National Academy of Fine Arts and Architecture (NAIA). National Academy of Fine Arts and Architecture Kiev Academy of Arts

Voznesensky descent, 20

Coordinates: 50°27′32″ n. w. 30°30′26″ E. d. / 50.45889° N. w. 30.50722° E. d. / 50.45889; 30.50722(G) (I) K:Educational institutions founded in 1917

National Academy of Fine Arts and Architecture(ukr. National Academy of Creative Mystery and Architecture; NAOMA) is a Ukrainian higher art educational institution with an academic direction and training specialists in painting, sculpture, graphics, theatrical and decorative art, architecture, restoration of works of art, art history and art management.

Story

1917-1922

The National Academy of Fine Arts and Architecture is the successor Ukrainian Academy of Art, which was founded in 1917 in Kyiv by the Founding Commission headed by G. Pavlutsky. This commission was created on the initiative of the Secretary General of the Ministry of Education of the Ukrainian People's Republic I. Steshenko. The Academy's charter was approved by the Central Rada on November 5 (18), 1917. The grand opening took place on December 5 (18) of the same year in the premises of the Central Rada.

The Academy was headed by the Academy Council consisting of D. Antonovich, P. Zaitsev, D. Shcherbakovsky (scientific secretary), and others. The first rector was Fyodor Krichevsky.

The first professors of the Academy were: M. Boychuk (monumental art), N. Burachek (landscape), V. Krichevsky (architecture, composition), F. Krichevsky (painting, portrait), A. Manevich, A. Murashko, M. Zhuk ( easel painting, drawing), G. Narbut (graphics). In 1921, the faculty additionally included: L. Kramarenko (monumental and decorative painting), V. Meller (theater design), S. Nalepinskaya-Boychuk (engraving), E. Sagaidachny, B. Kratko (sculpture), A. Taran (mosaic) and others.

Initially, the Academy was located in the former Pedagogical Museum, then it was moved to the building of a former trade school. In February 1919, after the capture of Kyiv by the Red Army, the Academy of Arts became a state institution. At the suggestion of G. Narbut, who was confirmed as rector in February 1918, it received the status of a research institute.

In August 1919, after the capture of Kyiv by Denikin's Volunteer Army, the Ukrainian Academy of Arts was included in the category of private educational institutions not funded by the authorities. It was given a new name: “The Academy of Art in Kyiv, existing on the basis of the attitude of the head of the Department of Public Education at the Special Meeting of the Commander-in-Chief of the Armed Forces in the South of Russia in the name of the city trustee of the Kyiv educational district dated October 5, 1919, No. 4998”. In addition, the Academy was expelled from its building, and all its property was thrown into the attic. The Ukrainian cooperative association "Dnepr-Soyuz" helped Narbut purchase two empty apartments in the same building at 11 Georgievsky Lane, where he lived with V.L. Modzalevsky. They housed painting workshops, a library and an office. Narbut used his former living room as a graphics workshop, and Modzalevsky’s former office became the rector’s reception room. In December 1920, after the restoration of Soviet power in Kyiv, the Academy was located in the building of the former Assembly of the Nobility.

1922-1934

The structure of the educational institution was also redefined. It became aimed mainly at training artists “for the harmonious formation of the environment, life, and production.” Thus, at the Faculty of Painting, in addition to the departments of easel and monumental art, a new one was opened - theater cinema and photography. At the Faculty of Sculpture, along with monumental and easel sculpture, artistic woodworking and ceramics were mastered. Taking into account the needs of book printing, a comprehensive study of graphic techniques was carried out at the printing faculty, where future printing artists were trained. A special place was occupied by the art and pedagogical faculty, which trained artist-teachers and so-called artists-political educators for club work.

