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This bachelor´s thesis will deal with the preserved burgher apartment of Czech poet Adolf Heyduk in Písek and his collection of paintings from the late 19th and early 20th century. The thesis will include a brief introduction of the personality of the Czech poet Adolf Heyduk. It will also deal with the history of the house in which the apartment is located. This will be followed by a description of the house designed by the architect Jan Koula, whom the author, together with the builder of the house, Karel Novák, will also briefly introduce. The next chapter will focus on the apartement itself, its internal layout and furnishings. The apartment has been preserved without any major modifications in almost its original form, of Art Nouveau furniture, textiles and, last but not least, many art objects and paintings by very important authors. It is a valuable collection of Czech art paintings from the late 19th and early 20th century that will be the central theme of this thesis. Finally, the author will outline the history of the establishment of the current Adolf Heyduk Memorial and and its recent reconstruction.

The Khuens are an old noble family originally from Tyrol, whose members lived on the territory of the Habsburg Monarchy. After his marriage in 1782, General Antun Count Khuen-Belasi came into possession of the Nuštar estate in Slavonia, which previously belonged to his wife’s family. It is an estate between Vukovar and Vinkovci, with a large manor and chapel in Nuštar, created through several time phases, from the 18th to the 20th century. In their manor, they owned a valuable inventory, including an art collection. During the evacuation from Nuštar in 1944, the family stored part of their property (archival material, books, works of art) in Zagreb, and took the rest abroad. Today, most of this material is kept in Austria, in the possession of the heirs of the family. Archival material and preserved works of art enabled the authors of the work to reconstruct the contents of their art collection, about which we had very little information up to now. The collection was created in the same way as other collections of the Slavonian nobility, by transferring works of art from abroad at the beginning of its creation, and then by commissioning works of art from domesticated, visiting and local artists, with an emphasis on portraits of family members and their relatives.

Pisanja diplomskega dela smo se lotili ravno v času koronavirusne bolezni, ko so povsod po svetu morali številni muzeji zaradi pandemije zapreti svoja vrata in svoje eksponate obiskovalcem približati v virtualnih svetovih, tako da so se ogledi razstav in muzejev množično preseljevali na splet. Posledično se je področje spletnih prikazov zbirk umetniških del v kratkem času zelo razmahnilo. Odločili smo se analizirati obstoječe spletne prikaze razstav in zbirk umetniških del. Cilj diplomske naloge je bila izdelava prototipa spletne strani poljubne razstave umetniških del z zanimivim vmesnikom. Spletna stran bo zagotovila poučno in zabavno uporabniško izkušnjo, saj umetniška dela ne bodo predstavljena le na običajen način z besedilom in slikami, ampak bo uporabnik ob obisku te strani lahko igral računalniško igrico ter na tak način pridobil, preveril in dopolnil svoje znanje s področja umetnosti. V diplomski nalogi opišemo izdelavo lastne rešitve, in sicer od razvoja ideje do implementacije oblikovalske rešitve in programiranja. Na koncu izdelek testiramo pri uporabnikih in ovrednotimo uporabniško izkušnjo. The writing of the diploma work was started right at the time of coronavirus disease, when many museums all around the world had to close their doors due to a pandemic and bring their exhibits closer to visitors in virtual worlds, so that visits to exhibitions and museums were moving massively online. As a result, the field of online displays of art collections expanded greatly in a short period of time. We decided to analyze existing online displays of exhibitions and art collections. The aim of the diploma thesis was to create a prototype website for any exhibition of works of art with an interesting interface. The website will provide an educational and entertaining user experience, as the works of art will not only be presented in the usual way with text and images, but the user, at visiting the website, will be able to play a computer game and thus gain, test and supplement his knowledge in the field of art. In the diploma thesis the creation of our own solution is described, namely from the development of the idea to the implementation of the design solution and programming. Finally, the product is tested with users and the user experience is evaluated.

