MONUMENTAL PAINTING DURING THE PERIOD OF INDEPENDENCE

Abstract

The article analyzes the features of the formation of the school of painting in Uzbekistan in the twentieth century, the harmony of painting with modern urban planning, analysis of the work of great painters. In particular, in the works of B. Jalolov, one of the most prominent artists in the field of monumental painting, we see that he skillfully combined the strong traditions of the academic school, the aesthetics of Western and Eastern art. His work can be seen in a series of frescoes. The interior of the Turkiston concert palace in Tashkent contains analytical information about the work of Umar Khayyam on oriental lyrics, “Nobody said why I was born” at the National Bank of Uzbekistan, as well as about his monumental works in many other regions. On the example of Samarkand, A. Isaev was one of the most versatile artists in the field of monumental painting, he also wrote “The Great Silk Road” on the walls of the foyer of the Institute of Foreign Languages ​​and “Friendship of Peoples” for the foyer of the academic lyceum of the Institute, Examples “History of Samarkand” for the hotel “ Afrosiyab ", at the Samarkand Agricultural Institute, such as" The Generosity of Mother Earth ", 41 ceramic panels on Tashkent Street and many other monumental paintings. By the colors in the artist's works, one can imagine that the artist played the melody in a lyrical tone. The article notes that almost all compositions are characterized by a description of the artist's work, such as the observation of warmth, a set of warm colors, oriental colors, a patriotic mood, which is typical for all artists.