The western ray of the setting sun at the end of a short late autumn day. The sun suddenly emerged from behind the clouds at sunset and illuminated the vase of chrysanthemums standing on the table for a moment. It immediately sparkled with magical colours and seemed to hang in the air, supported by this ray. And the grapes, which I had managed to lay out on the table to make a sketch, began to radiate an unearthly glow. It was one of those rare moments of inspiration when the brushes paint themselves and the colours fall exactly as you intended from the very first stroke. After experiencing such moments, you realise that time is a relative concept. I painted this picture in two days.
The western ray
The western ray. Close-up
The western ray. Close-up
The western ray. Sidepiece. Close-up
The western ray. Close-up. Signature of the artist
The western ray. Frame option
If you are interested in this painting and would like to purchase it, please fill out and send the feedback form on the home page. You can also purchase this painting at the online galleries linked on the home page. Dispatch from Kiev (Ukraine)
TITLE: Western ray YEAR: 2025 ARTWORK TYPE: Original Art/One of a kind DIMENSIONS: 70х50cm TECHNIQUES: Oil on acrylic undercoat RELATED THEMES: Still life art SUPPORT OR SURFACE: Canvas on the canvas-stretcher FRAMING: No CATALOGUE N: Kovalska142
Princess Olga is a legendary woman who embodies the courage and resilience of Ukrainian women. After the death of her husband, Prince Igor, she had the strength and courage not only to raise her son, but also to take ruthless revenge for her husband’s death. The princess’s sharp mind repeatedly found the most ingenious solutions to the most critical situations of those times. According to historical records, the princess’s revenge on the Drevlyans was repeated, which clearly reflects her temperament. The first time, when after Igor’s death it was decided to marry Olga to the Drevlyan prince Mal, 20 of the ‘best men’ were sent to her, and the princess ordered them to be buried alive. The second time, Olga herself asked for the best men to be sent to her, and when the envoys arrived, they were burned in a bathhouse. The third time, using an ancient ritual called a trisna, Olga ordered the drunken Drevlyans to be killed. The fourth act of revenge took place after a year-long siege of the city of Iskoroten. Through her envoys, Olga asked for three pigeons and three sparrows from each household under the pretext of a light tribute and that the revenge was supposedly over. The Drevlyans agreed, and on the princess’s orders, they tied tinder to each bird, which they set alight when it got dark and released the birds. Thus, Iskoroten burned down, and Olga avenged the death of her husband Igor.
TITLE: Princess Olga – the fourth revenge
TITLE: Princess Olga – the fourth revenge. Close-up
TITLE: Princess Olga – the fourth revenge. Close-up
TITLE: Princess Olga – the fourth revenge. Close-up. Signature of the artist
TITLE: Princess Olga – the fourth revenge. Frame option
If you are interested in this painting and would like to purchase it, please fill out and send the feedback form on the home page. You can also purchase this painting at the online galleries linked on the home page. Dispatch from Kiev (Ukraine)
TITLE: Princess Olga – the fourth revenge YEAR: 2025 ARTWORK TYPE: Original Art/One of a kind DIMENSIONS: 40х50cm TECHNIQUES: Oil on acrylic undercoat RELATED THEMES: Landscape, history SUPPORT OR SURFACE: Canvas on the canvas-stretcher FRAMING: No CATALOGUE N: Kovalska136
Walking through Shevchenko Park, you can immerse yourself in the life of the mountainous regions of Lviv, Ivano-Frankivsk and Zakarpattia region, which are ethnologically known as Boikivshchyna. According to the most common version, ‘boiki’ comes from the name of the Celtic tribe of Boii. Some consider them to be descendants of the White Croats, who participated in the formation of the Ukrainian people about a thousand years ago. Boykivshchyna is famous for its wooden buildings, in particular single-storey rectangular houses with a special architectural design and layout, featuring galleries on one or more sides. The huts of Boikivshchyna are of considerable cultural value and are part of the region’s cultural heritage, both in terms of architectural composition and log construction skills. Using only axes, the folk craftsmen of the Carpathians built huts with galleries, water mills, churches and bell towers, which we now appreciate as masterpieces of folk architecture. The massive shape of the building’s roof is particularly impressive, often resembling a mountain with its repeating contours. Boiko buildings are ancient Carpathian estates consisting of farm buildings and stables separated by a ‘boishche’ (barn), and there is also an unusually decorated well. All buildings are carved. The Boiko family wears traditional Carpathian clothing, which is comfortable, light, richly ornamented and elaborately crafted. The girls wear embroidered shirts, white skirts with embroidered edges and aprons, whose ornamentation resembles that of a rushnyk; they also wear headscarves. Married women knit scarves for their headdresses.