This article searches to understand the narratives built around the history of art curatorship as a social practice, considering some of its paradigms. We thus propose a counter-narrative to the tendency to contend art curatorship only as emerging in the second half of the 20th century. From the conservation of collections to temporary exhibitions, art curatorship has become a specialized field and has been responsible to articulate different discourses of the legitimization in the visual arts throughout the centuries. If in the first period, narratives of the visual arts and of the artists were built, in the 20th century and in face of modern art experiences, the focus was geared towards the education of the audience and of the museum professional staff. Since the 1960s, there has been a separation of a figure that was understood as one professional: the conservator (or collection curator) and the independent curator. In this process, the former has been considered as a mere technical employee of museum institutions, whereas the latter has gained the spotlight and a status as an author/creator. The inclusion of curatorial experiences that took place in Brazil in various historical moments serves as a critical counterpoint to the art curatorial practices in the framework of traditional European and US institutions, aiming at an approach that looks into the issue from the perspective of the globalization process. Este texto busca compreender as narrativas construídas em torno da história da curadoria de arte enquanto prática social, por meio da discussão de alguns de seus paradigmas. Propõe-se uma história na contramão da tendência de abordar a curadoria de arte apenas a partir da segunda metade do século XX. Do cuidado com as coleções às exposições temporárias, a curadoria de arte especializou-se ao longo dos séculos e foi responsável por articular diferentes discursos de legitimação sobre a arte. Se num primeiro momento constituíram-se narrativas sobre a arte e os artistas, ao longo do século XX e das experiências de arte moderna o foco voltou-se para a formação de público e de quadros profissionais para os museus. A partir da década de 1960 ocorre a divisão de uma figura que antes era una: o conservador – ou curador de coleção – e o curador independente. Enquanto o primeiro passou a ser considerado um mero funcionário das instituições museológicas, o segundo ganhou protagonismo e estatuto de autor. A inclusão de experiências curatoriais realizadas no Brasil, em diferentes momentos históricos, serve como contraponto crítico às práticas curatoriais de arte realizadas nas instituições tradicionais europeias e estadunidenses, com vistas a uma abordagem que leve em conta o processo de globalização.

RESUMO Este texto busca compreender as narrativas construídas em torno da história da curadoria de arte enquanto prática social, por meio da discussão de alguns de seus paradigmas. Propõe-se uma história na contramão da tendência de abordar a curadoria de arte apenas a partir da segunda metade do século XX. Do cuidado com as coleções às exposições temporárias, a curadoria de arte especializou-se ao longo dos séculos e foi responsável por articular diferentes discursos de legitimação sobre a arte. Se num primeiro momento constituíram-se narrativas sobre a arte e os artistas, ao longo do século XX e das experiências de arte moderna o foco voltou-se para a formação de público e de quadros profissionais para os museus. A partir da década de 1960 ocorre a divisão de uma figura que antes era una: o conservador - ou curador de coleção - e o curador independente. Enquanto o primeiro passou a ser considerado um mero funcionário das instituições museológicas, o segundo ganhou protagonismo e estatuto de autor. A inclusão de experiências curatoriais realizadas no Brasil, em diferentes momentos históricos, serve como contraponto crítico às práticas curatoriais de arte realizadas nas instituições tradicionais europeias e estadunidenses, com vistas a uma abordagem que leve em conta o processo de globalização. ABSTRACT This article searches to understand the narratives built around the history of art curatorship as a social practice, considering some of its paradigms. We thus propose a counter-narrative to the tendency to contend art curatorship only as emerging in the second half of the 20th century. From the conservation of collections to temporary exhibitions, art curatorship has become a specialized field and has been responsible to articulate different discourses of the legitimization in the visual arts throughout the centuries. If in the first period, narratives of the visual arts and of the artists were built, in the 20th century and in face of modern art experiences, the focus was geared towards the education of the audience and of the museum professional staff. Since the 1960s, there has been a separation of a figure that was understood as one professional: the conservator (or collection curator) and the independent curator. In this process, the former has been considered as a mere technical employee of museum institutions, whereas the latter has gained the spotlight and a status as an author/creator. The inclusion of curatorial experiences that took place in Brazil in various historical moments serves as a critical counterpoint to the art curatorial practices in the framework of traditional European and US institutions, aiming at an approach that looks into the issue from the perspective of the globalization process.

������������ ���������������� ������������������������ ������������������������, ������������������������ ������������ �������������������������� ������������������������������������ ���������� ������������������������ �������������������� �� ���������������������� �� ������������������ ������������������������������ ���������� �� ������������ ������������ ���������������������� ���������������������� ����������, ������������������������������������ �� ������������������������������������ ���� �������������������� �� ������ ������������������������ ����������. �� ������������ ������������������ �� ���������������� ������������ ���������������������������� ������������������������ ���������������������������� �������������������������������� ������������������ �� ������ ������������������������������ ���������� �� 2003 �������� ���� ���������� ������������������ ���������� ����������������������, ���������������������� ��������������������, ������������������ �� 1994 ��������, ���������� ��������������. ������������������ �������� ������������������������ �� ���������� ���������������� ������������������������ ������������ �������������������������� �������������������� ������������������ ��������������. �� ������������ ������������ ���������������������������� ������������������, ���������������������� �� ����������, �� �������������������� ���������������� ������������������ ���� ������������������������., The article is a continuation of the research devoted to the contribution of the Public Charitable Foundation "Revival of Tobolsk" to the organization of an Art Museum in Tobolsk in the former building of the Tobolsk Provincial Museum, restored and reconstructed on the initiative and under the leadership of the Foundation. The article refers to the transfer of artistic works of national fine art as a gift made by the Foundation to the Art Museum in 2003 during the last series of arrivals, which completed a unique donation campaign that has lasted since 1994. Thanks to these arrivals, the museum has developed a significant section of domestic contemporary sculpture. The article describes the collection received by the museum and names the main participants of its formation.

During his life, Croatian collector Ante Topić Mimara (1898–1987) assembled a vast art collection spanning from artefacts of early civilizations to artworks from the 20th century. The core of the collection was formed on the art market of the Third Reich. By the end of 1948, Topić had transported artworks from his own collection to Yugoslavia. In the course of the next few years, his involvement in transferring artworks from Germany to Yugoslavia grew stronger and broader. Until Topić’s abrupt dismissal by Yugoslavia in 1950, these transfers occurred in close collaboration with highly ranked Yugoslav officials. During the 1950s and 1960s Topić and (part of) his collection parted ways. While artworks that entered Yugoslavia through his engagement were used to furnish state residences, Topić himself was considered persona non grata by the state. He spent more than a decade wandering the world, while continuing to collect artwork. Only after his official donation to the Strossmayer Gallery in the late 1960s and early 1970s did Topić regain the status of a distinguished art collector and philanthropist within Yugoslavia. This prepared ground for his next, even larger donation, upon which the Mimara Museum in Zagreb was established. Due to his mysterious biography, which is known primarily through eyewitness accounts and characterized by a lack of sources that would confirm his own unreliable statements regarding his life and provenance of his collection, numerous questions about Topić’s activity in the field of art collection remain unanswered. This paper aims to offer insight into Topić Mimara’s life between his activities in the Yugoslav state service around the year 1950 and the late 1960s, when his donation to the Strossmayer gallery took place. In order to consolidate his general biography, several episodes from that period will be clarified on the basis of yet unpublished archival records. This paper’s other objective is to trace the locations of the artworks Topić brought to Yugoslavia, which could eventually highlight his connections to the Yugoslav political establishment.

Questo saggio, incentrato sulla serie di paramenti che si conserva presso il Museo Arqueológico Nacional de Madrid, è parte di uno studio più generale sulle collezioni d'arte di Ramiro Felípez Núñez de Guzmán (1600-1668), duca di Medina de las Torres e viceré di Napoli dal 1637 al 1644. Oltre a ricostruire le vicende che hanno portato al trasferimento di questa serie da Napoli a Madrid - e in particolare al convento di Santa Teresa de Jesùs, fondato dal figlio Nicola Carafa -, si offre altresì una significativa apertura alla conoscenza delle raccolte di paramenti e di arazzi posseduti dal viceré Medina, alla luce di una lettura dei documenti d'archivio noti e inediti e di qualche testimonianza letteraria sinora trascurata dalla critica. This essay, which describes a group of hangings kept in the National Archaeological Museum of Madrid, is part of a more general investigation into the art collection of Ramiro Felípez Núñez de Guzmán (1600-1668), Duke of Medina de las Torres and Viceroy of Naples from 1637 to 1644. In addition to reconstructing the events leading to the transfer of this series from Naples to Madrid - and, in particular, to the Convent of Santa Teresa de Jesús founded by his son Nicola Carafa - it also adds significant contributions to our knowledge of Viceroy Medina's collections of hangings and tapestries through the reading of various archival documents, both familiar and unpublished, along with formerly neglected literary evidence. Aquest assaig, centrat en la sèrie de paraments que es conserven al Museu Arqueològic Nacional de Madrid, forma part d'un estudi més general sobre les col·leccions d'art de Ramiro Felípez Núñez de Guzmán (1600-1668), duc de Medina de las Torres i virrei de Nàpols de 1637 a 1644. A més de la reconstrucció dels fets que van dur a la transferència d'aquesta sèrie de Nàpols a Madrid -i en particular al convent de Santa Teresa de Jesús, fundada pel seu fill Nicola Carafa-, es proporciona també una significativa obertura al coneixement de les col·leccions de paraments i tapissos propietat del virrei Medina, a partir d'una lectura de documents d'arxiu coneguts i inèdits i d'alguns testimonis literaris fins ara oblidats per la crítica. Este ensayo, centrado en la serie de paramentos que se conservan en el Museo Arqueológico Nacional de Madrid, forma parte de un estudio más general sobre las colecciones de arte de Ramiro Felípez Núñez de Guzmán (1600-1668), duque de Medina de las Torres y virrey de Nápoles de 1637 a 1644. Además de la reconstrucción de los hechos que llevaron a la transferencia de esta serie de Nápoles a Madrid -y en particular al convento de Santa Teresa de Jesús, fundada por su hijo Nicola Carafa-, se proporciona también una significativa apertura al conocimiento de las colecciones de paramentos y tapices propiedad del virrey Medina, a la luz de una lectura de documentos de archivo conocidos e inéditos y de algunos testimonios literarios hasta ahora olvidados por la crítica.

