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Book Launch
Ukrainian Artists
in Paris. 1900-1939
An Illustrated
Talk By Dr. Vita Susak and Lidia Lykhach
Sunday,
December 5 at 2:00 p.m.
Tuesday,
December 7 from noon to 13:00
Sunday,
December 12 at 1:00 p.m.
Ukrainian
Institute of Modern Art 2320
W Chicago Ave Chicago, IL 60622
Sponsored by: RODOVID PRESS, The UKRAINIAN
MUSEUM in NY, The Harriman Institute Columbia UN, UKRAINIAN NATIONAL
MUSEUM IN CHICAGO, Ukrainian Institute of Modern Art
Ukrainian Artists in Paris.
1900-1939 (Rodovid Press, 2010)
This book is the first detailed look
at the contribution of artists from Ukraine to the phenomenon known
as the “School of Paris.” At the same time that Picasso, Modigliani
and Chagall were working in Paris, many artists from Ukraine were also
living and creating art there, among them Alexander Archipenko, Mykhailo
Boichuk, Sonia Delaunay, Sophia Lewitska, Vladimir Baranoff-Rossine,
and Hannah Orloff. In the early 1920s they were joined by Oleksa
Hryshchenko (Alexis Gritchenko), Mykhailo Andriienko, Vasyl Khmeliuk,
and many others — some achieved fame, others are long since forgotten.
Separate chapters are devoted to several of these artists. Ukrainian
events that took place in the French capital are discussed against the
general background of the “School of Paris.” The book’s Appendix
includes a dictionary of Ukrainian artists in Paris featuring more than
250 individuals, as well as a chronology of Ukrainian events in Paris,
both covering the years 1900-1939.
Press-release
New Book Launch!
Ukrainian Artists
in Paris. 1900-1939
Vita Susak. Monograph. History of Ukrainian
Art. Hardcover, 408 pp. Language: English, 2010 ISBN 978-966-7845-40-7 $55.00 (+20.00 p&h)
Rodovid Press of Kyiv is pleased to
announce a presentation of its most recent publication, Ukrainian
Artists in Paris. 1900-1939, by Vita Susak of Lviv Art Gallery,
Ukraine. This is the first systematic and comprehensive examination
of the role and substance played by Ukrainian-born emigres to France
in this time period. A great deal has been written about this
time and place, this great cultural upheaval that changed so much in
the world of art, but the Ukrainian contribution to that time and place
has rarely been imagined. Until now.
Specifically, this book is the first
detailed look at the contribution of artists from Ukraine to the phenomenon
known as the “School of Paris.” At the same time that Picasso,
Modigliani and Chagall were working in Paris, many artists from Ukraine
were also living and creating art there, among them Alexander Archipenko,
Mykhailo Boichuk, Sonia Delaunay, Sophia Lewitska, Vladimir Baranoff-Rossine,
and Hannah Orloff. In the early 1920s they were joined by Oleksa
Hryshchenko (Alexis Gritchenko), Mykhailo Andriienko, Vasyl Khmeliuk,
and many others — some achieved fame, others are long since forgotten.
Separate chapters are devoted to several of these artists. Ukrainian
events that took place in the French capital are discussed against the
general background of the “School of Paris.” The book’s Appendix
includes a dictionary of Ukrainian artists in Paris featuring more than
250 individuals, as well as a chronology of Ukrainian events in Paris,
both covering the years 1900-1939.
Packed with facts and names, this ground-breaking
monograph is a unique reference work offering a panoramic survey of
the Ukrainian presence in the art of this period. The book features
new research, numerous illustrations, and detailed supplemental material,
all combining to make this publication an important contribution to
the history of Ukrainian art and culture. Ukrainian Artists in Paris will appeal to a broad cross-section of readers, art specialists, and
collectors, both Ukrainian and international.
We invite you to come help us celebrate
the arrival of this unusually important contribution to the history
of Ukrainian artistic imagination.