In a short time, the Kiev Art Institute took one of the leading places among art educational institutions in the USSR. However, the internecine struggle for hegemony in art that began in the late 1920s and early 1930s, personal feuds and increased ideological pressure nullified all achievements. The professors began to leave the institute. In 1930, the printing department and a number of departments were closed. In the same year, I. Vrona was dismissed from the post of rector and a new reorganization of the university was carried out according to proletkult ideology. The educational institution was named Kyiv Institute of Proletarian Artistic Culture, such faculties as artistic and propaganda, artistic design of proletarian life, sculptural design of socialist cities, and communist artistic education were formed. Many disciplines important for the development of professional skills were removed from the curriculum.

1934-1992

In 1934, after a radical reform of the institution, the university received a new name - All-Ukrainian Art Institute. Benkovich was appointed its rector. Late 1930s Kyiv State Art Institute, returned to academic methods of education. As a result of the reorganization, priority was given to easel forms. For a long time, easel art became the basis of the teaching methodology, which consisted of careful study of nature by means of drawing and painting and the consistent complication of exercises in order to prepare the student for performing a plot-thematic composition in one or another area of fine art.

In the post-war years, the institute expanded significantly, in particular, the number of its structural divisions increased. Thus, in 1948, the graphic faculty was restored with workshops for book, easel graphics, and political posters. The faculty was created on the basis of the graphic arts workshop, opened in 1945 at the faculty of painting. In 1958, the Faculty of Arts and Pedagogy was founded, and the following year, the Faculty of Theory and History of Art. The Faculty of Painting also expanded: in 1965, workshops of monumental and theatrical and decorative art were opened, and later - a department of technology and restoration of painting.

since 1992

By the Decree of the Cabinet of Ministers of Ukraine dated December 17, 1992, the university returned its original name - Ukrainian Academy of Arts, and according to the resolution of the Cabinet of Ministers of Ukraine dated March 17, 1998, it became Academy of Fine Arts and Architecture. By the decision of the State Accreditation Commission of Ukraine dated July 8, 1997, the academy was accredited at level IV, and on November 23, 1999, it was certified.

As an outstanding artistic educational center, for significant achievements in educational and scientific activities, training of artistic and scientific-pedagogical personnel in the field of fine arts and architecture, the Academy was granted the status of a National Educational Institution by Decree of the President of Ukraine of September 11, 2000.

Academy coat of arms

The central figure of the coat of arms is a stylized graphic image of a sirin, placed in the field of a heraldic baroque shield. Sirin is a fantastic bird with a woman's head. According to popular beliefs, Sirin is a prophetic bird that knows the past and future and can look into the hidden corners of the Universe. Like the phoenix, Sirin is immortal because he is reborn from the ashes every time. In the coat of arms, the Sirin is depicted with outstretched wings and his gaze turned to the viewer. It is golden in color, which symbolizes nobility and greatness.

Shield, crimson color (heraldic name - purple). The baroque shape of the shield is not accidental, since baroque is the most characteristic artistic movement in the history of Ukrainian culture. Above the shield is a golden sun, which symbolizes the source of knowledge and skill, the educational nature of the academy.

The shield is surrounded by a wreath of laurel and oak leaves, entwined with a ribbon with the inscription "Ukrainian Academy of Mysteries". The wreath is bright green, symbolizing life, wealth and immortality of talent and creativity. The front side of the tape is white, the back is blue.

The artistic design of the coat of arms was completed in 1997 as a thesis by a graduate of the Faculty of Graphics, Alexey Viktorovich Karpenko.

Academy structure

There are 3 faculties, 8 specialized and 5 general academic departments in the structure of the university:

United Faculty of Fine Arts
- Department of Painting and Composition
- Department of Graphic Arts
- Department of Sculpture
- Department of Art Restoration
- Department of Scenography
Faculty of Architecture
- Department of Architectural Design
- Department of Arts Synthesis
- Department of Architectural Structures
Faculty of Theory and History of Art
- Department of Theory and History of Art
general academic departments
- Department of Drawing
- drawing class
- Department of Culture and Social Disciplines
- Department of Foreign Languages
- Department of Physical Education

In order to train highly qualified scientific and pedagogical personnel in the field of fine arts and architecture, the academy has created a postgraduate course, which trains scientists in the following specialties:

fine arts
Theory of architecture and restoration of architectural monuments

Rectors (directors)

