GRAPHIC WORKS OF OLEKSANDR BOHOMAZOV AS AN EXAMPLE OF SYMBOLISM IN UKRAINIAN VISUAL ARTS AT THE BEGINNING OF THE 20TH CENTURY

Abstract

Abstract. The aim of this article is to explore the chamber works of Alexander Bohomazov before the avant-garde period of the 1900s, based on materials from the Central State Archive of Literature and Art of Ukraine, which are lesser-known examples of Ukrainian Symbolism and a vivid illustration of traditional Western European Symbolism in Ukrainian art. Research methods. The study employs iconographic methods and artistic-stylistic analysis, allowing for the identification and systematization of characteristic features of the artworks and their alignment with artistic styles. Results. Central State Archive of Literature and Art’s collection houses a series of chamber graphic works by Alexander Bohomazov from the 1900s, created under the distinct influence of Western European Symbolism, mostly overlooked by researchers. Despite their relatively small number, these works prominently represent the aesthetics and several leading motifs of Symbolism in visual arts, іn particular: 1) dreams, fairy tales, myths; 2) imaginative landscapes and compositions with figures, where the mystical mood is created not by attributes, but by the atmosphere and a palette of saturated blue, violet, and green tones; 3) the theme and anthropomorphic image of death. The works are executed in a corresponding colour palette of rich blues, purples, and greens, using traditional artistic techniques. The materials used include paper, ink, watercolour, and gouache. The group of works depicting imaginative landscapes and compositions with figures is the most numerous. The group portraying the image of death stands out as some of the most expressive works in this thematic genre in Ukrainian art. Conclusions. The analysis of Alexander Bohomazov’s chamber graphic works from the Central State Archive of Literature and Art archives allows us to conclude that the Symbolist period in the artist’s career should not be regarded solely as a transitional phase leading to the avant-garde of the 1910s–1930s but as a mature and well-formed style, despite the limited number of works. This publication contributes to the research on the pre-avant-garde period of Alexander Bohomazov’s creative output and Symbolism in Ukrainian visual art.