THE POSTWAR ARTISTIC WORK OF SEVERYN BORACHOK (1945–1975): ANALYSIS OF THE ARTIST’S LEGACY AND EXHIBITION ACTIVITY

Abstract

The aim of this study is to analyze the postwar (mature) period of creative activity (1945–1975) of the Ukrainian émigré artist Severyn Borachok (1898–1975), a phase that remains the least researched yet preserves the largest part of his artistic legacy. Special attention is given to the artist’s active exhibition career during this time. Research Methods. The study employs general scientific and empirical methods, including analytical, biographical, and historical-chronological approaches, as well as the analysis of artistic, compositional, and stylistic features of Borachok’s works. Results. The research attempts to reconstruct the artist’s creative path between 1945 and 1975, highlight his exhibition activity, and review available exhibition reviews and contemporaneous publications in foreign press. For the first time, Borachok’s artistic legacy from this period is analyzed and systematized. Works from museums in New York and Chicago, as well as pieces held in private collections, are presented. His painterly technique is examined alongside an analysis of his mosaic works. To enrich and verify biographical data, excerpts from the biography written by his sister, Dariia Krokhmaluk, are included. The study concludes that Borachok’s postwar oeuvre can be conditionally divided into two stages: the Munich period (1945–1962) and the American period (1962–1975). Most of his preserved works belong to these phases and are marked by a distinctive style characterized by decorativeness, attention to color, and a synthesis of realistic and expressive-symbolic elements. His recurring themes include female figures at work or rest, urban and rural landscapes, and vivid images of horses and riders. During this time, he also turned to glass mosaic technique, which he executed in a painterly style. The culmination of his work in glass is represented by the iconostasis created for the church in McKees Rocks and the image of Saint Andrew for a chapel in Munich. Currently, the attribution of Borachok’s works faces challenges due to the lack of dates on most pieces, which hinders the establishment of a clear creative chronology. Additionally, the dispersion of his works in private collections poses further obstacles. The study emphasizes the need for continued scholarly research into Severyn Borachok’s artistic legacy, and underlines the relevance of deepening the analysis of his practice and worldview.