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Notes

Literature

Encyclopedia of Ukrainian Studies: In 10 volumes / Chief editor Volodymyr Kubiyovych. - Paris, New York: Young Life, 1954-1989.
Kiev Art Institute // Ukrainian Radyanska Encyclopedia. - 2nd visit. - T. 5. - K., 1980. - P. 151.
Newspaper Svoboda - weekly publication, part 39. New Jersey, 1952;
National Academy of Creative Arts and Architecture // New guide for applicants to the I, II, III, IV levels of accreditation. - K.: Grand Lyceum, 2003. - P. 48.
Pavlovsky V. Ukrainian State Academy of Mysteries up to 50 years of creation, w. Notes from Mystery, part 7. Philadelphia, 1968.
Sichinsky V. Ukrainian Academy of Mystery (Until 35 years of sleep);
Art Institute // Kiev: Encyclopedic Adviser. - K., 1981. - P. 672-673.

An excerpt characterizing the National Academy of Fine Arts and Architecture

And instead of all this, here he is, the rich husband of an unfaithful wife, a retired chamberlain who loves to eat, drink and easily scold the government when unbuttoned, a member of the Moscow English Club and everyone’s favorite member of Moscow society. For a long time he could not come to terms with the idea that he was the same retired Moscow chamberlain whose type he so deeply despised seven years ago.
Sometimes he consoled himself with thoughts that this was the only way he was leading this life; but then he was horrified by another thought, that so far, how many people had already entered, like him, with all their teeth and hair, into this life and into this club, and left without one tooth and hair.
In moments of pride, when he thought about his position, it seemed to him that he was completely different, special from those retired chamberlains whom he had despised before, that they were vulgar and stupid, happy and reassured by their position, “and even now I am still dissatisfied “I still want to do something for humanity,” he said to himself in moments of pride. “Or maybe all those comrades of mine, just like me, struggled, were looking for some new, their own path in life, and just like me, by the force of the situation, society, breed, that elemental force against which there is no a powerful man, they were brought to the same place as I,” he said to himself in moments of modesty, and after living in Moscow for some time, he no longer despised, but began to love, respect and pity, as well as himself, his comrades by fate .
Pierre was not, as before, in moments of despair, melancholy and disgust for life; but the same illness, which had previously expressed itself in sharp attacks, was driven inside and did not leave him for a moment. “Why? For what? What is going on in the world?” he asked himself in bewilderment several times a day, involuntarily beginning to ponder the meaning of the phenomena of life; but knowing from experience that there were no answers to these questions, he hastily tried to turn away from them, took up a book, or hurried to the club, or to Apollo Nikolaevich to chat about city gossip.
“Elena Vasilievna, who has never loved anything except her body and is one of the stupidest women in the world,” thought Pierre, “seems to people to be the height of intelligence and sophistication, and they bow before her. Napoleon Bonaparte was despised by everyone as long as he was great, and since he became a pathetic comedian, Emperor Franz has been trying to offer him his daughter as an illegitimate wife. The Spaniards send up prayers to God through the Catholic clergy in gratitude for the fact that they defeated the French on June 14th, and the French send up prayers through the same Catholic clergy that they defeated the Spaniards on June 14th. My brother Masons swear on blood that they are ready to sacrifice everything for their neighbor, and do not pay one ruble each for the collections of the poor and intrigue