The purpose of the work is in integrated analysis the socio-political and creative strategies of Lviv sculptors – master of Ukrainian medal art Liubomyr Terletskyi and author of monumental and easel sculpture Valentyn Borysenko – in the second half of the ХХ century. The methodological basis of the work was developed in the fields of political history, cultural anthropology, social history, art history. The proposed study is based on the methodological principle of «case study», which allowed to apply the system and structural method for reveal the multidimensional history of commonness – creative and career paths of Lviv sculptors of the Soviet period. The scientific novelty of the study lies in the successful application of a microhistorical approach to demonstrate the then opposition models of «creativity-dictatorship» and «artist-authoritarian power», as well as ways of expressing them in the conditions of Soviet political and ideological control. It is proved that Lviv sculptors L. Terletskyi and V. Borysenko had different experiences of professional and creative growth, and thus expressed different political and cultural horizons. As a result of the study, conclusions were drawn. The artistic environment of postwar Lviv was formed through the active subordination of artistic creativity to the goals of the Soviet state and party apparatus. The adoption of the style of socialist realism required from artists to adapt to primitive forms of expression of ideological postulates of the Soviet Union. Remaining the dominant direction of art, socialist realism forced Lviv sculptors to build individual strategies of creativity, professional growth, and relations with the authorities. Liubomyr Terletskyi (1922–1993), being repressed for his active patriotic position at young age, sustained the terror of the Soviet camps and, after rehabilitation, returned to creative life. Having no illusions about the prospects of the authoritarian Soviet regime, he learned and popularized the millennial history of Ukraine. Not only by sculptural work, but also by scientific work, the artist demonstrated the adamantine character and conviction of the inevitability of state, political and cultural revival of the Ukrainians. The author of monumental and easel sculptures Valentyn Borysenko (1929–1990) went down in history as a typical representative of the Soviet school of sculpture, a master who fit well into the dogma of socialist art imposed by the party. At the same time, being formed in the Lviv artistic tradition (V. Borysenko’s teachers were representatives of Cracow, Prague, Roman artistic schools), he, due to the appeal to the princely era or folk vengeful characters of the XVIII century, partially dissociated himself from Soviet ideological layers. Having chosen a party and administrative career, V. Borysenko repeatedly carried out outspoken propaganda work commissioned by party-political structures

Lviv, Soviet Union / Ukrainian SSR, sculpture, socialist realism, Liubomyr Terletskyi, Valentyn Borysenko, party and ideological control