Authenticity of the Vladimir Melnik’s graphic art

The paper is dedicated to the creation of Vladimir Melnik, one of the most experienced graphic artists of the Republic of Moldova (born in 1957, in Chisinau). Despite all his personal achievements, his art has never been studied before. The author aims to examine the lasting activity of the master in order to introduce the artworks in the international scientific circle. The stylistic description and analysis of the representative fantastic and documentary works made by V. Melnik and also an overview of trends that influenced their development, are provided. In conclusion, the author identifies three types of graphic art – easel (large-size), book (medium-size), and miniature (small-size). In the context of examining the most revealing works from each of these fields, the author has distinguished the main features of the V. Melnik’s creation. The main features of the works are the refined technical and artistic performance, a subtle “landscape” vision provided by author. Easel paintings in pencil, pastel, watercolor and half-tone black and colored prints are also distinguished by the metaphoric language and extensive black areas. The forms, ideas and knowledge of the previous periods were all readily adopted and adapted for new leitmotifs. The artworks are inventive and mysterious, which is introduced by different methods: unexpected points of view, unusual compositional schemes, contrasting appearances and colors, shaded by black. There is the importance of the innermost attached to compositions, which were inspired either by field impressions (“Old Chisinau”, “Night Landscape”), observations (“Goat”, “Boar”), or by feelings and thoughts (“Source”, “Wanderer”, “Flying bird”). In small graphic works for book pages and stamps (mixed technique), the artist provides both typological and psychological descriptions, both thorough details and overall atmosphere. V. Melnik complies with the basic requirements for an illustrator of non-fiction, as evidenced in the accuracy of depiction, detailed portrayals, solid draftsmanship of the works. But the artist goes beyond the requirements, since he usually individualizes the appearances and animates the precisely reconstructed background landscapes (“Stefan the Great”, “Castles of Moldavia”). Given the fragmentation, the rhythm of the silhouettes is accentuated (“Birds of the World”). The rigor of the drawing is combined with the integrity of color, and exquisite detailing with the monumentality, implying grandeur and even epic content (“Animals Disappeared”, “Birds of Moldova”, series of stamps issued by “Moldavian Post”). In the times when digital technologies affect the process of making illustrations, artworks by V. Melnik are valuable for the character of unique piece products, as they appear to be like pearls of filigree decoration.