Astraeus against the Seekers of Manna, and are busy about the real Scottish carpet and about an act, the meaning of which is not known even to those who wrote it, and which no one needs. We all profess the Christian law of forgiveness of insults and love for one’s neighbor - the law, as a result of which we erected forty forty churches in Moscow, and yesterday we whipped a fleeing man, and the minister of the same law of love and forgiveness, the priest, allowed the cross to be kissed by a soldier before execution.” . So thought Pierre, and this whole, common, universally recognized lie, no matter how accustomed he was to it, as if it were something new, amazed him every time. “I understand these lies and confusion,” he thought, “but how can I tell them everything that I understand? I tried and always found that deep down in their souls they understand the same thing as me, but they just try not to see it. So it must be so! But for me, where should I go?” thought Pierre. He experienced the unfortunate ability of many, especially Russian people - the ability to see and believe in the possibility of good and truth, and to see too clearly the evil and lies of life in order to be able to take a serious part in it. Every area of labor in his eyes was associated with evil and deception. Whatever he tried to be, whatever he undertook, evil and lies repulsed him and blocked all paths of activity for him. Meanwhile, I had to live, I had to be busy. It was too scary to be under the yoke of these insoluble questions of life, and he gave himself up to his first hobbies just to forget them. He traveled to all sorts of societies, drank a lot, bought paintings and built, and most importantly read.
He read and read everything that came to hand, and read so that, having arrived home, when the footmen were still undressing him, he, having already taken a book, read - and from reading he passed on to sleep, and from sleep to chatting in the drawing rooms and club, from chatter to revelry and women, from revelry back to chatter, reading and wine. Drinking wine became more and more a physical and at the same time a moral need for him. Despite the fact that the doctors told him that, given his corruption, wine was dangerous for him, he drank a lot. He felt quite good only when, without noticing how, having poured several glasses of wine into his large mouth, he experienced a pleasant warmth in his body, tenderness for all his neighbors and the readiness of his mind to respond superficially to every thought, without delving into its essence. Only after drinking a bottle and two wines did he vaguely realize that the tangled, terrible knot of life that had terrified him before was not as terrible as he thought. With a noise in his head, chatting, listening to conversations or reading after lunch and dinner, he constantly saw this knot, from some side of it. But only under the influence of wine did he say to himself: “It’s nothing. I will unravel this - so I have an explanation ready. But now there’s no time—I’ll think about all this later!” But this never came afterwards.
On an empty stomach, in the morning, all the previous questions seemed just as insoluble and terrible, and Pierre hastily grabbed the book and rejoiced when someone came to him.
Sometimes Pierre recalled a story he had heard about how in war soldiers, being under cover fire and having nothing to do, diligently find something to do in order to more easily endure danger. And to Pierre all people seemed to be such soldiers fleeing from life: some by ambition, some by cards, some by writing laws, some by women, some by toys, some by horses, some by politics, some by hunting, some by wine, some by state affairs. “Nothing is insignificant or important, it’s all the same: just to escape from it as best I can!” thought Pierre. - “Just don’t see her, this terrible one.”

