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Liudmyla Bruyevych Graphic Arts of the 2000s – 2010s

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The authors of the publication:
Lamonova Oksana
Bibliographic description:
Lamonova, O. (2021) Liudmyla Bruyevych Graphic Arts of the 2000s – 2010s. Folk Art and Ethnology, 4 (392), 72–87.


Lamonova Oksana

a Ph.D. in Art Studies, a research fellow at the Department of Visual and Applied Arts of the NAS of Ukraine M. Rylskyi Institute of Art Studies, Folkloristics  and Ethnology


Liudmyla Bruyevych Graphic Arts of the 2000s – 2010s



The graphic artist Liudmyla Bruyevych belongs to Ukrainian masters, who have been formed completely after the 1991, and what is more – she is one in the most well-known and popular painters of this generation. Besides, she works fruitfully and is exhibited actively both in Ukraine and abroad. However, scientific study of her heritage is started only in fact. In the 2000 Liudmyla Bruyevych has been already the authoress of such prominent works, as Night (1991), the series Calmness (Cats, Mermaid, Three Fish, Fish, Vase, all of the 1994), The Dance of Grass-Snakes, or Infinity, Prehistoric Animal, or Dragon (both of the 1997). During the next two decades she keeps further the adherence to chosen technique – etching, illuminated with water-colour with the use of only four (to the limit) colours: rose madder enamel, emerald green, ochre and golden. However, at the same time noticeable and important changes have taken place in her graphic arts in the 2000s – 2010s in comparison with the etchings of the 1990s. Henceforth the main image – a fish (The Reservoir of Time, or Fish Engulfs Time (2000)), a pyramid (Course of Time, or Ukrainian Pyramids. Psychoelevation of the Soul (2004), Ukrainian Pyramid (2005), a sun (Small Sun (2006)), a dress (Dress (2010)) – becomes in fact only “the transparent covering” for numerous plot “stamps”, or, as the artist herself calls them, “niches”, where the main symbolism of the work is put properly. The geometrization and conditional character of the images are strengthened by degrees, but unceasingly. At the same time their content depth is increased and concentrated: A Star (2006), Geometry of Love (2012), Language of Land (2014). Simultaneously the diptych Mallow and Grape (2016) affirms the desire of the artist to unite and synthesize different styles, inherent for her graphic arts. It is impossible not to mention also the appearance of separate topical, almost political hints, in this diptych. All these facts can denote the beginning of new, unusually interesting, period in the creative work of Liudmyla Bruyevych.


Liudmyla Bruyevych, Ukrainian graphic arts of the 2000s – 2010s, etching.



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