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Main vectors of develovpment of portrait sculpture in Lviv of 90s of the XX century in the context of the time. Changes, which occured in art, were identified; where new environment is being formed, in which portrait sculpture becomes an object of preservation and transmission of information. It’s proved that visualization of Ukrainian history is mainly due to developments in individual personification of events of prominent leaders of their time. The analysis of a number of sources related to the peculiarities of artistic and critical understanding of complex creative processes specific to Lviv sculpture of the period, was done. Portrait sculpture of Lviv of of 90s of the XX century is a complex of artistic phenomenon, which is rich in innovations and authentic artistic discoveries. Contemporary portrait sculpture is a history and culture of the people and their country, immortalized in stone and bronze. Themes of heroism, patriotism, courage, creative work, love and family prevail in works of Lviv sculptors. Most of masters are turning to the historical past of their land. In the image-structural solutions portraits influenced the previous days, and plastic language primarily focused on traditional solutions. Portrait sculpture of Lviv artists resist to platitudes, engagement, technocracy, contrasting its naturalness, sensitivity and anxiety. Gender theory, which asserts that the very fact the differences are not so important how important their socio-cultural assessment and interpretation, as well as construction of power systems based on these differences, dominated in portrait sculpture of contemporary Lviv artists.

In this article a complex analysis of visual structural features in portraits series of representatives of Ukrainian intellectuals, which was created by E. Myskо. In particular, there were identi ed the speci city of visual interpretations and conceptual foundations of that series in view of professional and personal characteristics portrayed. Except that in this article have been made comparative analysis of the essential series, which displayed the unique character and features of Emmanuil Mysko’s artistic style, his method of working with nature, and especially visual features of pictured characters which are called «living sculpture». Accordingly, the main focus was applied on the representation characteristics of formal-plastic solutions in the sculptures of artist Ivan Muzychko, І.Khoma, M. Labunkа, W. Sternyuk, J. Slipyj. In addition, in this article individualized composition, forming and psychological accents, which was made by E. Mysko in each of these portraits have been noted.