However, his father did not approve of his style, considering it too raw, and insisted that the boy graduate from the Kherson Agricultural School, where he majored in agronomy from 1896 to 1902.

They rented a wooden house in Vorontsovsky Park just outside Alupka, 8 miles south-west of Yalta, and sketched from dawn till dusk.

While visiting Imatra, he painted 'The Tower’ (NAMU) and ‘A Castle in Finland’ (collection of K.Grygoryshyn), both depicting the famous architectural marvel of Grand Hotel de Cascade (now Valtionhotelli).

The hotel was built in the form of a castle in Art Nouveau style and is reminiscent of Olavinlinna fortress situated on the other side of Lake Saimaa.

The trip yielded a number of romantic, White Night drawings and watercolours of scenic highlights near Vyborg – including Monrepos Park, the three-towered Olavinlinna Castle in Savonlinna, and the island-dotted Lake Saimaa, whose ‘fairy-tale beauty’ had been extolled by numerous artists and poets.

In the works of this time, he intuitively, rather than consciously, uses a number of techniques that enhance the feeling of movement and convey the dynamism of the depicted object.

At the same time, the artist often uses such a technique as extending straight lines along their entire length and turning them into needle-like guides, as, for example, in the work "Train".

This method of constructing the picture plane makes it possible to create the impression of intense dynamic tension and convey the feeling of movement, regardless of whether it is connected to a specific object or insinuates itself.

He also resorts to another new technique – mosaic toning of individual components, that is, fragmentary strengthening of forms, and this gives them a stronger sense of dynamism.

Like Kandinsky during the second "Salon", Bohomazov presented his theoretical work "The Essence of Four Elements", in which he explained the principle of the new Cubo-Futurist art: the combination of line, color, form and plane of the picture.

After returning to Kyiv in the end of 1917, Bohomazov starts teaching across numerous high schools and art academies, to be able to support his family financially.

In 1917, the anti-Establishment artist welcomed the ideas of October Revolution, joining Olexandra Exter in Agitprop decoration of trains and boats.

Whilst Bohomazov's theories remain to be further thoroughly studied, his innovative ideas were formalised in 1927 as part of the set course at the Kyiv Art Institute.

Same year, he became the founding member of the Association of the Revolutionary Masters of Ukraine (ARMU), together with David Burliuk, Vadym Meller, Viktor Palmov, Vasyl Yermylov and others.

Being in an emotionally low period in his life due to break up with his father, who disapproved of his choice of career and refused to help him materially, meeting Wanda was a true rescue for the artist.

After his death, Wanda single-handedly preserved his works from the Soviet authorities and Nazi invaders, until Bohomazov's artistic legacy came back to the spotlight in 1990s.

In 1914, while living in the small suburban town of Boyarka, near Kyiv, the artist wrote a treatise called "Painting and Its Elements".

[4] Many of the positions of Bohomazov's treatise anticipated the theoretical achievements of "Suprematism" by Kazymyr Malevych (Vitebsk, 1920) and "Point and Line to Plane" by Wassily Kandinsky (written in the winter of 1918–19, published in 1926 at Bauhaus, Dessau).

In fact, in "Painting and Its Elements", he considers how a black square on a white background is the “most perfect form”, a year before Malevych’s most famous work.

[5] It can be argued that the Ukrainian artist made a significant contribution to the formation of a new anthological position of form in 20th-century art, when it was asserted as a self-sufficient element.

Teaching art had been for Bohomazov not only the way to practice his expertise and share his innovative ideas, but also the means to make ends meet throughout the volatile economic and political period in the beginning of the 20th century in Ukraine.

His first teaching experience started in Caucasus in 1915, where he moved to work as a teacher of graphic art in High School of Goris (currently Armenia), until the end of 1917.

His unique, at the time, approach to teaching was focused on explaining the evolution of art forms through the lens of historical context and dynamics of social change.

At the end of 1973, thanks to the intermediary of Ukrainian colleagues from Kyiv, French-Bulgarian art researcher Andréi Nakov was able to gain access to Bohomazov's studio, which, at the time, was in the hands of his widow.

Impressed by the futurist work of the artist, he spoke about it on several occasions and published the first brief studies devoted to Bohomazov in 1973, 1977 and later in 1992 in Western European editorials.

In 1991 his paintings were exhibited at the Musée d’Art Moderne in Toulouse, whose director Alain Mousseigne not only shared Andréi Nakov's enthusiasm for Bohomazov but made every effort to present his works in museums.

After Madrid, moved to Museum Ludwig in Cologne, Germany in 2023 and Royal Academy of Arts in London, United Kingdom in 2024.