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« 2026. # 4 (190)

The Ethnology Notebooks. 2026. № 4 (190), 1150—1164

UDK 75.071.1(=161.2)(443.61+493)”19″

DOI https://doi.org/10.15407/

  • Received: 08.06.2026
  • Accepted: 15.07.2026
  • Published: ??.??.2026

EXPRESSION AND IMAGE IN THE WORK OF YAROSLAV KRUSHELNYTSKYI (SLAVKO): BETWEEN LVIV, PARIS, AND LUXEMBOURG

MAKOYDA Orest

  • ORCID ID: https://orcid.org/0000-0001-6915-2481
  • Candidate of Sciences in Arts(Ph.D), Head of Department,
  • The Institute of Ethnology of the National Academy
  • of Sciences of Ukraine,
  • Department of Folk Art,
  • 15, Svobody Avenue, 79000, Lviv, Ukraine,
  • Contacts: e-mail: orestmakoyda@gmail.com

Abstract. Throughout the twentieth century, Ukrainian art developed under conditions of complex historical and cultural transformations, which stimulated an active search for new artistic forms and individual stylistic solutions. In this context, particular attention should be paid to the figure of Yaroslav Krushelnytskyi (Slavko) (1916—1973), a Ukrainian émigré artist whose activity was shaped at the intersection of Galician, Western European, and diasporic artistic environments. His oeuvre represents a distinctive synthesis of Post-Impressionist, Expressionist, and modernist tendencies, manifested in dynamic colourism, emotional intensity, and a highly individual painterly manner.

The relevance of the study is prompted the need to reintroduce lesser-known figures of twentieth-century Ukrainian art into scholarly discourse, as well as the necessity of a comprehensive analysis of Yaroslav Krushelnytskyi’s artistic legacy, which has long remained outside the focus of Ukrainian art history. Particular attention is also given to the influence of the Lviv artistic milieu, especially the school of Oleksa Novakivskyi, as well as the artistic centres of Paris and Luxembourg in shaping the artist’s individual style.

The aim of the article is to provide a comprehensive analysis of the figurative and stylistic features of Yaroslav Krushelnytskyi’s art, with a focus on his Paris and Luxembourg periods, and to identify the main sources of formation of his artistic language.

The object of the study is the painterly heritage of Yaroslav Krushelnytskyi, including landscape, portrait, and figurative compositions created at different stages of his career.

The source base consists of the artist’s preserved works from museum and private collections, materials from Ukrainian diaspora periodicals, and selected art historical publications devoted to his work.

The methodology is based on historical-artistic, formal-stylistic, and comparative approaches, which make it possible to trace the evolution of the artist’s manner and identify key artistic influences.

Keywords: Ukrainian art of the 20th century, émigré artist, Yaroslav Krushelnytskyi, Slavko, Expressionism, Post-Impressionism, Lviv, Paris, Luxembourg, painting.

REFERENCES

  • Voloshyn, L. (2024). Oleksa Novakivskyi Art School, 1923—1935: Life Through the Perspective of Time. Lviv; Drohobych: Kolo [in Ukrainian].
  • Biriulov, Yu.O. (2017). Liam Vladyslav. In: Encyclopedia of Modern Ukraine. Kyiv: Institute of Encyclopedic Research of the National Academy of Sciences of Ukraine. Retrieved from: from https://esu.com.ua/article-60034 [in Ukrainian].
  • Kachaluba, M. (1984). Yaroslav Krushelnytskyi (Slavko). Ukrainian Art Digest, 24, 49 [in Ukrainian].
  • Voloshyn, L. (n. d.). Slavko Krushelnytskyi: An Artist of Ecstatic Color Visions. Zbruc. Retrieved from: https://zbruc.eu/node/105363 [in Ukrainian].
  • Marienberger, L. (1960). The Great Paintings of Slavko. Luxembourg [in French].
  • Successes of the Ukrainian Artist (Painter Slavko). (n. d.). Ukrainets-Chas. Diasporiana Digital Library. Retrieved from: https://diasporiana.org.ua [in Ukrainian].
  • Stelmashchuk, H. (2018). Devotion to Ideals as a Way of Life: Mykhailo Kachaluba (110th Anniversary of His Birth). Ethnology notebooks, 1 (139), 232—233 [in Ukrainian].
  • Schaefer, P. (1988). Slavko: Transformed Nature. L’Oeil. Paris [in French].
  • (2007). Hampel Kunst Auktionen. Catalog IV: General Art Auction. Munich [in German].
  • Bailey, M. (2020, October 9). The Most Famous Bedroom in Art History: Secrets of Van Gogh’s Nocturnal Life. The Art Newspaper.
  • Les amis de Sainte-Victoire et Cezanne. (n. d.). Retrieved from: https://web.archive.org/web/20180401075354/http://www.amisdesaintevictoire.asso.fr/la-montagne-sainte-victoire-et-cezanne.html [in French].
  • Jones, J. (2004, October 30). Through a Keyhole. The Guardian. Retrieved from: https://www.theguardian.com/cul­ture/2004/oct/30/1.
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