The icons made by the participants of seven icon-painting plein-airs, which were held annually during 2009–2015 in the Lemko village of Novytsia (now Gorlice County, Lesser Poland Voivodeship, Poland), are considered in the article. Attention is drawn to the history of the village Novytsia, icons of its churches, most of which were painted in the end of the 16th–17th c. by masters who worked in the towns of Povoroznyk and Mushyna near Novytsia, which is a prerequisite for the revival of the icon painting art in this region. Organizers and curators of plein-airs are mentioned. On the example of the works of the 2009–2015 Novytsia plein-airs, attention is drawn to the development trends of the modern icon, which is not limited to the interior of a particular church. According to the results of studying these works, it can be stated that even for a short period of seven years there is a clear evolution in the style of icons: from reminiscences of old works, mostly of Ukrainian, Russian or Byzantine origin, to a new icon, which creatively combines the achievements of modern visual art. Studying the works of the participants of the plein-airs, the question also arises: when does an icon cease to be an icon in the classical sense of the word? The leading role in the creation of the “new” icon is played by Ukrainian artists, who have a solid base of traditions of local icon painting, which is actively developed at the Sacral Art Department of the Lviv National Academy of Arts. Most Ukrainian participants of the plein-airs are connected with the Academy as teachers, graduates or students. In fact, the Lviv environment became a catalyst for the development of the icon style at the Novytsia plein-airs. Lviv icon painters present different directions of stylistics and iconography, we can say “set fashion”, which also influences the works of other participants of the plein-airs. Interesting author’s solutions of icons based on local tradition also distinguish Belarusian and Georgian artists.
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