Працю присвячено дослідженню графічної спадщини Тараса Шевченка. Наукова новизна полягає у вивченні стилістичних особливостей творчості художника за допомогою мистецтвознавчого аналізу значного масиву графічних творів Т. Шевченка 1847–1861 років. На основі вивчення цих робіт та узагальнення результатів аналізу виявлено індивідуальні особливості художньої манери митця, розвиток і зміну цієї манери за періодами творчості, поєднання різностильових тенденцій, зокрема академізму, романтизму, реалізму та українського народного мистецтва. У результаті дослідження простежено вирішення митцем таких художніх проблем: розробки просторових, пластичних, емоційних можливостей виразної світлотіні; пошуків композиційної цілісності й рівноваги; відпрацювання графічних прийомів і тональних контрастів у різних техніках; пошуків колористичної виразності в акварелі. Проведений порівняльний аналіз мистецької манери Т. Шевченка з творчими методами інших художників, які вплинули на нього (П. Соколова, К. Брюллова, Рембрандта Харменса ван Рейна). Наведені у дисертації дослідження та висновки дають змогу скласти комплексне уявлення про художнє бачення українського митця та його поступовий розвиток.^UThe work is devoted to studying of Taras Shevchenko's graphic art of 1847-1861. The purpose of the research is to provide a thorough stylistic analysis of the artist's graphic heritage, which will help to unveil the peculiarities and evolution of his artistic vision. From the exploring of scientific findings on the topic, it became clear that at the moment the issue of the features and development of Shevchenko's artistic manner, his use of graphic means of expression are insufficiently studied. The scientific novelty of the paper consists in studying the stylistic traits of the artist's work on the basis of analysis of a considerable volume of Shevchenko's graphic works of 1847–1861, including previously unanalyzed works.The research explored how the foundation of the artist's individual manner was laid in the period before 1847. In the main part of the thesis, the works of the exile period (1847–1857) and after it (1857–1861) were analysed. The exile period was divided into three stages (1847–1850, 1851–1855, 1856–1857), based on biographical information and stylistic changes in the work. The influence of the new environment on the artist's work in years of exile has been explored. Changes in the approach to composition appeared: concentration and balance in the distribution of masses, the emergence of complex spatial and lighting effects, a clear scheme for accentuation on the composition centre. The chiaroscuro schemes in portraits, landscapes and genre scenes have been determined; the significance of light and skilful shape modelling has been traced. Watercolours show the use of colour relationships as the leading means of expression. Shevchenko's graphic exercises in mastering shading and stains, using various tools have been investigated. The analysis of the artist's work with graphic techniques of watercolour, sepia, pencil, and black chalk showed a new method based on a combination of generalized and contrasting visual elements with tonal and detailed ones. The manifestations of stylistic tendencies of academism, romanticism, realism, motifs and schemes of Western European and Ukrainian folk art in works of the exile period, especially in the “Telemachus–Diogenes” and the “Parable of the Prodigal Son” series, have been characterized.Based on the analysis of Shevchenko's post-exile works (1857–1861), the improvement of the skills of using black chalk, sepia, various tools in the drawing, etching and aquatint, has been analysed. Portraits, landscape sketches, genre sepias and etching copies show the use of contrasting means of expression and various tools, confident and free modelling and composition arrangement. The result of the evolution of Shevchenko's artistic vision, which has acquired integrity, expressiveness and freedom, has been formulated.The common and distinctive features in the creative methods of Shevchenko and Rembrandt have been identified on the basis of a comparative analysis of general compositional thinking, use of light, work techniques in etching, the character of portraits and self portraits in the creative heritage of both artists. The research clarified how Shevchenko repeated Rembrandt's methods and how his academic tendencies and his tendency to open, theatrical compositional schemes restrained his realistic search.The research described the specifics of genres in Shevchenko's works (portrait, landscape and thematic images) and revealed his tendency to combine several genres into one image. In each genre artist developed specific artistic tasks: the psychological significance of chiaroscuro in portraits; the diversity of compositional and lighting solutions in landscapes, but one prevailing scheme for thematic works; combination of romantic, academic and realistic tendencies in landscape and genre motives; the archaeographic nature of pencil landscapes, while solving purely artistic problems in watercolour; development of schemes for floodlighting, artificial and backlighting in genre works. The issue of the peculiarities of Shevchenko's graphic manner and their correlation with the influence of other artists' stylistics (in particular, K. Brullov, P. Sokolov) has been investigated. The artist's style differs by the development of specific artistic problems: balanced ratio between detail and generalization; calligraphic elaboration of shading for showing material effects; expressive interpretation of the background to emphasize the main objects; the leading role of contrast; use of simultaneous contrast in graphic images. The study of expressiveness of light and its emotional and spatial role represent the particular feature of Shevchenko's artistic vision. It is proved in the thesis that the stylistic peculiarities of his graphic art formed a completely original artistic language, which shows the artist's achievements beyond one style and distinguishes him among the representatives of artistic tradition of that time.