Mariia Prymachenko: A Self-Taught Master Who Conquered The Art World

(MENAFN- USA Art News) Mariia Prymachenko's painting was sensationally sold for half a million dollars, establishing her as one of the most expensive Ukrainian artists. We share the story of this self-taught artist who captivated the likes of Picasso, Chagall, Parajanov, and countless others with her enchanting bestiary.

A Ukrainian artist, Primachenko was a key figure in “naive art” (also known as“folk primitive”).
“I paint sunny flowers because I love people. I create for their joy and happiness, for all to love one another, to live like flowers across the earth...” – Mariia Prymachenko.
Art historians rank her vibrant, original creativity alongside renowned primitivists like Henri Rousseau and Niko Pirosmani . Primachenko's works are seen as a phenomenon, with her distinct style, termed“folk primitive,” developed largely on her own after just a year in the experimental workshops at the Kiev Museum of Ukrainian Art .

“Once, while herding geese near my hut by the river, in a meadow full of flowers, I drew all the flowers I saw in the sand. Then, I noticed a bluish silt. I gathered it in my hem and painted our hut,” said Mariia Prymachenko, the 'Ukrainian treasure' as Pablo Picasso called her, an artist who ranks alongside Niko Pirosmani and Henri Rousseau.
Born in 1909 in Bolotnya, Kiev province, after painting the walls of her parents' house, she soon found villagers lining up to have her decorate their homes. As a child, Primachenko suffered from polio, leaving her with a limp that made it difficult to attend school. However, at home, she did not waste time: she drew, learned to weave, and even sewed wedding dresses and holiday clothes, tearing fabric by eye, with no patterns or rulers.
Her favorite subjects were floral compositions, village life, and domestic scenes. Later, she became most famous for her depictions of fairy-tale animals-exaggerated, vibrant, and far from frightening.

Primachenko's father was a carpenter and woodcarver, her grandmother painted pysanky , and her mother was an embroiderer. Surrounded by craft and art, Maria inherited her love and talent for creating ornaments from her parents.
By the early 1930s, Primachenko was already a renowned embroiderer, with her rushniki and panels displayed at local and regional folk art exhibitions. Her style stood out, distinctly different from traditional Ukrainian patterns. At one such exhibition in the village of Ivankov, her works caught the eye of Tatyana Flora, a master weaver and teacher at the Kiev School of Folk Art. Flora invited Primachenko to Kiev, where, in 1934, she joined the Central Experimental Workshops of Folk Art at the All-Ukrainian State Museum. These workshops, featuring weaving, ceramics, carving, and decorative painting, were reorganized into the School of Folk Masters in 1936, from which Mariia Prymachenko graduated.

A year after graduating from the School of Folk Masters, Primachenko's works were featured at the First Republican Exhibition of Folk Art, filling an entire hall. Her pieces then traveled to the World Exhibition in Paris, where she was awarded a first-degree diploma. But even more significant was Picasso's praise, declaring he had never seen anything like her art. Chagall soon became another admirer.
Artists, writers, directors, and singers visited Primachenko in her village of Bolotnya, including Tatyana Yablonskaya, Mykola Glushchenko, Sergey Parajanov, Mykola Bazhan, and Pavlo Tychyna.
Though Primachenko experienced love, she never married. In Kyiv, she fell in love with her fellow countryman Vasily Marinchuk. In 1941, Maria gave birth to a son, Fyodor, but a few months later, she received word that Vasily had died in the war before ever seeing his child. Friends said prominent men courted her, but she rejected their proposals, unable to believe her love would never return. She kept hoping, often saying,“Anything can happen.” In 1987, she painted The Peacock Waits for Her Boyfriend from Space.

During her long life, Mariia Prymachenko created hundreds of narrative and ornamental compositions. She primarily painted with gouache, signing her works“M.P.,” and often wrote titles on the back, which added new layers of meaning or revealed the content of the piece. These short texts, in the form of poems, sayings, proverbs, or wishes, became an integral part of her art. Written in folk language, without adhering to punctuation or grammar rules-since Primachenko completed only four grades of school-these captions, simple and charmingly naive, are often witty and humorous. For example:“A bear with a baby at the resorts. And the bear sucks his paw. Woe to the man who can't cook.”

Interestingly, despite never visiting a zoo and seeing exotic animals only on TV, Mariia Prymachenko still created“unseen animals” rather than realistic lions, monkeys, or crocodiles, surprising those who expected conventional depictions.

“We're not going anywhere. Go pinch the cuttings. Then sit down and paint, so people can see how beautiful the earth was,” Maria reportedly said, according to her son Fyodor, after learning of the Chernobyl nuclear explosion , just 40 kilometers from their home.
One of the largest man-made disasters of the 20th century inevitably made its way into Primachenko's art. Her focus, as always, was on the unexpected details. Doctors from Ivankiv came to advise her on ways to reduce radiation exposure, including taking regular baths and wearing cellophane bags over shoes. It's unclear if she followed the advice, but one of her most famous works from the“Chernobyl series” depicts a cow grazing with bags on its hooves. Another piece from the series, Flowers Grew Around the Fourth Block, was sensationally sold for half a million dollars at a charity auction on May 5. It was later donated to the Art Museum of Ukraine in Kyiv.

Primachenko passed away in 1997 at the age of 89, but despite suffering from polio since childhood, she continued painting until her last days, finding life and strength through her art.
In honor of her 100th anniversary, UNESCO declared 2009 the Year of Mariia Prymachenko.
Until recently, a large part of her works were housed in the Ivankiv regional museum, Kyiv region. Thankfully, according to the BBC, locals managed to evacuate the collection, though its current whereabouts remain unknown.

The London-based MalabArt Gallery has secured a prominent place in the global art scene with its exclusive collection of two significant works by Ukrainian artist Mariia Prymachenko: Fantastic Scarecrow (1967) and Poppies (1967). These paintings not only embody the distinctive style and vibrant imagination of Primachenko but also hold immense value for collectors and connoisseurs of folk and naive art. With the increasing global recognition of her art, these pieces are prized as rare cultural artifacts that continue to captivate audiences worldwide.

Fantastic Scarecrow (1967) is a striking example of Primachenko's signature fantastical creatures, which blur the line between the real and imaginary. Painted in vivid colors and adorned with intricate floral patterns, the work encapsulates the artist's vision of a surreal bestiary, where animals possess human qualities and exude a playful, yet sometimes eerie, energy. The figure in Fantastic Scarecrow-with its exaggerated features and vibrant palette-highlights Primachenko's unique ability to evoke both folklore and dreamlike realms. For collectors, this painting represents a significant piece of art history, demonstrating the seamless fusion of cultural traditions and personal fantasy that defined the artist's career. As one of her best-known subjects, this fantastic figure carries an aura of timelessness and rarity.

On the other hand, Poppies (1967) reveals a different side of Primachenko's oeuvre, focusing on her love for floral compositions. The bold, vivid red flowers arranged in symmetrical harmony against a striking pink background exude vitality and optimism. Her floral works, like Poppies, offer a glimpse into her connection with the earth, beauty, and life, bringing a sense of simplicity and joy that echoes in her broader body of work. Collectors highly value such floral-themed pieces, not just for their aesthetic qualities but also for their cultural significance. Primachenko's flowers symbolize the resilience and vibrancy of Ukrainian folk art, making them coveted treasures in the art market.

Primachenko's artwork stands as a unique intersection of folk traditions and modern aesthetics. Her works, characterized by rich color palettes, intricate ornamentation, and imaginative creatures, have elevated naive art into the international spotlight. With her art gaining renewed attention from museums, collectors, and auction houses worldwide, paintings like Fantastic Scarecrow and Poppies are increasingly seen as not only cultural treasures but also as valuable investments.

The recent rise in global interest, including record-breaking auction sales of her work, underscores the significance of these two paintings in MalabArt's collection. For any collector or institution aiming to showcase the evolution of folk art in the 20th century, these paintings offer a profound glimpse into a unique artistic legacy that blends fantasy, nature, and the spirit of a nation. In a rapidly evolving art market, the possession of such works signifies not only an appreciation of cultural history but also an astute awareness of the enduring value that Mariia Prymachenko's art brings to collectors worldwide.

MalabArt Gallery's acquisition of Fantastic Scarecrow and Poppies has further cemented its role as a guardian of cultural heritage. By presenting these rare masterpieces to an international audience, the gallery honors Primachenko's contribution to the art world, offering collectors an opportunity to engage with her enduring legacy. The gallery's dedication to preserving and showcasing such works aligns with its mission to present art that transcends borders, bringing folk and naive art into new and appreciative contexts.

In a world where art is increasingly valued not only for its aesthetic qualities but also for its historical and cultural resonance, the presence of Mariia Prymachenko's works in the MalabArt Gallery marks a significant milestone. As interest in naive art continues to grow, these two paintings stand as beacons of creativity, embodying the timeless power of artistic imagination. For collectors, Fantastic Scarecrow and Poppies represent not only important additions to any collection but also the opportunity to own a piece of art history that transcends time and culture.

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