«NAІVE» PAINTER NYKYFOR (EPIPHANIUS) DROVNIAK : A VIVID PHENOMENON OF THE UKRAINIAN-POLISH CULTURAL HERITAGE

Abstract

The aim of the paper is to analyse the complex life path of the self-made «naïve» artist Nikifor (Epiphanius) Drovniak (1895-1968) from the town Krynytsia in Lemkivshchyna, to identify certain thematic cycles of his work.
Research methodology. The research used the historical method to study the historical circumstances, biography, cultural and social environment that influenced the formation of Nykyfor Drovniak’s work. The comparative method allowed us to identify unique and common features of the naive painter’s work. The art historical analysis contributed to the study of the author’s artistic techniques, as well as the study of symbols, images and themes used by Nikifor in his works. The methods of analysis and synthesis help to critically comprehend the available literature on the research topic. The method of generalisation allows, on the basis of analysis and synthesis, to formulate general conclusions about the phenomenon of Nikephoros as a representative of naive art.
Results. Having not even received a primary education, having never learned to draw, having no idea about the examples of world art, not knowing the classical painting technique, but possessing an innate absolute sense of colour and artistic intuition, N. Drovniak developed his own painting techniques, original methods of colour rendering under the impression of the original nature of his native land, icons of churches, and folk traditions of architecture of Lemkivshchyna.
The talent of a genius self-taught artist was discovered in 1930 by Lviv artist R. Turin. In the last few years of his life, Nykyfor received full recognition thanks to the Krakow art historians Ella and Andrzej Banach. Nykyfor Drovniak is a vivid representative of primitivism as a trend in art. Exhibitions of his works were held in the most famous museums in the world – in Warsaw, Amsterdam, Paris, Kyiv, Rome, New York, London, Lviv, Florence and many other cities. In Ukrainian art
criticism, Nykyfor is regarded as a Lemko painter of naive realism, deeply connected with the ancient Ukrainian folk-art traditions. Experiencing difficulties in communication, he depicted the world around him, which fascinated him, such as Krynytsia estates, priests and church interiors, deserted railway stations, fantastic palaces, bridges, favourite roads, himself in different roles, etc. Watercolours, gouache, and coloured pencils helped him to convey his personal feelings and everything that he could not express in words on paper. The artworks of Nykyfor Drovniak can be divided into certain thematic cycles.
The most valuable are the paintings of the 20–30 s of the twentieth century. His unique style was a combination of cubism, surrealism, expressionism and ancient Ukrainian Byzantineism.
The scientific novelty lies in the study of Nykyfor as a phenomenon that goes beyond the traditional perception of naive art and the rethinking of its role in the Ukrainian-Polish cultural context.
The practical significance. The study of Drovniak’s work contributes to the preservation and popularisation of cultural heritage, the development of education, the strengthening of intercultural relations, the support of contemporary
art, the increase of social awareness and the expansion of scientific knowledge.