A. Ivanova. On the Shore

The photo shows an achromatic version of the work "Ivanova-73". Antonina Ivanova's work demonstrates the stylistic and ideological component characteristic of the practice of the artists of Mykhailo Boychuk's circle at that time. In this way, it is possible to create a rather extensive visual series of works by other authors, demonstrating what Hryhorii Skovoroda meant by the concept of "congenial work". These creative searches and discoveries contain clear signs of a holistic worldview system, which includes a thorough study of the world's past, a sense of involvement in the local, an awareness of one's role in building the present, and certain visionary reflections on the future. The Boichukists' affirmation of the continuity of history and self-understanding allows us to interpret their visual practice as a revolutionary understanding not only of the formal component and its total annihilation but also of the definition of the foundation for the future, where futurology does not deny that its forms do not contain the absolutisation of mechanism. The human being in the practice of the artists of Mykhailo Boichuk's circle, especially Antonina Ivanova, combines the understanding of man as the centre of the universe (as in the Renaissance humanists) and as a universal icon (as in the theological interpretation of the Old Testament text of Genesis 1:26–27). What is particularly remarkable, however, is the quite direct understanding of the last thesis of iconicity – social and financial inequality, belonging to different classes, lack or presence of education are prerequisites for devaluation – and this revolutionary component can be clearly traced in the practices of these artists: ordinary workers and peasants, as in the Gospel texts, were ahead of the "glorious ones of this world". When, according to the text of the New Testament, uneducated, simple fishermen were called to the highest mission in the history of humankind – the apostleship – the rulers and intellectuals of the time confronted each other in order to preserve their status. Since it is known that Mykhailo Boichuk worked for a long time on sacred images and studied religious texts, the transformations that proclaimed the levelling of social inequality undoubtedly evoked specific associations that became the prerequisites for the appearance of numerous images, as in this case with Antonina Ivanova's painting "On the Shore" and many other works by the artist.

Borys Voznytskyi Lviv National Art Gallery