Watercolour in Belarus. A Concise Overview from Napoleon Orda to Contemporary Artists

Do you consider yourself knowledgeable about Belarusian art? And could you tell something about it for every letter of the alphabet? The project The ABC of Belarusian Art is here to help. It introduces remarkable phenomena, both familiar and unusual techniques, and the names of artists from different periods. Discover more about the history of Belarusian art and uncover unexpected facts.

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For a long time, watercolour was not regarded as a fully fledged painting technique. In the 15th–17th centuries, it served primarily an applied and auxiliary function: it was used to colour engravings, drawings, architectural plans, as well as sketches for frescoes and paintings. During this period, watercolour existed mainly within the field of graphic art, although its artistic potential gradually began to expand.

Albrecht Dürer — Young Hare (1502) / watercolour / Albertina, Vienna.
One of the early examples of the high artistic quality of watercolour, in which precise drawing is combined with subtle chromatic modelling of form.

In Belarus, watercolour gradually became established as an independent artistic technique at the turn of the 19th and 20th centuries. It proved particularly popular among artists working with landscape and cityscape, as it allowed them to quickly capture a motif and convey the changing conditions of weather, light, and atmosphere.

In this context, the most recognisable figure for Belarusians undoubtedly remains Napoleon Orda (1807–1883). A native of the Grodno region, Orda left an extensive legacy of watercolours depicting specific locations across Belarus and various landscape motifs. Castles in Mir and Lida, the Nesvizh Palace, views of Grodno and Minsk — all these lend his works not only aesthetic but also historical value. Later, these watercolours served as the basis for lithographs published in albums of 20–30 sheets.

In Belarus, watercolour gradually became established as an independent artistic technique at the turn of the 19th and 20th centuries. It proved particularly popular among artists working with landscape and cityscape, as it allowed them to quickly capture a motif and convey the changing conditions of weather, light, and atmosphere.

In this context, the most recognisable figure for Belarusians undoubtedly remains Napoleon Orda (1807–1883). A native of the Grodno region, Orda left an extensive legacy of watercolours depicting specific locations across Belarus and various landscape motifs. Castles in Mir and Lida, the Nesvizh Palace, views of Grodno and Minsk — all these lend his works not only aesthetic but also historical value. Later, these watercolours served as the basis for lithographs published in albums of 20–30 sheets.

Napoleon Orda and his works:
1 — Portrait of the artist and a landscape with Mir Castle;
2 — Landscape with the Fara Church in Grodno;
3 — Landscape with the Nesvizh Palace;
4 — Landscape with the ruins of the castle in Navahrudak and the preserved Fara Church.
/ Images from the website 34travel.

The transition towards an understanding of watercolour as a painterly form takes place in Belarusian artistic tradition in the 20th century. In textbooks, one of the first leading Belarusian watercolourists in this sense is Lev Leitman (1896–1974). He began his professional career in Vitebsk, where he developed as both an artist and an educator. In the post-war period, Leitman moved to Minsk, where he stood at the origins of the methodological framework of the Minsk Art College.

Unlike Orda, in Leitman’s watercolours colour and atmospheric condition become the primary means of artistic expression. His works devoted to views of Belarusian cities, industrial motifs, and scenes of everyday life are marked by a pronounced painterly quality. Unfortunately, only a small number of works from his Vitebsk period have survived. Among them are Bridge (1934), Landscape (1934), Rainy Day (Dvina. Vitebsk) (1934), and Evening (1930s). These works are filled with gentle melancholy and sincere affection for the city on the Dvina River.

The transition towards an understanding of watercolour as a painterly form takes place in Belarusian artistic tradition in the 20th century. In textbooks, one of the first leading Belarusian watercolourists in this sense is Lev Leitman (1896–1974). He began his professional career in Vitebsk, where he developed as both an artist and an educator. In the post-war period, Leitman moved to Minsk, where he stood at the origins of the methodological framework of the Minsk Art College.

Unlike Orda, in Leitman’s watercolours colour and atmospheric condition become the primary means of artistic expression. His works devoted to views of Belarusian cities, industrial motifs, and scenes of everyday life are marked by a pronounced painterly quality. Unfortunately, only a small number of works from his Vitebsk period have survived. Among them are Bridge (1934), Landscape (1934), Rainy Day (Dvina. Vitebsk) (1934), and Evening (1930s). These works are filled with gentle melancholy and sincere affection for the city on the Dvina River.