Resumen El escritor británico Bruce Chatwin (1940-1989) convierte a un coleccionista compulsivo en eje central de su novela Utz. A través de su protagonista, reflexiona acerca del mundo del arte, rememorando su pasado cuando trabajaba en la casa de subastas Sotheby´s. Su experiencia allí le proporcionó unos conocimientos y una mirada que determinarían su vida, aprendió a estudiar una obra de arte, a describirla en pocas palabras y valorar su precio en el mercado. Todo ello se percibe en su estilo narrativo, donde persigue la precisión de las descripciones típicas de los catalogadores. Desarrolló un estilo propio. Además, adquirió una red de contactos trascendental alrededor del mundo. Fijó su interés en personalidades peculiares que desembocaron en la creación de Utz, personificación de ese entramado de marchantes y coleccionistas que le facilitó su puesto de director en el departamento de impresionistas y arte moderno. Al mismo tiempo, su época en Sotheby´s despertó en él la eterna disyuntiva entre la posesión, la búsqueda de la inmortalidad y la creación artística. El presente artículo examina cómo el autor aborda todos estos temas en la novela. Abstract British writer Bruce Chatwin (1940-1989) makes a compulsive collector the central axis of his novel Utz. Through that character, he reflects on the art world remembering his work at the auction house Sotheby´s. His experience there gave him the knowledge and look that would condition his life. He learnt to analyze a work of art, to describe it in just a few words and to value it in the market. All of it can be noticed in his writing style, in which he pursues the kind of the precision observed in cataloguers. He developed his own technique. Besides, he acquired a strong contact network around the world. He put his eyes on peculiar personalities that led to the creation of Utz, personification of all those art dealers and collectors that he met during his time as the head of the firm's Impressionist and Modern Art department. Moreover, his work at Sotheby´s awakened his eternal dilemma between possession, search for immortality and creation. This article examines how the author treats the above topics in his novel.