Visiting the Boiki
Visiting the Boiki. Close-up
Visiting the Boiki. Close-up
Visiting the Boiki. Close-up
Visiting the Boiki. Close-up. Signature of the artist
Visiting the Boiki. Sidepiece. Close-up
Visiting the Boiki. Frame option
If you are interested in this painting and would like to purchase it, please fill out and send the feedback form on the home page. You can also purchase this painting at the online galleries linked on the home page. Dispatch from Kiev (Ukraine)
TITLE: Visiting the Boiki YEAR: 2025 ARTWORK TYPE: Original Art/One of a kind DIMENSIONS: 60х60cm TECHNIQUES: Oil on acrylic undercoat RELATED THEMES: Landscape, History, Folk Architecture SUPPORT OR SURFACE: Canvas on the canvas-stretcher FRAMING: No CATALOGUE N: Kovalska138
Gopak is the hallmark of traditional Ukrainian folk dance originating in Zaporizhia. It is a symbol of Ukrainian culture and choreography and is known throughout the world for its energy, dynamism and virtuoso jumps. The name of the dance comes from the exclamation ‘gop!’ during its performance. Its origins date back to the Cossack era, when it was performed as combat training, conveying a spirit of strength and courage. Traditional Ukrainian folk instruments are used to perform the gopak. These include the violin, pipe, and tambourine. These instruments create a fast, energetic accompaniment that matches the dynamic nature of the dance. The diptych ‘Gopak — Music and Dance’ is created in a modern interpretation and complemented by the femininity and lyricism of Ukrainian ornamentation, emphasising the importance of cultural heritage carried through the centuries.
Gopak — dance
Gopak — dance. Close-up
Gopak — dance. Close-up
Gopak — dance. Close-up
Gopak — dance. Close-up. Signature of the artist
Gopak — dance. Sidepiece. Close-up
Gopak — dance. Frame option
Gopak — music and dance. Diptych
If you are interested in this painting and would like to purchase it, please fill out and send the feedback form on the home page. You can also purchase this painting at the online galleries linked on the home page. Dispatch from Kiev (Ukraine)
TITLE: Gopak — dance Right part of the diptych «Gopak — music and dance» YEAR: 2025 ARTWORK TYPE: Original Art/One of a kind DIMENSIONS: 50х70 cm TECHNIQUES: Acrylic RELATED THEMES: Ornament SUPPORT OR SURFACE: Canvas on the canvas-stretcher FRAMING: No CATALOGUE N: Kovalska141
Gopak is the hallmark of traditional Ukrainian folk dance originating in Zaporizhia. It is a symbol of Ukrainian culture and choreography and is known throughout the world for its energy, dynamism and virtuoso jumps. The name of the dance comes from the exclamation ‘gop!’ during its performance. Its origins date back to the Cossack era, when it was performed as combat training, conveying a spirit of strength and courage. Traditional Ukrainian folk instruments are used to perform the gopak. These include the violin, pipe, and tambourine. These instruments create a fast, energetic accompaniment that matches the dynamic nature of the dance. The diptych ‘Gopak — Music and Dance’ is created in a modern interpretation and complemented by the femininity and lyricism of Ukrainian ornamentation, emphasising the importance of cultural heritage carried through the centuries.
