Figure of Dariya Vikonska (Karolina-Ivanna Fedorovych-Malytska, 1893–1945) – little known and one of the least studied in contemporary literary and art studies. Today her forgotten research and literary heritage is coming back into Ukrainian cultural society. She originated from princely family and was the daughter of Ukrainian aristocrat, Ambassador to the Austrian Parliament and Austrian actress. In the article there is represented family of Dariya Vikonska. Ukrainian princely family of the Fedorovych family spreaded all over the Europe creating its histoty, culture, economic development. Line, that was ended by Karolina-Ivanna Fedorovych-Malytska remained Ukrainian. Other lines dissolved in other national cultures (often Polish).
The article explores the history of the relationship of Volodyslav Fedorovych and Artur Grottger, an almost forgotten page of Ukrainian-Polish intercultural dialogue of the last quarter of the nineteen century. Their friendship undoubtedly had an influence on both of their lives, and it remains an important demonstration of Ukrainian-Polish intercultural and interpersonal dialogue on the border of the two cultures of the two nations. The first of the two aforementioned men was a famous Ukrainian philanthropist, the third head of Prosvita society, a member of the Polish circle in the lower house of the Viennese Parliament. Artur Grottger died at the age of thirty; however, he became a symbol of Polish Romanticism and a champion of the Polish rebellion in January 1863. Volodyslav Fedorovych spent two years in the capital of the Habsburg Monarchy, studying in a privileged educational institution for children of noble families – Collegium Theresianum. At the same time, Volodyslav attended lectures at the University of Vienna. Vienna, one of the cultural capitals of Europe, awakened his interest in paintings and art in general. In Vienna, he met the famous Polish painter Artur Grottger, who was to introduce him later to the Ukrainian painter Kornylo Ustyanovych. Later on, Ustyanovych will become a cult figure in Galicia. The article recounts a story of his cousin Alexandra. Volodyslav was in love with her. She died very young, but Grottger managed to draw a portrait of her.
The figure of Dariya Vikonska (Karolina Ivanna Fedorovych-Malytska, 1893–1945) is little known and is one of the least studied in contemporary literary and art studies. Today, her forgotten research and literary heritage is coming back into Ukrainian cultural society. The artist can fully and deeply experience the fullness of human existence and transfer these experiences to the canvas, express it in music, or put it in the “clothes of the word” – in literature. National tradition and the sense of national belonging are very important for the artist. Hence, the vision of creativity as a process is deeply national. This national orientation of the artist is directly related to creativity as a national phenomenon rooted not in the borrowed and universally dismantled ideas and images but in the space of the national psyche. Dariya Vikonska was constantly interested in the psychology of creativity of the artist (writer, painter, composer). Her epistolary inheritance, as well as her literary studies and art studies, create a special ideological system of the vision of mental processes associated with creativity. This interest in the psychology of creativity requires the vision of art and literature as a national phenomenon inextricably linked with the mental features of the creative process seen as directly connected with the national ethnopsychology. Dariya Vikonska’s ideological, cultural, historical, and aesthetic ideas about literature, literary work, and art were surprisingly innovative, extremely relevant, and expressed the most recent ideas of the development of Ukrainian culture in the context of European culture.
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