Lev Leitman and his works:
1 — Portrait of the artist and Main Entrance to Dynamo Stadium (1952). Source: Lev Leitman album, Minsk, 2019, p. 52.
2 — Near Yanka Kupala’s Poplar (1957), p. 57.
3 — Young Brigade of the Tractor Factory at Work (1950), p. 47.
4 — Main Post Office (1954), p. 53.
5 — By the Svislach River (1956), p. 54.
/ Images from the online project. «Беларусь у асобах і падзеях» of the National Library of Belarus.

Based on the textbook Fundamentals of Watercolour Painting by A. I. Burchyk, a lecturer at Grodno State University, it can be stated that a new stage in the development of Belarusian watercolour began in the early 1960s. It was during this period that all-Union and republican watercolour exhibitions were organised in Belarus, and local schools began to form, including the Vitebsk School of Watercolour. The artistic processes of the 1960s are associated with the names of Aliaksandra Paslyadovich, Hryhoriy Poplavsky, Uladzimir Stelmashonak, Havriil Vashchanka, and Feliks Humen, among others.

Aliaksandra Paslyadovich and her watercolour Polesia Craftswomen (1972):
1 — The artist and a colour fragment of the work in postcard form, found on a Latvian auction website;
2 — The artist and a higher-quality reproduction of the same work from the catalogue of the Third All-Union Watercolour Exhibition (1972).
/ Images from the project «Документальная летопись Беларуси».

In the 1980s, elements of graphic design appear in the structural and figurative language of watercolour. Non-objectivity and a tendency towards monochromy become features of a new direction. Artists increasingly combine watercolour with other artistic means. Improvisations using combined authorial techniques are characteristic of the works of Uladzimir Savich, Dzmitry Surynovich, and Pyotr Drachov.

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Dzmitry Surynovich and his works:
1 — The artist and Untitled (2008);
2 — The Return of the White Cat (2009);
3 — Watercolour Untitled (2009).
/ All images from the kalektar platform.

As for more recent developments in watercolour, Burchyk identifies its painterly quality as one of the leading tendencies. In his view, colour plays the central role in creating the image, filling the work with emotional content. Many works display a pronounced decorative character. He highlights the allegorical and symbolic compositions of Zoya Litvinova(b. 1938) for their distinctive chromatic language.

As for more recent developments in watercolour, Burchyk identifies its painterly quality as one of the leading tendencies. In his view, colour plays the central role in creating the image, filling the work with emotional content. Many works display a pronounced decorative character. He highlights the allegorical and symbolic compositions of Zoya Litvinova (b. 1938) for their distinctive chromatic language.

Zoya Litvinova and her works:
1 — Portrait of the artist and a fragment of Dance;
2 — Watercolour Dance;
3 — Watercolour I Have the Flu (2002).
/ здымак мастачкі ўзят з сайта галерэі Арт-хаос, праца "Танец" узята з сайта галерэі Прадмесце, праца «Я болею гриппом» узята з сайта аўкцыённага дому ЛітФонд.

So how should watercolour be classified: as graphic art, as in Orda’s work, or as painting, as in Litvinova’s?

In the history of art, watercolour occupies a borderline position between graphic art and painting. Initially, watercolour is a material — transparent, water-soluble paints usually applied to paper. However, the concept of watercolour technique is much broader than the use of watercolour paints alone.

As an artistic technique, watercolour can function within both systems — graphic and painterly — depending on the tasks set by the artist. When transparent colour layers, lightness, and the interplay of line and wash are subordinated to drawing, the work is considered graphic in character. When colour, tone, atmospheric environment, and painterly plasticity become the primary means of image-making, regardless of the specific material used, one speaks of watercolour painting or a painterly mode of thinking characteristic of watercolour.

Today, many artists continue to use watercolour or watercolour-based techniques in contemporary practice. Not sure where to start? We suggest beginning with just a few artists whose work one can immerse oneself in for hours: Dina Leonava, Tatsiana Karpachova, and Vasilisa Palianina.

Today, many artists continue to use watercolour or watercolour-based techniques in contemporary practice. Not sure where to start? We suggest beginning with just a few artists whose work one can immerse oneself in for hours: Dina Leonava, Tatsiana Karpachova, and Vasilisa Palianina.

Некаторыя сучасныя беларускія мастачкі, якія працуюць у тым ліку з акварэллю цяпер.
1 — Таццяна Карпачова (партрэт мастачкі аўтарства Ira Olyunina) і яе праца Forest walking. Series Yearning for Paradise / 25*25 cm / 2022 / з сацсетак творцы;
2 — Дзіна Леонава і яе праца Smiling Boy N1 / 2025 / з сацсетак творцы;
3 — Васіліса Паляніна і яе праца A Bird in the Hand is Worth Two in the Bush / 2025 / з сацсетак творцы.
/ здымакі ўзяты з асабістых старонак мастачак, актыўныя спасылкі на кожную вышей.