Gopak — music
Gopak — music. Close-up
Gopak — music. Close-up
Gopak — music. Close-up
Gopak — music. Close-up
Gopak — music. Close-up. Signature of the artist
Gopak — music. Sidepiece. Close-up
Gopak — music. Frame option
Gopak — music and dance. Diptych
If you are interested in this painting and would like to purchase it, please fill out and send the feedback form on the home page. You can also purchase this painting at the online galleries linked on the home page. Dispatch from Kiev (Ukraine)
TITLE: Gopak — music Left part of the diptych «Gopak — music and dance» YEAR: 2025 ARTWORK TYPE: Original Art/One of a kind DIMENSIONS: 50х70 cm TECHNIQUES: Acrylic RELATED THEMES: Ornament SUPPORT OR SURFACE: Canvas on the canvas-stretcher FRAMING: No CATALOGUE N: Kovalska140
Today, the international art exhibition ‘Art Without Borders’ opened at the Dovzhenko Cultural Centre in Lviv.
The world of art is an endless exploration of the surrounding world, its analysis and interpretation through visual experiments and profound self-expression. The art exhibition ‘Art Without Borders’ is an attempt to explore the boundaries of existence in the concept of modern Ukraine through self-expression via art – colour and form. The exhibition will run until mid-November. I invite everyone interested in contemporary Ukrainian painting to attend.
Art Without Borders
Art Without Borders
Diploma of participation in the international art exhibition ‘Art Without Borders’
The painting, which is the right-hand panel of the triptych ‘Freedom’, depicts Grand Prince Vladimir Sviatoslavich of Kiev, under whose rule the Christianisation of Rus took place. The theme that unites the paintings in this triptych is, first and foremost, the coat of arms of our state, the continuity of generations, the continuity of history, and the interconnection of important historical events. The trident depicted on Prince Vladimir’s shield has been a symbol of our country since ancient times. Even in the days of Kievan Rus, the definition of state power and the continuity of statehood traditions, symbolised by the trident, was of great importance. The history of the trident dates back to the time of the Rurikids, who used it literally everywhere: from money to bricks for building structures. But the trident appeared much earlier on the territory of modern Ukraine. Archaeological finds indicate that the Trypillians used the trident as a sign of elders as early as the 3rd-4th centuries BC. Many different hypotheses have been put forward as to what the Ukrainian coat of arms symbolises. None of them has been fully proven, so there is still no reliable and comprehensive interpretation. A fairly common opinion is that the trident symbolises Rarok, the messenger of heavenly justice, or a falcon flying down. In many cultures, this bird was of great importance, as it was the embodiment of victory over evil, a symbol of power, indestructible strength and valour. In ancient Slavic culture, the falcon also occupied a special place at the top of the world tree. Among the various interpretations, there are other associations, including that the Ukrainian trident is an ancient religious symbol, a tripod candlestick, an anchor, an ear of wheat, a crown, a bow and arrow, and a triune sacrifice for the victory of life over death. Some experts on Ukrainian culture believe that the coat of arms of Ukraine can be deciphered as the word ‘VOLYA’ (This ancient russian word has several meanings: will, liberty, freedom), the letters of which make up the modern trident. But whatever it symbolises, the trident symbolises above all the will of the people, the indestructibility of the country, and embodies the connection between generations. Today, the trident is the coat of arms of Ukraine and has long been a symbol of the indestructibility and struggle of Ukrainians for freedom.
Prince Volodymyr — godfather of Kievan Rus
Prince Volodymyr — godfather of Kievan Rus. Close-up
Prince Volodymyr — godfather of Kievan Rus. Sidepiece. Close-up
Prince Volodymyr — godfather of Kievan Rus. Close-up. Signature of the artist
Prince Volodymyr — godfather of Kievan Rus. Frame option
If you are interested in this painting and would like to purchase it, please fill out and send the feedback form on the home page. You can also purchase this painting at the online galleries linked on the home page. Dispatch from Kiev (Ukraine)
TITLE: Prince Volodymyr — godfather of Kievan Rus Triptych “Freedom”. Right part YEAR: 2025 ARTWORK TYPE: Original Art/One of a kind DIMENSIONS: 60х80cm TECHNIQUES: Oil RELATED THEMES: Portrait, history SUPPORT OR SURFACE: Canvas on the canvas-stretcher FRAMING: No CATALOGUE N: Kovalska133r
Vikentiy Khvoika (real name Čeněk Chvojka, Czech) was a self-taught Russian archaeologist of Czech origin, one of the founders of Ukrainian archaeology, the discoverer of the Trypillian culture in the Kyiv region, and a researcher of the Scythian, Zarubintsy (3rd century BC — 4th century AD), Chernyakhov (2nd—7th centuries) and early Slavic cultures. In 1907, during archaeological excavations in Kiev, Chvojka stumbled upon a unique find — an ancient plinth with a trident engraved on it. It was the symbol of Vladimir Sviatoslavich, which later became the coat of arms of independent Ukraine. The painting, which is the left part of the triptych ‘Freedom’, depicts the moment when the ancient symbol of princely power was found. The theme that unites the paintings in this triptych is, first and foremost, the coat of arms of our state, the continuity of generations, the continuity of history, and the interconnection