Esta pesquisa parte de duas gravuras do artista belga James Ensor (1860-1949), intituladas Os insetos singulares (1888) e Rei Peste (1895). Estas obras fazem parte da coleção de Murilo Mendes (1901- 1975) e, atualmente, integram o acervo do Museu de Arte Moderna da UFJF dedicado ao poeta. Neste sentido, são abordados três pontos: o artista, as gravuras, e o poeta. Os principais objetivos dessa dissertação são compreender melhor a figura de James Ensor, estudar as duas imagens do artista e o rico universo que elas apresentam, e analisar a relação de Murilo Mendes com essas gravuras. Neste terceiro ponto, é notória a afinidade do poeta por questões que abarcam a cultura do fim do século, sobretudo no que diz respeito à abordagem do fantástico dentro da realidade. Tal característica é marca registrada nos trabalhos artísticos de Ensor, o qual viveu dentro desta cultura do fim do século XIX. Para compreender todas essas questões, a comparação entre imagens e textos se fez de suma importância, no intuito de demonstrar a presença desses elementos culturais que, por vezes, são semelhantes no contexto histórico tanto do artista quanto do poeta. This research starts from two engravings by belgian artist James Ensor (1860-1949), entitled The Singular Insects (1888) and King Pest (1895). These artworks are part of the collection of Murilo Mendes (1901- 1975) and, currently, integrate the collection of the Museum of Modern Art of the UFJF dedicated to poet. In this sense, three points are addressed: the artist, the engravings, and the poet. The main objectives of this dissertation are to better understand the figure of James Ensor, to study the two images of the artist and the rich universe that they present, and to analyze the relationship of Murilo Mendes with these engravings. In this third point, the affinity of the poet is notorious for issues that encompass the culture of the end of the century, especially with regard to the approach of the fantastic within reality. Such characteristic is a trademark of Ensor’s artworks, which lived within this culture of the end of the nineteenth century. To understand all these questions, the comparison between images and texts was of paramount importance, in order to demonstrate the presence of these cultural elements that are, sometimes, similar in the historical context of both the artist and the poet.

British writer Bruce Chatwin (1940-1989) makes a compulsive collector the central axis of his novel Utz. Through that character, he reflects on the art world remembering his work at the auction house Sotheby´s. His experience there gave him the knowledge and look that would condition his life. He learnt to analyze a work of art, to describe it in just a few words and to value it in the market. All of it can be noticed in his writing style, in which he pursues the kind of the precision observed in cataloguers. He developed his own technique. Besides, he acquired a strong contact network around the world. He put his eyes on peculiar personalities that led to the creation of Utz, personification of all those art dealers and collectors that he met during his time as the head of the firm's Impressionist and Modern Art department. Moreover, his work at Sotheby´s awakened his eternal dilemma between possession, search for immortality and creation. This article examines how the author treats the above topics in his novel. El escritor británico Bruce Chatwin (1940-1989) convierte a un coleccionista compulsivo en eje central de su novela Utz. A través de su protagonista, reflexiona acerca del mundo del arte, rememorando su pasado cuando trabajaba en la casa de subastas Sotheby´s. Su experiencia allí le proporcionó unos conocimientos y una mirada que determinarían su vida, aprendió a estudiar una obra de arte, a describirla en pocas palabras y valorar su precio en el mercado. Todo ello se percibe en su estilo narrativo, donde persigue la precisión de las descripciones típicas de los catalogadores. Desarrolló un estilo propio. Además, adquirió una red de contactos trascendental alrededor del mundo. Fijó su interés en personalidades peculiares que desembocaron en la creación de Utz, personificación de ese entramado de marchantes y coleccionistas que le facilitó su puesto de director en el departamento de impresionistas y arte moderno. Al mismo tiempo, su época en Sotheby´s despertó en él la eterna disyuntiva entre la posesión, la búsqueda de la inmortalidad y la creación artística. El presente artículo examina cómo el autor aborda todos estos temas en la novela.

The essay focuses on a valuable acquisition of the Fondazione Giorgio Cini graphic art collections: a group of works by Ugo Zovetti Senior (Curzola, Dalmatia, 1879 - Milan, 1974). Ugo Zovetti was a great master of decoration and also distinguished himself in other fields, such as mural painting, advertising painting and engraving. An original, multifaceted artist, Zovetti is particularly valued for his works on paper, and especially the outstanding, highly refined decorated papers.

Ressenya del llibre de Vicenç Furió, Rembrandt, geni del gravat, Edicions de la Universitat de Barcelona, Barcelona, 2018., Book review of Vicenç Furió, Rembrandt, geni del gravat, Edicions de la Universitat de Barcelona, Barcelona, 2018.

