1910–1930: Oleksandr Bohomazov. The Dynamics of the Line.

Category: Art History / Ukrainian Avant-garde / Cubo-Futurism / Theory
Reading Time: 8 Min

I. Introduction: The Theoretician of Dynamic Art

Oleksandr Bohomazov (1880–1930) is considered one of the most original and influential masters of the Ukrainian avant-garde, and a key figure in the development of Cubo-Futurism. His art is characterized by the systematic breakdown of figures and landscapes into rhythmic, intersecting lines and planes, conveying the sensation of movement, speed, and energy.

His own theoretical concept was Spectralism, focusing on how visual elements change and interact with the environment, transforming the canvas into a field of interacting dynamic forces.

II. Painting and Elements: The Manifesto

Bohomazov’s theoretical masterpiece is his 1914 treatise, “Painting and Elements” (Zhyvopys ta elementy). This text is a profound and systematic analysis of how a painter uses the basic elements—Line, Form, Color, and Rhythm—to create dynamic sensations.

He argued that the artist must not depict an object, but rather the relationships between the object and the environment.

III. The Dynamics of the Line: Architectural Abstraction

Bohomazov’s most powerful works demonstrate his theory in practice. He was fascinated by the architectural rigidity of urban objects (bridges, trams) contrasted with the organic energy of people or nature. His landscapes are not static; they are vibrating constructions, where the observer’s eye is forced to follow a defined, rhythmic path across the canvas.

The Biographical Detail:
Bohomazov was intensely dedicated to teaching and theory. During periods of forced isolation, he dedicated himself to meticulously writing and illustrating Painting and Elements, ensuring that his revolutionary ideas would be preserved.

“The surface must represent the intersection of all forms, colors, lines, and rhythms that surround the depicted subject.”

— Oleksandr Bohomazov, Painting and Elements

IV. The Sawyers and the Glorification of Rhythm (Premium Content)

Bohomazov’s late work, particularly Sawyers (1927–1928), is one of the culminating points of Ukrainian Futurism. This painting masterfully applies his theories to the subject of manual labour.

The figures of the workers are broken down into hard, geometric shards that convey the reciprocal movement of the saw and the rhythmic exertion of the body. The intense angularity and restricted palette transform the act of sawing wood into a monumental, almost cosmic event of physical energy.

V. Conclusion: The Blueprint of Movement

Oleksandr Bohomazov left behind not only a body of visually electrifying work but also a comprehensive theoretical blueprint for dynamic art. He was a Ukrainian visionary whose intellectual rigor matched his artistic audacity.

Sägewerker (Sawyers) (1927–1928); Straßenbahn (1914); Landschaft (Kiew) (1914).