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September 6, 2010
The THIRD Presentations of Hutsul Embroidery (RODOVID, June 2010)
These days, in the beginning
of autumn and on the eve of the 17th International “Forum
of Publishers” in Lviv, I would like to repeat here what I said at
the presentation of the book Hutsul Embroidery (RODOVID, June 2010) that took place in Kyiv in June at the Ivan
Honchar Museum (with a concurrent photo exhibition by Yuri Bilak). I
would also like to take this opportunity to invite you to another presentation
of the same book at the Lviv National Museum of Ukrainian Art (20, Svobody
Avenue) at 3 pm. on September 17.
But first let’s talk about
the pleasant memories. From the photographs of Valeriy Kudelia:
Ìåòüþ Àðäåí, Åëåí Âåç³àí, ˳ä³ÿ Ëèõà÷, dzðêà ³òóøèíñüêà òà Îëåíà Íèêîðàê |
Åëåí Âåç³àí |
Ïîñîë Ôðàíö³¿ â Óêðà¿í³ ï. Æàê ÔÎÐ |
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Ãîñò³ |
Ãîñò³ |
Á³ëÿ êíèã Ðîäîâîäó |
Ñòåôàí³ÿ: êíèãè íå òàê ëåãêî ïðîäàþòüñÿ |
Àíí ÄÞÐÞÔËÅ ç êíèãîþ |
Çíàéîìëÿòüñÿ: Ìåòüþ Àðäåí ³ Þð³é Ñàâ÷óê |
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³ðà Çàé÷åíêî ç ãîñòÿìè ïðåçåíòàö³¿ |
³ðà Çàé÷åíêî, Ñåðã³é Ëàºâñüêèé òà Ëþäìèëà Ëèíþê |
Äìèòðî: ³ öå îäÿãàëè â ÷åðåâèêè? |
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Ïåòðî Ãîí÷àð ëèñòຠíå òó êíèãó âèøèâêè |
Îëåíà Îñèï÷óê ³ Íàòàëêà Ñàìðóê |
ßêå æ âðàæåííÿ â³ä êíèãè? |
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Íàéêðàùå ôîòî ç ïðåçåíòàö³¿ |
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The second presentation of Hutsul Embroidery took place in Kolomyia, in the National
Museum of Hutsulshchyna and Pokuttia Folk Art. http://hutsul.museum/events/2010/presentation_of_new_edition
The idea to publish this monograph
belongs to the French Ambassador Mr. Jean-Paul Vesiant who served in
Ukraine 2005-2008. However, as the mayor of Kosmach, Dmytro Pozhodzhuk, corrected me via email, this idea was given to the Ambassador by Pozhodzhuk,
who is himself an artisan of Hutsul embroidery. I suspect, however,
that the idea to publish a beautiful book about the magic of hutsul
folk art may have also been on the minds of thousands of people. RODOVID
has already published the beautiful catalogue, Folk Art from the
Hutsul and Pokuttia Regions (2002), which was later expanded by
the Institute of Collection Art in Lviv into four separate publications: Candleholders, Icons on Glass, Ceramics, and Metal Works.
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Now back to the Embroidery. While the origin of the idea is perhaps debatable, the initiative certainly belongs to the French side. Mr. Jean-Paul Vesiant and his wife Ellen organized a scientific committee of the publication, to which they invited RODOVID and a photographer from Paris, Yuri Bilak. We worked together on the structure of the catalogue and decided to produce a book based exclusively on the embroideries from the Kolomyia Museum of Folk Art. However, during our work on the publication this museum received “National” status and dropped “Kolomyia” from its name.
Our work on this catalogue spanned three years, even though we planned to finish it in one year. This delay was due to the fact that there were several authors and many translators and editors but only one designer. Also, since the book was published in three languages (Ukrainian, English, and French), the publishing process was on a large scale and was difficult to manage. All in all, it was a long trial of our patience. Fortunately, the published book has already received high praise from the media and extremely positive and pleasant comments from the readers. I myself am very fond of the design of this monograph, created by Iryna Pasichnyk, RODOVID’s art-director.
The third presentation of Hutsul Embroidery took place in Lviv, in the Sheptytskyi National Museum, September 17th.
In the meantime, we invite everybody to the third presentation of this unique scientific and art project that will take place at the Lviv National Museum of Ukrainian Art (20, Svobody Avenue) at 3 pm. on September 17.