The aim of the research is to study available information about life and creative work of an artist (painter, graphic artist) Mikolay Davidovych, determining the place of his works in the collection of Counts Branicki of the Korczak Coat of Arms, determining possible ways of further search for materials for studying his creative work. Research methodology. Methods of art and historical analysis were used. Scientific novelty. In the paper the creative work of Polish artist Mikolay Davidovych coming from Ukraine (was born in Ustymivka village located in Kyiv region) is studied for the first time based on the materials found in the course of studies of the collection of Counts Branicki. Conclusions. Mikolay Davidovych, a painter and graphic artist, studied at Kraków Academy of Fine Arts (1884–1888), actively participated in exhibitions of the Society for the Encouragement of Artists of Kraków and Warsaw. The main genre in which the artist worked was portrait. He worked for prosperous aristocratic families (painting portraits of Counts Branicki of the Korczak Coat of Arms, princes Sanguszko). He worked in Kraków, Warsaw, Tarnów (Poland). Mikolay Davidovych spent a considerable part of his life and creative work in BilaTserkva (Ukraine). Currently works of Mikolay Davidovych are kept in the Museum of King Jan III’s Palace at Wilanów (Warsaw, Poland), Museum of Tarnów (Lesser Poland Voivodeship, Poland) and Bila Tserkva Country Studies Museum.

В статье на основе архивных материалов анализируется специфика формирования художественной коллекции Академии Русского балета во второй половине ХХ — начале XXI вв. Выявляется, что с начала своей истории по настоящее время донаторство является основным способом пополнения коллекции, количество приобретенных и заказных работ крайне мало. Среди донаторов отчетливо выделяются три основные группы: 1) деятели балетного театра (главным образом выпускники хореографического училища) и их родственники; 2) художники, обращающиеся в своем творчестве к теме и образам балета; 3) организации и фонды. Все поступающие в коллекцию экспонаты связаны с историей русского (советского) балета. Это произведения театрально-декорационного искусства (эскизы к постановкам, афиши, сценические костюмы и бутафория); портреты выдающихся танцовщиков; станковая живопись, графика и мелкая пластика, отражающая балетные образы. Авторы выделяют основные этапы формировании коллекции. Первый — от 1917 г. до открытия музея в 1957 г.; второй — от 1957 г. до переезда музея в новые помещения в 1988 г. В это время решающую роль в становлении и развитии коллекции сыграла ее первая хранительница — Мариэтта Харлампиевна Франгопуло. В третий период (1988–2013) в музее сменилось несколько заведующих, наибольший вклад в сохранение и развитие коллекции вложила Марина Леонидовна Вивьен. С 2013 г., когда Академию Русского балета возглавил Николай Максимович Цискаридзе, начался четвертый этап. Медийность личности артиста привлекает повышенное внимание деятелей культуры к коллекции. Поток донаторов и география поступления даров заметно расширились., The article analyzed the specifics of the formation of Vaganova Ballet Academy art collection in the second half of the 20th — 21st centuries on the basis of archival materials. The researchers pointed out that donation was the main way to replenish the collection from the beginning of its history to the present, the number of purchased and custom works was extremely small. The authors distinguished three major groups among the donators: 1) figures of the ballet theater (mainly graduates of the ballet school) and their relatives; 2) artists who turn in their work to ballet themes and images; 3) organizations and funds. All the exhibits in the collection are connected with the history of Russian (Soviet) ballet. These are works of theatrical-decorative art (sketches for productions, posters, stage costumes and props); portraits of outstanding dancers; easel painting, graphics and small plastic, reflecting ballet images. In this article, the authors described the main stages in the art collection formation. The first period lasted from 1917 until the official opening of the museum in 1957, the second one continued from 1957 until the museum’s relocation to new rooms in 1988. At this time, first curator, Marietta Kharlampievna Frangopulo, played a decisive role in the formation and development of the collection. In the third period (1988–2013) the museum changed several heads. Marina Leonidovna Vivien invested the greatest contribution to the preservation and development of the collection. Since 2013, when Nikolai Maximovich Tsiskaridze headed Vaganova Ballet Academy, the fourth period has begun. Media personality of the artist attracts attention of cultural figures to the collection. A number of donators and the geography of the gifts have noticeably expanded.

