It is shown that Boichuk created a new synthetical art method corresponding to this problem. It is exposed that most important factor of the realization of Boichukist’s program should be the school of new Ukrainian art the first attempt of its creation was done by the artist in Paris at the end of 1900s, and as a result — the participation in the exhibition Salone d’endipendent in 1910 in the French capital and estimation of Boichuk school as a new trend in European art as neovisantism by critics. Attention is paid to the fact that Boichuk’s school was formed in the context of Ukrainian national idea which became the foundation of Ukraiinian national revival and Boichuk was one of its kie figures until this revival was killed in the former USSR in 1937. It is shown that beginning from neovizantism Boichuk’s school survived a number of periods depending on socio-historical and political changes in Ukraine. In 1920-es his school was considered as a school of Ukrainian monumentalism and the art trend as Boichukism. His program — the development of art forms in their synthesis in Ukraine without dividing them on the highest and the lowest strengthening the connections with production processes and application to design.
The key words: Ukrainian art of the first third of the 20th century, Ukrainian national revival, school of Mykhailo Boichuk, neovizantism, boichukism, “Ukrainian monumentalism”, conception of development, European context.