At the beginning of winter, Prince Nikolai Andreich Bolkonsky and his daughter arrived in Moscow. Due to his past, his intelligence and originality, especially due to the weakening at that time of enthusiasm for the reign of Emperor Alexander, and due to the anti-French and patriotic trend that reigned in Moscow at that time, Prince Nikolai Andreich immediately became the subject of special respect from Muscovites and the center of Moscow opposition to the government.
The prince grew very old this year. Sharp signs of old age appeared in him: unexpected falling asleep, forgetfulness of immediate events and memory of long-standing ones, and the childish vanity with which he accepted the role of head of the Moscow opposition. Despite the fact that when the old man, especially in the evenings, came out to tea in his fur coat and powdered wig, and, touched by someone, began his abrupt stories about the past, or even more abrupt and harsh judgments about the present, he aroused in all his guests the same feeling of respectful respect. For visitors, this entire old house with huge dressing tables, pre-revolutionary furniture, these footmen in powder, and the cool and smart old man himself from the last century with his meek daughter and pretty French girl, who revered him, presented a majestically pleasant sight. But the visitors did not think that in addition to these two or three hours, during which they saw the owners, there were another 22 hours a day, during which the secret inner life of the house took place.
Recently in Moscow this inner life has become very difficult for Princess Marya. In Moscow she was deprived of those best joys - conversations with God's people and solitude - which refreshed her in Bald Mountains, and did not have any of the benefits and joys of metropolitan life. She did not go out into the world; everyone knew that her father would not let her go without him, and due to ill health he himself could not travel, and she was no longer invited to dinners and evenings. Princess Marya completely abandoned hope of marriage. She saw the coldness and bitterness with which Prince Nikolai Andreich received and sent away young people who could be suitors, who sometimes came to their house. Princess Marya had no friends: on this visit to Moscow she was disappointed in her two closest people. M lle Bourienne, with whom she had previously been unable to be completely frank, now became unpleasant to her and for some reason she began to move away from her. Julie, who was in Moscow and to whom Princess Marya wrote for five years in a row, turned out to be a complete stranger to her when Princess Marya again became acquainted with her in person. Julie at this time, having become one of the richest brides in Moscow on the occasion of the death of her brothers, was in the midst of social pleasures. She was surrounded by young people who, she thought, suddenly appreciated her merits. Julie was in that period of the aging society young lady who feels that her last chance for marriage has come, and now or never her fate must be decided. Princess Marya remembered with a sad smile on Thursdays that she now had no one to write to, since Julie, Julie, from whose presence she did not feel any joy, was here and saw her every week. She, like an old emigrant who refused to marry the lady with whom he spent his evenings for several years, regretted that Julie was here and she had no one to write to. Princess Marya had no one in Moscow to talk to, no one to confide in her grief, and much new grief had been added during this time. The time for Prince Andrei's return and his marriage was approaching, and his order to prepare his father for this was not only not fulfilled, but on the contrary, the matter seemed completely ruined, and the reminder of Countess Rostova infuriated the old prince, who was already out of sorts most of the time . A new grief that had recently increased for Princess Marya was the lessons she gave to her six-year-old nephew. In her relationship with Nikolushka, she recognized with horror the irritability of her father. No matter how many times she told herself that she shouldn’t allow herself to get excited while teaching her nephew, almost every time she sat down with a pointer to learn the French alphabet, she so wanted to quickly and easily transfer her knowledge from herself into the child, who was already afraid that there was an aunt She would be angry that at the slightest inattention on the part of the boy she would flinch, hurry, get excited, raise her voice, sometimes pull him by the hand and put him in a corner. Having placed him in a corner, she herself began to cry over her evil, bad nature, and Nikolushka, imitating her sobs, came out of the corner without permission, approached her, pulled her wet hands away from her face, and consoled her. But what caused the princess more grief was her father’s irritability, which was always directed against his daughter and had recently reached the point of cruelty. If he had forced her to bow all night, if he had beaten her and forced her to carry firewood and water, it would never have occurred to her that her position was difficult; but this loving tormentor, the most cruel because he loved and tormented himself and her for that reason, deliberately knew how not only to insult and humiliate her, but also to prove to her that she was always to blame for everything. Lately, a new trait had appeared in him, one that tormented Princess Marya most of all - it was his greater rapprochement with m lle Bourienne. The thought that came to him, in the first minute after receiving news of his son’s intentions, that if Andrei marries, then he himself would marry Bourienne, apparently pleased him, and he stubbornly lately (as it seemed to Princess Marya) only in order to insult her, he showed special affection to m lle Bourienne and showed his dissatisfaction with his daughter by showing love for Bourienne.
Once in Moscow, in the presence of Princess Marya (it seemed to her that her father had done this on purpose in front of her), the old prince kissed M lle Bourienne’s hand and, pulling her towards him, hugged her and caressed her. Princess Marya flushed and ran out of the room. A few minutes later, M lle Bourienne entered Princess Marya, smiling and cheerfully telling something in her pleasant voice. Princess Marya hastily wiped away her tears, walked up to Bourienne with decisive steps and, apparently without knowing it herself, with angry haste and outbursts of her voice, began shouting at the Frenchwoman: “It’s disgusting, low, inhumane to take advantage of weakness...” She didn’t finish. “Get out of my room,” she shouted and began to sob.
The next day the prince did not say a word to his daughter; but she noticed that at dinner he ordered the food to be served, starting with m lle Bourienne. At the end of dinner, when the barman, according to his previous habit, again served coffee, starting with the princess, the prince suddenly flew into a rage, threw his crutch at Philip and immediately made an order to hand him over as a soldier. “They don’t hear... I said it twice!... they don’t hear!”
“She is the first person in this house; “she is my best friend,” the prince shouted. “And if you allow yourself,” he shouted in anger, turning to Princess Marya for the first time, “once again, like yesterday you dared... to forget yourself in front of her, then I will show you who’s boss in the house.” Out! so that I don’t see you; ask her for forgiveness!”

