The Graphic Principles Underlying Kateryna Bilokur’s Artistic Style

December 7 marks the 120th anniversary of the birth of the unique Ukrainian artist Kateryna Bilokur (1900-1961), whose fame extends far beyond her homeland. Her oeuvre resists classification and cannot be assigned to any particular style or movement. A woman with no formal artistic training, yet driven by a passionate devotion to painting, she created an unparalleled artistic world whose visual language astonishes through its refinement, lyricism, and profound embodiment of the spirit of Ukrainian art.
Bilokur’s works cannot be adequately described as “naïve painting,” as they display qualities inherent to professional art: refined and harmonious compositions often structured around the golden ratio, as well as complex chromatic relationships. Nor can her art be easily categorized as decorative painting. Her subjects resist simplification; instead, her compositions are graceful, multi-elemental, exquisitely detailed, and meticulously rendered, while also conveying a sense of light and atmospheric space.
From a plastic (formal) perspective, the artist’s language is distinctive. The aristocratic elegance of her lines reveals a certain affinity with the visual language of Dutch floral still life of the 16th–17th centuries. However, beyond the depiction of flowers lies not only European symbolism but something more—an evocation of mood that shapes the viewer’s inner state, a hallmark of Impressionism. Yet it should be noted that Bilokur’s works are not executed in the a la prima technique characteristic of Impressionist painting. Her method differs: she first toned the canvas with a base color and, after it dried, painted the floral composition over it. Thus, her works consist of at least two sequential paint layers. The artist also possessed other unique technical secrets.
Bilokur’s oeuvre invites layered interpretation. Her works allow for deep contemplation from multiple perspectives. In this study, we will examine them through the lens of “graphic quality,” understood as the defining features of her artistic “handwriting.”
Graphic art is traditionally linear and austere, operating through line, dot, and texture, based on the interplay of black and white — where white is the paper itself and black is the applied medium. From a technical standpoint, the graphic foundation of any painting may also be revealed through desaturation.
For this study, we analyze four paintings from the Poltava Art Museum collection: Peonies (1946), Flowers (1942), Flowers in the Fog (1940), and Wheat, Flowers, Grapes (1950-1952).
The subjects of these works are drawn from nature, rendered with such inspiration that they appear effortless — as if created not by brush, but by thought alone. It is known that Bilokur sometimes began a painting with a single flower, gradually adding others around it, developing the composition organically. This approach suggests that preliminary drawing was often absent; instead, she worked improvisationally — one of the hallmarks of her unique talent. It is as if the same force that etches frost patterns onto windowpanes guided her hand, producing delicate, lace-like floral compositions.
Given the frequent absence of preparatory drawing — and the evident uncertainty in her graphic sketches — we may exclude the conscious academic application of compositional principles. Rather, Bilokur seems to have followed her intuition. She possessed an innate sense of harmony, guiding her artistic process. She created not as a trained professional, but as a woman whose nature was rooted in Love. This nuance suggests an affinity with naive (outsider) art. Yet the question remains: are her works truly naive in terms of composition, graphic plasticity, and visual language?
When desaturated, her paintings reveal a strong graphic foundation. Analysis of tonal relationships, line plasticity, balance of light and dark masses, contour character, and brushwork texture helps uncover her unique style.
In Flowers (1942), the combination of plants captivates and invites contemplative observation. The scene evokes a flowering courtyard at dusk, where vegetation seems to come alive. Through floral symbolism, Bilokur narrates human emotions. Her visual language resonates with European symbolism of the 16th–17th centuries, yet is enveloped in a translucent Impressionist “veil” that creates mood.
The plants are rendered with remarkable detail grounded in close observation of nature. Some species exhibit near-photographic accuracy, akin to scientific illustration — demonstrating that learning from nature is the mark of a true master.
Even in desaturated form, Bilokur’s paintings appear as complete graphic compositions, thanks to their balanced tonal structure and compositional harmony. Notably, within individual objects, she rarely modeled form through color variation or shadow; instead, she relied on the base tone, adding midtones and highlights with minimal color.
For example, leaves in Flowers are rendered using only two colors, with portions intentionally left unpainted to reveal the ground layer, creating spatial illusion and volume. This reflects a clear tonal and chromatic separation. Comparable methods appeared in 16th-century European painting with colored grounds (“Italian method”), as well as in Japanese ukiyo-e prints of the Edo period, and in early 20th-century Ukrainian folk painting. However, Bilokur employed this technique with exceptional subtlety and mastery, using the ground color to unify the composition.
Another characteristic feature is her partial rendering of forms: some elements dissolve into the background, creating an interwoven effect. Contours fluctuate between sharp and softened, achieved not by blending strokes but through gradients of opacity. This is facilitated by the absence of impasto; her paint layers are thin, with soft transitions achieved through delicate brushwork.
Flowers in the Fog (1940) demonstrates similar techniques, though with a pale blue ground. Here, shadows are modeled in upper layers, while highlights derive from the ground itself. In desaturated form, the image resembles pastel drawing, with a silky softness.
Bilokur’s line is consistently gentle and fluid, devoid of sharpness. Forms tend toward roundedness and “half-existence,” appearing and disappearing in space, creating a sense of slow movement akin to a flowing river. This shimmering effect generates a contemplative mood, dissolving the boundary between external and internal worlds, ultimately leading the viewer inward.
Wheat, Flowers, Grapes (1950-1952) functions as an ode to wheat — the source of life and bread. The composition centers on wheat grains, framed by flowers and grapes. The latter alludes to Eucharistic symbolism, subtly invoking sacred themes during a period of religious suppression. Through symbolic language, Bilokur engages in a quiet yet profound dialogue with the viewer, transcending her historical moment.
Technically, the work employs multiple ground layers and retains her signature method of allowing underlying colors to emerge through upper layers. The intricate interweaving of plant forms creates rhythmic movement, guiding the viewer’s gaze toward the compositional center. The detailing recalls Byzantine icon painting, where final highlights (“ozhyvky”) animate the image.
Peonies (1946) differs in its restrained palette and simplified composition. Its elegance, stylization, and linear plasticity evoke parallels with 17th-18th century Chinese and Japanese painting. The petals are rendered with rhythmic, curved strokes that animate the flower, creating the illusion of growth and movement.
Conclusion
Analysis of these four works reveals the defining elements of Bilokur’s artistic “handwriting”:
· compositional harmony
· soft, fluid plasticity
· preference for rounded forms
· intricate detailing
· distinctive stylization
· application of ‘luminous’ highlights
· absence of impasto
· use of ground color to unify composition
· variable contour (sharp or softened through transparency gradients)
· partial dissolution of forms into the background
Overall, Bilokur’s paintings are imbued with profound lyricism and a unique embodiment of harmony. Their shimmering tonalities and refined color palette evoke a sense of stillness and immersion in the primal beauty of the living world. Her art recalls the words of Konstantin Yuon: “A painting is a song without words.” Indeed, Bilokur’s visual world resonates with the spirit of the Ukrainian lyrical song.

2020

Link to the original article
https://www.gallery.pl.ua/grafichnist-tvoriv-katerini-bilokur.html

Link to the video for the article
https://www.youtube.com/watch?v=FMeIq94xcFw&t=10s

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