« 2019. № 6 (150)

The Ethnology Notebooks. 2019, № 6 (150), 1563—1571


DOI https://doi.org/10.15407/nz2019.06.1563



ORCID ID: https://orcid.org/0000-0001-8680-2124

independent researcher,

Contacts: e-mail: artem.hoshchitskyy@ukr.net;


Abstract. Introduction: Like each kind of art, the artistic photography, despite the apparent simplicity perception, has a tendency to influence the deep, unknown parts of our soul together with pleasing us with its literality and informativity, the perfect composition, artistic taste in depicting the beautiful landscapes, traditional architecture and life and beautiful, sincere people esthetics in a simple and direct kind of way.

Problem statement: Photography happens to be complicated, sometimes even more sophisticated than painting, variety of art. Apart from its esthetic function, photography is an important type of narrative sources for ethnographers, anthropologists, local history researchers either. We’ve been witnessing some enhancement in Galician photographic art’s history studies in the recent couple of years, yet many names remain unknown nevertheless. The proposed article deals with Ivan Shved, the photographer from Urych village in Skole area, artistic heritage for the first time.

The purpose of the publication: the coverage of photographic artist biography’s key milestones together with main works cluster’s highlighting and analysis.

Thus the biographic, typological and analytical methods of research were used.

Conclusions: The publication is the first step in studying the artist’s life and heritage, i.e. the photos from family life, first and foremost; some moments from the Urych villagers social life, different moments from their everyday life and work elements of village’s architecture and the traditional clothing; the landscapes photos. Notwithstanding, «psychological» photos, based on the images of photographer’s children, which beat the clock of the «staged» photography, happen to be the collection’s gem, the real photographic art’s masterpieces. We have the ability to use Ivan Shved’s photos in a small amount: nearly hundred images attributed to him were discovered at the moment. Still even that small part allows us to recognize his works’ originality and integrity in a context of the Carpathian village’s cultural and artistic life in the antebellum epoch.

 Keywords: art, photographic art, Galician photographers, Ivan Shved, Boiko region.

Received 23.11.2019


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