Permit me to introduce my research. Figewan is a pen drawing showing the members of the Ukrainian art scene in Lviv in the 19th centuries. The location can be identified as the Cafe de la Pey in Lviv. Two of the artists depicted in the drawings,

Svetoslav Hordensky and Edward Kozak, and also the painter and art historian, Pedro Mehek, who is not shown here but nevertheless belong to the same circle, are the subject of my research. Hordensky is shown in the lower part of the composition. He is seated on a chair holding a sheet of paper

and he is facing a woman, writer Maria Strutenska. Opposite of Hordensky we see the author of this drawing, the painter Edward Kozak. Kozak's drawing was first published in the literary artistic almanac in Philadelphia in 1954

which was devoted to the 700th anniversary of founding on Lviv. In turn, Hordensky published the explanation of this illustration in Detroit in 1919 in which he provided all the names

of depicted Ukrainian artists. Kozak's drawing symbolically represents the connections and networks of the Ukrainian artists in Lviv whose paths intersected in Germany and North America. It is also an imagined and constructed room in which the future of the Ukrainian art is discussed.

He positions Lviv as the Paris of East and presents the local Cafe de la Paix with the same name in Lviv as a leading discussion center for the Ukrainian art elite. In my dissertation, I analyze the identities

of the selected artists and their cross-border networks and contact zones in Europe and North America from the perspective of current migration research. The approach encompasses social historical and art historical issue.

On the focus are the terms mobility, diaspora, and nation building. Furthermore, I highlight the role and importance of various Ukrainian diaspora cultural and artistic cycles in the formation of Ukrainian cultural identity and the creation of the concept of Ukrainian national art.

Thus, I emphasize the role of art and the work of three artists in the process of Ukrainian nation building. Hordensky was a painter of sacred art, an art critic, translator, poet, and writer. Kozak was a cartoonist as well as the painter.

He was also a writer and editor and publisher of the Ukrainian satirical magazines, Les Moketa, Moketa the Fox, This Cross Eyes, and Komar, The Moskito. The path of this artist intersected in Lviv,

Munich, Philadelphia, Detroit, and New York. Mehek was the leader and founder of the Ukrainian Art Studio in Philadelphia and the leader of the Ukrainian art groups, Poki in Warsaw. He was also an editor-in-chief of the magazine Ukrainian Art Digest, one of the most important art publication

in Ukrainian diaspora. These three artists worked in the cultural and artistic centers of Europe and North America and were among of the most prominent and leading artists of the Ukrainian diaspora. Through their exhibition and publishing activities, they tried to create the concept of new Ukrainian art

and to represent it in the Western world at the high level. These three artists were deeply concerned with the role of art in the building of Ukrainian national identity. Thank you for your attention.