of important historical events. The trident has been a symbol of our country since ancient times. Even in the days of Kievan Rus, the definition of state power and the continuity of statehood traditions, symbolised by the trident, was of great importance. The history of the trident dates back to the time of the Rurikids, who used it literally everywhere: from money to bricks for building structures. But the trident appeared much earlier on the territory of modern Ukraine. Archaeological finds indicate that the Trypillians used the trident as a sign of elders as early as the 3rd-4th centuries BC. Many different hypotheses have been put forward as to what the Ukrainian coat of arms symbolises. None of them has been fully proven, so there is still no reliable and comprehensive interpretation. A fairly common opinion is that the trident symbolises Rarok, the messenger of heavenly justice, or a falcon flying down. In many cultures, this bird was of great importance, as it was the embodiment of victory over evil, a symbol of power, indestructible strength and valour. In ancient Slavic culture, the falcon also occupied a special place at the top of the world tree. Among the various interpretations, there are other associations, including that the Ukrainian trident is an ancient religious symbol, a tripod candlestick, an anchor, an ear of wheat, a crown, a bow and arrow, and a triune sacrifice for the victory of life over death. Some experts on Ukrainian culture believe that the coat of arms of Ukraine can be deciphered as the word ‘VOLYA’ (This ancient russian word has several meanings: will, liberty, freedom), the letters of which make up the modern trident. But whatever it symbolises, the trident symbolises above all the will of the people, the indestructibility of the country, and embodies the connection between generations. Today, the trident is the coat of arms of Ukraine and has long been a symbol of the indestructibility and struggle of Ukrainians for freedom.
Vikentiy Khvoyka. Kyiv artefacts from the princely era
Vikentiy Khvoyka. Kyiv artefacts from the princely era. Close-up
Vikentiy Khvoyka. Kyiv artefacts from the princely era. Close-up
Vikentiy Khvoyka. Kyiv artefacts from the princely era. Sidepiece. Close-up
Vikentiy Khvoyka. Kyiv artefacts from the princely era. Close-up. Signature of the artist
Vikentiy Khvoyka. Kyiv artefacts from the princely era. Frame option
If you are interested in this painting and would like to purchase it, please fill out and send the feedback form on the home page. You can also purchase this painting at the online galleries linked on the home page. Dispatch from Kiev (Ukraine)
TITLE: Vikentiy Khvoyka. Kyiv artefacts from the princely era Triptych “Freedom”. Left part YEAR: 2025 ARTWORK TYPE: Original Art/One of a kind DIMENSIONS: 60х80cm TECHNIQUES: Oil RELATED THEMES: Portrait, history SUPPORT OR SURFACE: Canvas on the canvas-stretcher FRAMING: No CATALOGUE N: Kovalska133l
The painting, which is the central part of the triptych ‘Freedom’, depicts Mykhailo Hrushevsky, a Ukrainian historian, public figure and politician. He was the chairman of the Central Rada of the Ukrainian People’s Republic (1917-1918). At Hrushevsky’s suggestion, on 12 (25) February, at a meeting of the Small Rada in Korosten, the trident was approved as the coat of arms of the Ukrainian People’s Republic, and it became the coat of arms of independent Ukraine in 1991. The theme that unites the paintings in this triptych is, first and foremost, the coat of arms of our state, the continuity of generations, the continuity of history, and the interconnection of important historical events. The trident has been a symbol of our country since ancient times. Even in the days of Kievan Rus, the definition of state power and the continuity of statehood traditions, symbolised by the trident, was of great importance. The history of the trident dates back to the time of the Rurikids, who used it literally everywhere: from money to bricks for building structures. But the trident appeared much earlier on the territory of modern Ukraine. Archaeological finds indicate that the Trypillians used the trident as a sign of elders as early as the 3rd-4th centuries BC. Many different hypotheses have been put forward as to what the Ukrainian coat of arms symbolises. None of them has been fully proven, so there is still no reliable and comprehensive interpretation. A fairly common opinion is that the trident symbolises Rarok, the messenger of heavenly justice, or a falcon flying down. In many cultures, this bird was of great importance, as it was the embodiment of victory over evil, a symbol of power, indestructible strength and valour. In ancient Slavic culture, the falcon also occupied a special place at the top of the world tree. Among the various interpretations, there are other associations, including that the Ukrainian trident is an ancient religious symbol, a tripod candlestick, an anchor, an ear of wheat, a crown, a bow and arrow, and a triune sacrifice for the victory of life over death. Some experts on Ukrainian culture believe that the coat of arms of Ukraine can be deciphered as the word ‘VOLYA’ (This ancient russian word has several meanings: will, liberty, freedom), the letters of which make up the modern trident. But whatever it symbolises, the trident symbolises above all the will of the people, the indestructibility of the country, and embodies the connection between generations. Today, the trident is the coat of arms of Ukraine and has long been a symbol of the indestructibility and struggle of Ukrainians for freedom.
Mykhailo Hrushevsky. A historical view of the political unity of the nation
Mykhailo Hrushevsky. A historical view of the political unity of the nation. Close-up
Mykhailo Hrushevsky. A historical view of the political unity of the nation. Close-up
Mykhailo Hrushevsky. A historical view of the political unity of the nation. Sidepiece. Close-up
Mykhailo Hrushevsky. A historical view of the political unity of the nation. Close-up. Signature of the artist
Mykhailo Hrushevsky. A historical view of the political unity of the nation. Frame option
If you are interested in this painting and would like to purchase it, please fill out and send the feedback form on the home page. You can also purchase this painting at the online galleries linked on the home page. Dispatch from Kiev (Ukraine)
TITLE: Mykhailo Hrushevsky. A historical view of the political unity of the nation Triptych “Freedom”. Central part YEAR: 2025 ARTWORK TYPE: Original Art/One of a kind DIMENSIONS: 60х80cm TECHNIQUES: Oil RELATED THEMES: Portrait, history SUPPORT OR SURFACE: Canvas on the canvas-stretcher FRAMING: No CATALOGUE N: Kovalska133c
On 2 August 2024, the Shostka Art Centre in Shostka, Sumy Oblast, hosted the opening of the art exhibition ‘Unconquered Borderlands’ as part of the All-Ukrainian art project ‘Unconquered Ukraine’. During the exhibition, 90 participants presented 190 works, united by the goal of showing the indomitable heroic resistance of the Ukrainian people in their struggle against the enemy. The meeting was attended by the vice-president of the National Academy of Arts of Ukraine, artist, honoured worker of culture of Ukraine, associate professor Yurii Vakulenko, who noted that the Academy supports such projects that demonstrate the resilience of compatriots: «This exhibition uses art to show the spirit of those cities that were the first to suffer barbaric aggression. But this did not break the powerful inner strength of our people.» The National Academy of Arts of Ukraine also awarded the Mayor of Shostka, Mykola Noha, with the Grand Silver Medal. The exhibition was organised by the National Union of Artists of Ukraine.
The art exhibition ‘Unconquered Borderlands’ as part of the All-Ukrainian art project ‘Unconquered Ukraine’
Certificate of participation in the All-Ukrainian cultural and artistic project “Unconquered Borderlands”
The art exhibition ‘Unconquered Borderlands’
The art exhibition ‘Unconquered Borderlands’
The art exhibition ‘Unconquered Borderlands’
The art exhibition ‘Unconquered Borderlands’. Grand opening
The art exhibition ‘Unconquered Borderlands’. Grand opening
The art exhibition ‘Unconquered Borderlands’. Grand opening
The project partners are the National Academy of Arts of Ukraine, the Ministry of Culture and Information Policy of Ukraine, the National Academy of Sciences of Ukraine, the H.S. Skovoroda Kharkiv National Pedagogical University, and the Shostka City Council. My painting ‘God, save the children, please!’ is participating in the exhibition.
Flowers
