the formation of a new anthological position of form in 20th-century art, when it was asserted as a self-sufficient element. After getting acquainted with this work, the French researcher A. Nakov called it "prophetic". Unfortunately, due to the First World War, followed by Ukrainian War for Independence of 1917 and then the anti-Formalist movement of the Soviet decades, the manuscript was never published until interest for Bohomazov's heritage re-emerged in the second half of the 20th century. The treatise was published for the first time only in 1996 in Kyiv. 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. After coming back to Ukraine, he works in a number of schools - in Zolotonosha (1917), later in Boyarka (1918-1922), sometime having to work on several places at a time. As of 1919, he also taught at the First State Studio for Paintings and Decorative art in Kyiv. From 1919 to 1920, he was the Head of the Department for Art Education in the Ukrainian Commissariat for Visual Art. At the same time he was the co-founder of the Ukrainian Agitprop Movement, and created designs for the Agitprom movement. From 1922 until his death in 1930, he was professor at the Kyiv Arts Institute (now National Academy of Visual Arts and Architecture), alongside Vadim Meller, Vladimir Tatlin, Victor Palmov. 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. International Recognition After artist's death, his name in Soviet Union was forgotten, his works being exposed just once in 1966 in Writers' Union House in Kyiv in the exhibition "Graphics and Art of A.Bohomazov". Until the early 1970s, the work of Alexander Bohomazov remained ignored not only by the Western art historians but also by those of Ukraine. At the end of 1973, thanks to the intermediary of Ukrainian colleagues from Kyiv, French-Bulgarian art researcher Andrei Nakov was able to gain access to Bohomazov's studio, which, at the