National Academy of Fine Arts and Architecture (NAIAA) - additional information about the higher education institution

General information

The National Academy of Fine Arts and Architecture (NAIFA) is the only multidisciplinary university of art education in Ukraine, which has an academic direction and trains specialists in painting, sculpture, graphics, theatrical and decorative art, architecture, restoration of works of art, art history and art management.

The long-term teaching activity of the creative and teaching staff of the National Academy of Fine Arts and Architecture has become a solid foundation on which, for decades, specialists have been trained in all major types of fine arts, architecture and art history.

The main structural divisions of the National Academy of Fine Arts and Architecture are the faculties:

Faculty of Fine Arts - trains specialists in painting, drawing, graphic design, sculpture, theatrical and decorative art, restoration of works of art.
Faculty of Architecture.
Faculty of Theory and History of Art with departments: art history (theory and history of art); art history, organization and management of the development of artistic culture.

The main form of acquiring professional knowledge at the National Academy of Fine Arts and Architecture is the training of students in 25 educational and creative workshops, which are successfully led by authoritative masters of art and architecture.

Each workshop has its own creative personality, direction and individual methodology for implementing the program, and each of its leaders is a unique personality. The content of the educational process is constantly updated, and the latest methods for training specialists are introduced. An individual approach to the education of young artists gives each student the opportunity to demonstrate their talent in creative works.

The National Academy of Fine Arts and Architecture trains specialists at the educational and qualification level of bachelor, specialist, master in the following areas of training:

1. Fine arts

a) specialization - PAINTING

easel painting
monumental painting
scenography and film scenography
film-telescenography

b) specialization - GRAPHICS

free graphics
book design and illustration
graphic design

c) specialization - SCULPTURE

easel and monumental sculpture

d) specialization - ART SCIENCE

theory and art history
organization and management of the development of artistic culture

2. Architecture

specialization - architecture of buildings and structures

3. Restoration of works of art

specialization - restoration of easel and monumental paintings
restoration of sculpture and works of decorative and applied art (metal, stone, ceramics and glass)

Crimean branch:

The National Academy of Fine Arts and Architecture has a Crimean branch, which trains bachelors in the field of Fine Arts - specializations in Easel Painting and Graphics (Graphic Design).

specialization - easel painting, graphic design.

Training of specialists at the educational and qualification level of specialist, master in all specialties and specializations is carried out at the Academy after successful completion of the program at the educational and qualification level of bachelor.

The duration of study in all specialties and specializations of fine arts and restoration at the educational qualification level of bachelor is 4 years; specialist and master - 2 years; in art history specialization - bachelor - 4 years, specialist, master - 1 year - full-time education; part-time study - 5 years and 1 year, respectively; in architecture specialization - bachelor - 4 years; specialist, master - 2 years.

International relations of the National Academy of Fine Arts and Architecture

The National Academy of Fine Arts and Architecture maintains scientific and creative ties with higher art educational institutions and leading fine art museums of foreign countries, in particular such as Belgium, Bulgaria, Holland, China, Germany, Poland, USA, Hungary. Croatia. Students and teachers participate in all-Ukrainian and international exhibitions, as well as in international plein airs.

Material and technical base of the National Academy of Fine Arts and Architecture

The institution has a modern educational, methodological and material and technical base. The educational, educational and scientifically creative process is provided by 14 departments, where 22 academicians and corresponding members of the Academy of Arts of Ukraine and the Ukrainian Academy of Architecture work; 49 doctors of science, professors, 37 candidates of science, associate professors; 59 teachers have honorary titles, 7 are laureates of the National Prize of Ukraine named after. Taras Shevchenko.

