Ten years has passed since the artist Petro Bevza decided to build his specific way, that would lie aside from the dead ends of the fast flowing popularity. He confidently moves in the direction, established with his inner feeling, creating painting compositions, that belong to the best creativenesses of the Ukrainian "new Renessainse". A wonderful colourist, he successfully uses the philosophic ABCs of the Oriental art, combined with the Western methods of the construction of an image, longing to see the beginning of Times, but at the same time, not to lose his personality.o In 1986-90 years being in a peculiar painting nirvana, Petro Bevza was not a member of any unions either officially, or formally. Having started exhibiting his pictures, the artist entered the already structured system and his adequblished traditions, but he is not a reactionary of a neo-classicist, who appeals to the return to the anachronic forms.The artist was born on the 1st of January in 1963 in the family of teachers. When he turned five, his parents moved to a Kiev suburb. After finishing a secondary school, from 1979 to 1985, he studied architecture at the Kiev State art Institute. His teacher was Mykola Stepanov. "The architecture disappeared as suddenly as it had appeared" - Bevza remembers, considering truly, that, first of all, every artist is an autodictate.At that time, the time of the assertion of a group of young Ukrainian artists, Petro Bevza was a Neanderthal man, who did not know the abstract impressionists Barnett Newman and Robert Motherwell, tashists Nikolas de Stael and Alberto Burri. The Neanderthal man, who did not put theoretical objectives, and almost did not communicate with the artists personally. He was a person, who simply lived and loved, and so at the end of the 20th century could afford painting "ecstasies" and believe, that it was only harmony that would save the world. In those early works he investigated the first technical innovation of his own, which later he called "painting cloud". The artist started a work with a serial of light strokes and spots, without a regular rhythm and composition, only using the inner jabs, resulted into appearing an original painting cloud. Therefore, any chaotic disorder led to the tone harmonic solution - a method which will be constantly met later. Besides, before the beginning of the work with the canvas itself, the artist worked with sketches, but never coloured. The presence of the lyrical "I" of the artist in his pictures found its reflection in the image, which dominated, in the image of his wife. His free "cloud rhythm" gives a possibility to accompany the colouring abstraction with the lyric intonation.The first recognition of his being a painter came to Petro Bevza in 1990, when Tiberiy Silvashy, who was a head of the union of young painters and art critics of the Ukrainian Union of Painters at that time, invited him to participate in the International Symposium of painting in the Transcarpathians. Shortly after this, in spring 1991 at the House of Art in Sednev so-called "art groups", traditional meetings of the artists, close in their vector of movement, that Left the triumph of 1987 far behind, took place. At that time they were surviving the period of decay. There Bevza made acquaintance with the artists Anatoliy Kryvolap, Petro Lebedynets, Oleksandr Zhyvotkov, Akelay Zell, who seriously influenced on his interest to phovism. "Sedniv-91" and its exhibition "Painting plastics" open the doors of the art circles of the capital for him. Anatoliy Kryvolap said, that Petro Bevza "for a short period pierced all the layers of the art life from the very bottom, reaching the top". On the same year, his personal exhibition took place. The works were exhibited at the House of Cinema together with the Oleg Pinchuk's works, and were praised greatly with the almanacs "Obrazotvorche Mystetstvo" (Fine Art), "Ukraina", Kyyiv". The art critic and poet Leonid Cherevatenko, who was the Deputy Editor of the "Novyny Kinoekranu" journal at that time, was very enthusiastic about Petro Bevza: "The great quality of this art, its purity becomes apparent in beauty and harmony of the painting, which is the original material nowadays. It is a simple painting on its feelings, with pure spirit, as well as intellectual. Besides, its freshness is tremendous". It creates his unique colouring rhythm, where the picture itself as well as the cycle of works are an art work. He even had an idea to call one of his exhibitions "The Ecstasies". The artist says: "Everything I depict, is a pure ecstasy in the initial meaning of this concept, so is union of a person and God. For me, it is a union with the sky, let us say, in "Walks With the Son", where the sky appeared through the eyes of the child, the sky with which my wife united, The sky from which my son was born".Petro Bevza was awarded with the premium of Kyyiv for his work "Time. Dedication to Petro Lebedynets". It was marked as the best work of painting of 1994.The artist lives in the South-West suburb of Kyyiv, not far from an airport. He has a small flat. There is a table hanging hear the door "Andriyivskiy spuskjl". In 1980s and at the beginning of 1990s Bevza worked at home, in his bedroom, that was turned into the workshop in the afternoon. "I was doing my pictures on my bride bed"- the artist jokes. Besides a bed and a bookcase, there was also an old radio, standing in the room. Subframe was put on two chairs and leaned back on the wall. To see the picture from a distance, one had to bring it outside. Only at the end of 1993 after acquaintance with Marko Geiko and Oleksiy Lytvynenko an idea to rent a common studio came to their mind.One of the mystery of the Petro Bevza's art career is a volume of the work made for a comparatively short period. Being a publisher (almanac."Syntheses" on the matters of art, 1994) and an art activist (coodinator of the International Painting Symposium "Ukrainian-French Meetings", "Khust-94", two exhibitions of the "Syntheses- Slavutich-94") he managed to create so much. He has 160 pictures done for all this time. And it is worth respect and surprise. "I work all day long,- the artist jokes, eating the yellow mixed up with sugar and swinging in a chair.The artist started the work on his picture "The Mother and the Child" for ten months, and after seven sweats had poured, he realised how he would work and what he would do. And "The Road" cycle appeared for one moment during the "Ukrainian-French Meetings" Symposium, which became a certain "fire river". Petro Bevza's personal exhibition in 1991 was a statement of presence. The Symposium revealed the toyment, self-sufficiency of non-movement, confirmed exhausiveness of the accepted paradigms. The communication with Georges Autora and Joel Brisse became a powerful emotional push towards re- comprehension of his place in the cultural being. At the early stage he was under influence of Paul Gauguin and Andrew Wyth, later on Pierre Soulages and Ian Johannessen. Another, more esoteric figure, who influenced on the artist, was Kasymyr Malevich, though the art critic Dmytro Gorbachev said "looking at Petro Bevza's works there is an opinion that the cubism has not existed at all"His work's trait is simplicity, that can push away the certain refined viewers, but to the artist's mind - the simplicity is not the easiest thing. It is based on the ability og reaching beauty, when all the unnecessary disappears, and there is only the essence left. Bevza is a painter, who recognises all the esta. I was going and turning my hands in front of myself like a crazy, who was released from a mad house"After return to Kyyiv, for less than a month the artist produced one of his best works- "The Way" cycle, where everything which he had thought about and he had survived were melted together. Once, Paul Amery remarked: "In those pictures Petro Bevza managed to reflect the Ukrainian land in its purity and grandeur. He can be characterised as a transcendental artist, whose main theme is the spiritual experience of his people"..Petro Bevza creates "affirmative" painting, realising the insufficiency and artificiality of divisions according to the signs of modernism. Realising the absence of the problem "figurativism - non- figurativism", the artist longs to differentiation. However, the work with the "views of the archetypes" (after S.Krymskiy), turning to the "initial symbolism", usage of different, from the first sight, materials (oil, cellotex, graphite, glue, sawdust) have a uniting character. The model "The Reality of the Abstraction", created by him, is realised in this project.