Was born in 1916
Studied in КГХИ (the Kiev state art institute, nowadays National academy of the fine arts and architecture)
Studied at K. M.Elevy, A.F.Seredy, I.N.Shtilmana. Has ended in 1940.
The participant of the Great Patriotic War.
Has died in 70th years.
As the painter-lyric poet, is able to find Konstantinovich intelligence and a harmony in daily occurrence and simplicity of motive. Almost everything that he writes, at first sight – not striking and ordinary. A village fence, a field, trees, works in the field, modest rural хатки, a river bend, ancient ruins of the lock – here a circle of its constant motives. But its each work is a competent statement and the faultless decision of an important picturesque problem. Unsightly on motives, small in the sizes, products of Konstantinovicha were not evident at exhibitions of the Soviet period after huge thematic cloths of other masters of a socialist realism, its works did not mark neither critics, nor collectors of that time. His name does not meet in catalogues and magazines art at the time of Soviet Union. But despite this not attentiveness to itself, the artist has not left the calling – to be sensitive «бытописцем the small nature».
In the predilections and preferences of Konstantinovich has predecessors – adherents. Such landscape defended and developed I.Levitan, K.Korovin, V.Serov. In their creativity, the strong personal emotional impulse, got sense and beauty. «Mood landscapes» became expression of their outlook. In Ukraine coryphaeuses of such landscape were S.Vasilkovsky, S.Svetoslavsky, and especially P.Levchenko. Further – V.Krichevsky, K.Trohimenko … They were and remain classical samples of such painting. Константинович also it is persistent tried to reach, except the highest skill, also certain lyrical mood, нутреннего sense in a landscape.
Understanding of the nature as inhabitancies of the person, it is inherent in landscapes in works of the artist. Features of a relief, cause character of vegetation, weather factors is composite – subject structure, светоносность and coloristic filling of its products. Both the maintenance, and construction they express direct poetic structure of its thinking which was at the artist lyrically-song, almost national.
All these years he wrote «for itself (himself)»: in the internal isolation, without meeting understanding and approval even at relatives, to this daily самоотверженому to work. It did not involve loud or конъюктурные themes of semi-official art – because he did not feel internal requirement to follow them.
The basic themes of painting of Konstantinovicha are pictures of life of the nature. But sometimes there is also a war theme, with such drama сполохами fires, the crippled flaring tanks, the tired soldiers broken by front roads. They enter into painting of the nature a sign on a national trouble, the violent discord suddenly introduced in harmonious natural life. But also this thematic репортажность, the eyewitness here, does not stir dense picturesqueness of the image, to refined composite selection and the coloristic integrity inherent in the big school of painting. The nature, apparently, in a unification with the person accompanies tragedy of the military man лихолетья, suffers together with people as well as when empathized with them in immortal poetic lines «Words about a shelf». Each such picture is a small requiem … Medieval ruins, a fortress in Kamenets-Podolske, often arising as motives in products of the artist, introduce involuntary dramatic nature and internal excitement in a fabric of a picturesque matter, allowing to feel the hard past of the native earth. As though in a counterbalance to all capital sensation, at Konstantinovicha scale of the represented was narrowed, there does not remain places for the developed subject whimsicality, велеречивости, topical плакатности. Pictures were under construction very simply, but have been written is masterful-obobshchenno, пастозно, цветно, with characteristic, perfect, large, цветомоделировкой. They look created on one breath, they for certain live, and seem taken of life of the nature, from a thick of national life. On them there are no external traces of creative torments. The composition of pictures is very free, any. Sluggish сюжетность, it is replaced by vigorous expression of personal poetic emotions. At creation of images instead of verbosity, laconicism prevails. Internal dynamics of the latent spiritual life of the artist is inherent in them. He/she is the real master. And the beauty of its painting is perceived, as the statement of value of life.
The best works of painting of Konstantinovicha, on depth of the liriko-poetic maintenance, on naturalness of construction, riches of colour are works of high level of art culture. As well as pictures of great masters, they learn to find fine in usual, to feel history of the earth, excite with lyrical experience of beauty and native land history.
Ditry Korsun 2012г.