The high international reputation of the academy is confirmed by the fact that foreign citizens also receive art education here. We consider educating the national elite to high cultural and spiritual standards a priority strategy of the National Academy of Fine Arts and Architecture.

#places@kyivtoday

The National Academy of Fine Arts and Architecture is the central higher art educational institution in Ukraine that has an academic direction and trains specialists in painting, sculpture, graphics, theatrical and decorative art, architecture, restoration of works of art, art history and art management.

Academy history:

1917-1922
The National Academy of Fine Arts and Architecture is the heir to the Ukrainian Academy of Art, which was founded in 1917 in Kyiv by the Founding Commission headed by G. Pavlutsky.

In addition, the Academy was expelled from its building, and all its property was thrown into the attic. The Ukrainian cooperative association "Dnepr-Soyuz" helped Narbut purchase two empty apartments in the same building at 11 Georgievsky Lane, where he lived with V.L. Modzalevsky. They housed painting workshops, a library and an office. Narbut used his former living room as a graphics workshop, and Modzalevsky’s former office became the rector’s reception room. In December 1920, after the restoration of Soviet power in Kyiv, the Academy was located in the building of the former Assembly of the Nobility.

1922-1934
In 1922, by order of the Provincial Department of Professional Education under the People's Commissariat of Education, the Academy was reorganized into the Kiev Institute of Plastic Arts. In 1924, the Ukrainian Architectural Institute, which had existed since 1918, was added to it as a faculty. The newly formed university was named the Kiev Art Institute. The institute was located in the building of the former Kyiv Theological Seminary, where it is still located. Ivan Ivanovich Vron was appointed its rector.

However, the internecine struggle for hegemony in art that began in the late 1920s and early 1930s, personal feuds and increased ideological pressure nullified all achievements. The professors began to leave the institute. In 1930, the printing department and a number of departments were closed. In the same year, I. Vrona was dismissed from the post of rector and a new reorganization of the university was carried out according to proletkult ideology. The educational institution was named the Kiev Institute of Proletarian Artistic Culture; faculties such as artistic and propaganda, artistic design of proletarian life, sculptural design of socialist cities, and communist artistic education were formed. Many disciplines important for the development of professional skills were removed from the curriculum.

1934-1992
In 1934, after a radical reform of the institution, the university received a new name - the All-Ukrainian Art Institute. Benkovich was appointed its rector. In the late 1930s, the Kiev State Art Institute returned to academic methods of education. As a result of the reorganization, priority was given to easel forms. For a long time, easel art became the basis of the teaching methodology, which consisted of careful study of nature using drawing and painting and the consistent complication of exercises in order to prepare the student for performing a plot-thematic composition in one or another area of fine art.

since 1992
By the Decree of the Cabinet of Ministers of Ukraine dated December 17, 1992, the university returned its original name - the Ukrainian Academy of Arts, and according to the Decree of the Cabinet of Ministers of Ukraine dated March 17, 1998, it became the Academy of Fine Arts and Architecture. By the decision of the State Accreditation Commission of Ukraine dated July 8, 1997, the academy was accredited at level IV, and on November 23

1999 - certified.
As an outstanding artistic educational center, for significant achievements in educational and scientific activities, training of artistic and scientific-pedagogical personnel in the field of fine arts and architecture, the Academy was granted the status of a National Educational Institution by Decree of the President of Ukraine of September 11, 2000.

Story

1917-1922

The Academy was headed by the Academy Council consisting of D. Antonovich, P. Zaitsev, D. Shcherbakovsky (scientific secretary), and others. The first rector was Fedor Krichevsky.

In August 1919, after the capture of Kyiv by Denikin’s Volunteer Army, the Ukrainian Academy of Arts was included in the category of private educational institutions not funded by the authorities. It was given a new name: “The Academy of Art in Kyiv, existing on the basis of the attitude of the head of the Department of Public Education at the Special Meeting of the Commander-in-Chief of the Armed Forces in the South of Russia in the name of the city trustee of the Kyiv educational district dated October 5, 1919, No. 4998”. In addition, the Academy was expelled from its building, and all its property was thrown into the attic. The Ukrainian cooperative association "Dnepr-Soyuz" helped Narbut purchase two empty apartments in the same building at 11 Georgievsky Lane, where he lived with V.L. Modzalevsky. They housed painting workshops, a library and an office. Narbut used his former living room as a graphics workshop, and Modzalevsky’s former office became the rector’s reception room. In December 1920, after the restoration of Soviet power in Kyiv, the Academy was located in the building of the former Assembly of the Nobility.

