetime: 1899–1985
Country: Ukraine
Biography: Oleksandr Saienko (8 (20) August 1899, Borzna, now Chernihiv Oblast – 5 March 1985, Kyiv) was a Ukrainian artist and decorator. People's Artist of the Ukrainian SSR (1975). The master's works are preserved in the Borzna Memorial Art Museum "Manor of the People's Artist of Ukraine Oleksandr Sayenko", founded in 1966. At an early age, the artist lost his hearing and speech due to illness. Studied at the St. Petersburg Imperial School for the Deaf and Mute (1907–16); continued his art education in Borzna at the art studio of A. Lazarchuk (1916–17), the Kyiv Art School (1917–18), and the Myrhorod Art and Industrial Institute (now in Poltava Oblast, 1918–19). Graduated from the Kyiv Art Institute (1928; teachers M. Boichuk, V. Krychevskyi). Saienko worked in the field of monumental and monumental-decorative art using the technique of straw inlay. He was the initiator of the creation of the museum of the history of the Borzna Agricultural Technical School (opened in 1964). In 1975, Saienko was awarded the title of People's Artist of the Ukrainian SSR. The main themes of his work, marked by national artistic character, rhythm, and dynamics, are the history of Ukraine, Shevchenko's works, and Ukrainian nature. He is the author of monumental decorative panels created using the straw mosaic technique, as well as artistic textiles (tapestries, carpets), interior designs for residential and public spaces, furniture, ceramics, decorative fabrics (including woodblock printing), paintings, and graphic works. Initiator of the creation of the historical and local history museum in Borzna (1964). Participant in regional, national, all-Union, and international art exhibitions since 1924. Solo exhibitions in Lviv (1962), Kyiv (1962, 1967, 1974, 1984), and Borzna (1963). Well-known paintings and graphic works – "Self-Portrait" (1918), "Motrona Saienko", "Cossack on Horseback","Shepherd", "Shepherdess with Sheep" (all – 1922), "Krychevskyi in Blue" (1924), "Ukrainian Woman's Portrait" (1925), "Potter", "Weaver" (both 1926); the monumental painting "Honouring the Zaporozhian Cossacks (1920); straw mosaics "The Past" (1920), "Cossack Mamai" (1928), "Prisoners", "Semen Palii" (both 1966), "Kyi – Founder of Kyiv" (1982); mosaic panels – "The Past" (1920), "She Reaped the Wheat in Serfdom's Labour" (1922), "Prisoners in Turkish Captivity" (for the premises of the historical section of the Ukrainian Academy of Sciences in Kyiv), "Cossack Mamai" (both – 1928), "Spring" (1957), "Harvest Festival" (1960), "Birds" (1963; at the Dnipro Hotel in Kyiv), "The Mighty Dniper Roars and Bellows" (1964), "Prisoners” (1966), "Semen Palii with a Pipe", "Ivan Sirko" (both 1967), (both 1973); tapestries – "Goats under a Tree" (1956), "Generous Autumn", "Wonder Garden", "Goats and Birds", "Memory" (all –1977), decorative panels – "Bird and Beast" (1922), "Autumn Fairy Tale" (1978); ceramic plates – "Girl with Sheep", "Ivan Mazepa" (both – 1922), "Cossack Mamai", “Birds" (both – 1980); sketches – "Ukrainian Antiquity" (1921), "Meeting of a Cossack", "Cossack Mamai" (both 1924); interior design of a hut (1927); bust of P. Kulish (1936); compositions – "T. Shevchenko under guard" (1937), "Apple Picking" (1940); decorative fabrics – "Spring Voices", "Summer Melody" (both 1976), "Sunny Rhythms" (1977), "Autumn Fairy Tale" (1978); carpet "Flowers of Ukraine" (1979); ceramic panel "Apple Picking"; decorative vase "Birds" (both – 1980), etc. Saienko's most famous work is the large decorative painting “Cossack Mamai”. The energy and sharp contours emphasise the strength and power of the character. The entire panel is treated concisely, cohesively, and holistically, which gives it even greater expressiveness. Taras Shevchenko played an important role in Saienko's life and work. The artist thoroughly studied the poet's biography. The family's private library contained many of Shevchenko's works, on the pages of which Oleksandr Saienko left his notes and comments. The artist incorporated certain motifs from the great poet's work into his own creations. One of his best monumental works is the panel "She Reaped the Wheat in Serfdom's Labour" (1920). The artist was always attracted to the history of Ukraine. He paid special attention to his fellow countryman, Semen Palii, a native of Borzna. Expressive drawing and clear colours create a convincing image of Palii in the works "Semen Palii" and "Semen Palii's Meeting after the Battle of Poltava". Oleksandr Saienko died on 5 March 1985 in Kyiv and was buried in the Baikove Cemetery.

Object description

A sketch composition in the form of an arch, consisting of two parts painted on a yellow background. Both have an arched shape. On the right is a colourful, stylised composition depicting a woman in Ukrainian national costume sitting on a wooden bench and holding a child with her left arm. Her right hand is placed on the head of a second child, reaching out to her. Below is an image of a hen sitting on eggs to the right. The left part is a black-and-white, stylised composition, tinted blue. A sketch, barely drawn in pencil, depicts a man with a moustache sitting under a sloping tree with one leg bent. In the distance, there are two oxen harnessed to a cart. The artist uses reverse perspective to construct the work. The composition is monumental in nature, reminiscent of the works of the Boichukists.

Inscriptions

At the bottom, there are inscriptions in pencil and pens of different colours: "1921"; "Man in the field"; "Saienko O."; "Fresco"; "Woman in the house"; "O. Saienko 1921".

Legal regulation

Borys Voznytskyi Lviv National Art Gallery

Woman in the House, Man in the Field

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