Оскільки твори мистецтва — це завжди інвестиції не лише в «емоційний інтелект», а й у «вартісно-художню складову», метою цією студії було простеження формування взаємодії між творенням сучасного українського мистецтва та колекціонуванням його творів упродовж часу Незалежності. Колекціонування творів мистецтва в Україні зазначеної доби не має комплексного висвітлення. Втім, деякі матеріали, оприлюднені останнім часом, дозволяють уявити загальні риси формування інституту колекціонування в Україні. Саме ці публікації стали джерельною базою для презентованої студії. Показано, що вихідна мотивація колекціонерів може бути різною: хтось починає просто збирати «те, що до вподоби», і цей дедалі непоборніший потяг переростає у створення значної колекції, а з її формуванням вдосконалюються й уподобання збирача. Хтось підходить до мистецтва з точки зору його матеріальної цінності, розпізнавши у колекціонуванні найрозумніше капіталовкладення, гарантоване від збитків. Хтось займається колекціонуванням з меценатських позицій, прагнучи підтримати митців і розвиток мистецтва в цілому. Але у будь-якому з цих варіантів міститься, більш ніж напевно, рясний у прийдешньому врожай з рілля культури. Не ставлячи за мету всебічний розгляд проблеми колекціонування творів сучасного мистецтва України, стаття покликана у начерковому режимі презентувати основні, найбільш значущі явища в українському музейництві, що спрямоване, по-перше, на актуальну фіксацію художніх явищ шляхом колекціонування мистецьких артефактів, по-друге, на формування цілісного погляду на становлення сучасного українського мистецтва в розмаїтості його візуальних ідей, творчих напрямів, «зорових» і «розумових» уподобань і художніх позицій, по-третє, на створення фактологічного підґрунтя для мистецтвознавчого осмислення явища українського мистецтва ХХ–ХХІ століть у контексті світового мистецького руху., Since works of art are always investments not only in “emotional intelligence”, but also in “value-artistic component”, the goal of the article is to trace the formation of interaction between the creation of works of modern Ukrainian art and their collecting during Independence. Collecting works of art in Ukraine of the time indicated does not have comprehensive coverage. However, some recently published materials, allow us to present the general features of the formation of the institution of collecting in Ukraine. These publications have become the key basis for the study. It is shown that the initial motivation of collectors can be different: someone begins to simply collect “what they like”, and this irresistible attraction grows into the creation of an impressive collection, and with its formation, the collector’s preferences are also improved. Someone approaches art from the point of view of its material value, recognizing in collection a reasonable investment guaranteed against losses. Someone is engaged in collecting from the standpoint of patronage, seeking to support artists and development of art in general. But in any of these options there is, more than certainly, a plentiful cultural harvest in the future. Not aiming at a comprehensive consideration of the problem of collecting works of contemporary art in Ukraine, the article is designed in the mode of essay to present the main, most significant phenomena in the Ukrainian museum. They are aimed, firstly, at the actual fixation of artistic phenomena by collecting artistic artifacts, a holistic view of the emergence of modern Ukrainian art in the variety of its visual ideas, creative directions, “visual” and “mental” preferences and artistic positions, and thirdly, to establish a factual basis for understanding the phenomenon of art history of Ukrainian art of the 20th–21st centuries in the context of the global art movement., Поскольку произведения искусства — это всегда инвестиции не только в «эмоциональный интеллект», но и в «ценностно-художественную составляющую», цель статьи — проследить формирование взаимодействия между созданием произведений современного украинского искусства и их коллекционированием на протяжении Независимости. Коллекционирование произведений искусства в Украине указанного времени не имеет комплексного освещения. Однако некоторые материалы, опубликованные в последнее время, позволяют представить общие черты формирования института коллекционирования в Украине. Именно эти публикации стали ключевой базой исследования. Показано, что исходная мотивация коллекционеров может быть разной: кто-то начинает просто собирать «то, что нравится», и это непреодолимое влечение перерастает в создание внушительной коллекции, а с ее формированием совершенствуются и предпочтения собирателя. Кто-то подходит к искусству с точки зрения его материальной ценности, распознав в коллекционировании разумное капиталовложение, гарантированное от убытков. Кто-то занимается коллекционированием с точки зрения меценатства, стремясь поддержать художников и развитие искусства в целом. Но в любом из этих вариантов содержится, более чем наверняка, обильный в будущем культурный урожай. Не ставя целью всестороннее рассмотрение проблемы коллекционирования произведений современного искусства в Украине, статья призвана в режиме очерка представить основные, наиболее значимые явления в украинском музейництве, направленные, во-первых, на актуальную фиксацию художественных явлений путем коллекционирования художественных артефактов, во-вторых, на формирование целостного взгляда на становление современного украинского искусства в разнообразии его визуальных идей, творческих направлений, «зрительных» и «умственных» предпочтений и художественных позиций, в-третьих, на создание фактологического основания для искусствоведческого осмысления явления украинского искусства ХХ–ХХI веков в контексте мирового художественного движения.