1922-1934

In a short time, the Kiev Art Institute took one of the leading places among art educational institutions in the USSR. However, the internecine struggle for hegemony in art that began in the late 1920s and early 1930s, personal feuds and increased ideological pressure nullified all achievements. The professors began to leave the institute. In 1930, the printing faculty and a number of departments were closed. In the same year, I. Vrona was dismissed from the post of rector and a new reorganization of the university was carried out according to proletkult ideology. The educational institution was named Kyiv Institute of Proletarian Artistic Culture, such faculties as artistic and propaganda, artistic design of proletarian life, sculptural design of socialist cities, and communist artistic education were formed. Many disciplines important for the development of professional skills were removed from the curriculum.

1934-1992

In 1934, after a radical reform of the institution, the university received a new name - All-Ukrainian Art Institute. Benkovich was appointed its rector. Late 1930s Kyiv State Art Institute, returned to academic methods of education. As a result of the reorganization, priority was given to easel forms. Easel art for a long time became the basis of the teaching methodology, which consisted of careful study of nature using drawing and painting and the consistent complication of exercises in order to prepare the student for performing a plot-thematic composition in one or another area of fine art.

In the post-war years, the institute expanded significantly, in particular, the number of its structural divisions increased. Thus, in 1948, the Faculty of Graphics was restored with workshops for book, easel graphics, and political posters. The faculty was created on the basis of the graphic arts workshop, opened in 1945 at the Faculty of Painting. In 1958, the Faculty of Art and Pedagogy was founded, and the following year, the Faculty of Theory and History of Art. The Faculty of Painting also expanded: in 1965, workshops of monumental and theatrical and decorative art were opened, and later - a department of technology and restoration of painting. President of Ukraine

The artistic design of the coat of arms was completed in 1997 as a diploma work by a graduate of the Faculty of Graphics, Alexey Viktorovich Karpenko.

Academy structure

There are 3 faculties, 8 specialized and 5 general academic departments in the structure of the university:

United Faculty of Fine Arts
- Department of Painting and Composition
- Department of Graphic Arts
- Department of Sculpture
- Department of Art Restoration
- Department of Scenography
Faculty of Architecture
- Department of Architectural Design
- Department of Arts Synthesis
- Department of Architectural Structures
Faculty of Theory and History of Art
- Department of Theory and History of Art
general academic departments
- Department of Drawing
- drawing class
- Department of Culture and Social Disciplines
- Department of Foreign Languages
- Department of Physical Education

In order to train highly qualified scientific and pedagogical personnel in the field of fine arts and architecture, a postgraduate course has been created at the academy

Newspaper Svoboda - weekly publication, part 39. New Jersey, 1952;

National Academy of Creative Arts and Architecture // New guide for applicants to the I, II, III, IV levels of accreditation. - K.: Grand Lyceum, 2003. - P. 48.

Pavlovsky V. Ukrainian State Academy of Mysteries up to 50 years of creation, w. Notes from Mystery, part 7. Philadelphia, 1968.

Sichinsky V. Ukrainian Academy of Mystery (Until 35 years of sleep);

Art Institute // Kiev: Encyclopedic Adviser. - K., 1981. - P. 672-673.

National Academy of Fine Arts and Architecture (NAIA). National Academy of Fine Arts and Architecture Kiev Academy of Arts

Story

1917-1922

1922-1934

1934-1992

since 1992

Academy coat of arms

Academy structure

Rectors (directors)

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An excerpt characterizing the National Academy of Fine Arts and Architecture

Story

1917-1922

1922-1934

1934-1992

Academy structure