Sincerely,
Lidia Lykhach
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August 15, 2010
Welcome!
In this new part of our website I would like to tell about several events that took place in the summer period of our life in RODOVID.
About the History of the Sorochynskyi Iconostasis – the first or the latest event
Literally only a couple days have passed since our longtime printer Pavlo Sachek came to our office with the newest catalogue ÑÎÐÎ×ÈÍÑÜÊÈÉ ²ÊÎÍÎÒÀÑ / The Sorochynskyi Iconostasis (RODOVID, August 2010). Like most of our latest publications, this is a bilingual catalogue – in Ukrainian and English. It features magnificent illustrations of even more magnificent icons (photo’s by Ivan Krezhenstovskyi) of the famous Sorochynskyi iconostasis from the Church of the Savior’s Transfiguration located in Velyki Sorochyntsi in the Poltava region.
I am greatly pleased that RODOVID was able to complete this unique project, initiated by Inna Dorofienko, who is a recognized expert in restorative works. Last summer, upon entering our tiny office on Saksahanskoho Street, Inna Dorofienko announced more or less the following: she had visited enough places in search of a publisher of SUCH a book and that she was not going to waste anymore of her time. And so it became clear that she had chosen us. The slides were ready and the text would come! What was left to us? Just to reply: YES.
If Inna Panteleimonivna asked for five more publications, we would have accepted. There was just that much power and conviction in her voice, and her experience and accomplishments are impressive. Among her many restorative works was the very Sorochynskyi iconostasis which she completed over thirty years ago.
How does one publish a book, let alone so luxurious a catalogue when one has no money? However, there was a text – from the restoration experience of Inna Dorofienko and Olha Rutkovska and there were also high quality slides completed in the restorative studios. Therefore, it was all about the design…
It just happened that the presentation of the catalogue byVitalii Kulykov, a famous artisan from Kharkiv, was visited by Mykola Shtok, the designer with whom we have cooperated since 1996 and who has been working in Moscow for over a decade. Mykola had started a catalogue of the works of his teacher Vitalii Kulykov. RODOVID, together with Tetiana Tusasian, was helping him to print it. The catalogue turned out beautifully; and Mykola, Pavlo and Vitalii were thrilled at its presentation. So just as Mykola was smiling and looking happy I asked him if there was a chance he would be interested in such a unique cultural sight as… His answer was obviously YES, even though Mykola knows better than anybody else that RODOVID has no money. However, a true artist would always be interested in the Sorochynskyi iconostasis!!! As a bonus, it was also an opportunity for Mykola to work on this special book together with his sons studying in Stroganovka. In other words, Mykola Shtok was busy throughout the whole winter sending us his draft pages. When the draft was just about finished and looking great, the real pains and aches began – because to publish such a memorable piece in Ukrainian only would be a sin. Marta Oliynyk from Montreal (Canada) had agreed to translate promptly the text into English and our great helper, English editor Romana Liabrosse had proofread the text. Only something was still missing for presenting SUCH a publication! The missing piece was a foreword written by recognized art critic Liudmyla Miliaeva who has been researching the Sorochynskyi iconostasis for many years and has a number of articles published in a variety of sources. Certainly, Liudmyla Semenivna agreed gladly and her foreword turned into a full fledged research publication while her part in the catalogue expanded into writing comments and consultations regarding the identification of icons from the iconostasis. Liudmyla Semenivna even visited Sorochyntsi and encouraged her son, Les Poderevjanskyi, to take a couple of pictures that illustrate her article nicely. I have to express my gratitude to Liudmyla Semenivna for her outstanding and conscientious work and to apologize for cutting short her foreword in the English version due to a lack of time.
One glorious day, when almost all of the simultaneous tasks were nearing the end but the money for printing was still missing, I phoned Svitlana Svischeva, the director of the Sorochynskyi Yarmarok [Fair] project. She did not need long explanations since the Sorochynskyi Yarmarok takes place in the same town of Velyki Sorochyntsi and she had been to the church of the Savior’s Transfiguration on multiple occasions. And you know, in just a couple of days her words became the magical chord that created the finishing harmony for our project ