Michael Kmit (Михайло Кміт, 1910-1981) was a pioneering artist whose journey spanned continents and artistic movements, leaving an indelible mark on both the Australian and Ukrainian art scenes. Born in Lviv, Ukraine, Kmit’s early studies in fine arts in Krakow were shaped by the avant-garde influences of French Cubism and Italian Futurism.
Kmit became a key figure in the Australian-Ukrainian diaspora, selling his works locally and cementing his name in the Sydney hromada (Ukrainian community). It seemed like almost every second stylish babushka owned a Kmit, even the Sydney branch of the Plast, the National Scout Organization of Ukraine, had acquired one of his works, valued at over $10,000.
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Kmit had emigrated to Australia in 1949 as part of the government’s immigration scheme, working in a cement factory and as a railway porter before being introduced to Australian Surrealist and abstract artists, joining the “Sydney Charm School” artist lodgings and studios in Sydney’s eastern suburbs. Working blue collar jobs by day and painting by night, Kmit established himself as one of Australia’s most sumptuous painters, winning prestigious national prizes as well as having his works being exhibited and collected all over the country.
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All of his works have a common thread: a deep Ukrainian influence, no matter the medium, and his pioneering neo-Byzantine style roots it in the reverence of ancient icons. This re-imagining of Byzantine icons further integrates mosaics and folk art from Ukraine with the contemporary edge of geometric Cubist and Constructivist forms, patterns and vivid color. With portraits as Kmit’s focus, his emotive use of rich and luminous color, patterning and geometric forms set him apart from his inspirations, Marc Chagall and Henri Matisse.
Each of his paintings are layered with bright splashes of color and thick textures which practically jump out of the canvas. The figures, as stylized as they are, are filled with an intrinsic connection to character – the almost neon yellow highlights, intense blue shadows and speckled shades of flesh round into an investigation beneath the skin. Kmit’s works elicit is an instant attachment to the figure and their sadness, joy or curiosity.
The early work, Self-portrait, from 1954 was selected for the Archibald prize, Australia’s most prestigious portraiture prize. Self-portrait’s clear abstractions and geometric renderings of the artist was awarded a “rebel” Archibald Prize by the New South Wales’ Contemporary Art Society – and comparing this work to that year’s winner, it was clearly rebelling against the stifled realism that was popular in these art institutions. Kmit’s portrait is a deep exploration of the human condition; the pastel blue highlights around the eyes and muddied green shadows portray a tiredness in the artist’s face. The halo of turquoise behind his head adds further dimension, its brightness almost tearing itself away from the canvas as a strong beam of light (or of hope?).
Kmit’s depiction evokes his own musings and spiritually journey in transcending hardships. The speckled points of warm yellow, red and green glimmer like streetlights, further illuminating his new worldview in Australia.
The portrait is more than a recollection of the artist’s image. Unlike Kmit’s other studies of the human figure, which are overly distorted and fragmented, he shows restraint – it is Kmit introducing a new style, a new Ukrainian Expressionist mode of painting which at the time was rebelling against conservative Australian ideals.
Michael Kmit, Self-portrait, 1954, oil on canvas
A treasured Kmit piece, Woman and Girl from 1957, is a meticulously painted mosaic, drawing on Byzantine icons of the Virgin Mary and child Jesus. It is where Kmit takes most inspiration from Ukrainian influences, the bright squares of colors weaving into each other, reminiscent of mosaic forms on public buildings. The girl is in the spotlight, her face drawn away from her mother’s and looking up towards a shadowed orb. The piece goes completely against any formal aesthetics, its figures are cartoonish and staged off center, the only distinct features of the figures are their faces, hands and feet. The nostalgia takes one back to the bright mosaics of Kyiv.
Michael Kmit, Woman and Girl, 1957, oil on hardboard
Kmit’s later work evolves further toward abstraction. Reflection, from 1973, painted several years before his death, looks almost like mindless paint splatters. The rushed thick brushstrokes combine to form a blurred reflection in a foggy mirror, with hints of peach and red cutting through the blue background. Even through reproductions, the audience is able to track Kmit’s hand along the canvas, patches of thick impasto scar the surface, dripping like condensation across the reflection.
Michael Kmit, Reflection, 1973, oil on board
Kmit’s work, marked by vibrant color, symbolic imagery, and a focus on the human figure, served as a form of quiet defiance against Soviet control, asserting Ukraine’s unique cultural identity in the face of political repression.
By incorporating elements of Ukrainian folklore and religious iconography, Kmit’s paintings reflect a commitment to preserving national heritage while also reimagining it for a new era. His legacy is one of cultural resilience and artistic independence, making a significant contribution to both the development of modern art and the expression of Ukrainian national pride and identity – one that could not be dampened even in Australia.
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