THE UNIQUENESS OF MARIA PRYMACHENKO’S SIGNATURES ON HER PAINTINGS: A SYNTAXICAL ANALYSIS

Abstract

This article presents a comprehensive analysis of the syntactic features of Maria Pryimachenko’s captions for her paintings, elucidating their structural organization, functional significance, and role in shaping the artistic concept. The relevance of the study stems from the need for an in-depth examination of the linguistic organization of imagonyms, particularly word combinations, sentences, and mini-texts that function in interaction with the visual artistic image and constitute an important component of the interpretation of a work of art.
The study found that captions for paintings are characterized by significant syntactic diversity. Their structure includes onymic phrases as well as onymic sentences, which are represented by both simple sentences of various types (expanded and unexpanded, complex and uncomplicated) and complex sentences (coordinated, subordinate, non-conjunctive, as well as constructions with various types of syntactic connection). The active use of expressive syntactic devices, in particular inversion, paratactic structure, and ellipsis, was identified, which contributes to the dynamism and emotional richness of the utterance. Particular attention is paid to the analysis of mini-texts, which serve as an important complement to the artist’s creative vision and are one of the manifestations of her multifaceted talent. The structure and means of connection between the components of the mini-texts are analyzed; these guide the viewer toward a specific interpretation of the artistic content, emphasizing moral-ethical or emotional aspects, and model a mini-plot that complements the static image of the painting with dynamism.
It has been established that the artist’s captions perform not only a nominative function but also interpretive, evaluative, and emotionally expressive ones. They deepen the meaning of what is depicted, expand the work’s associative field, and reflect the artist’s individual worldview. The results obtained can be used in further studies of the syntax of small-scale works, as well as in studies devoted to the interaction of verbal and visual components in art.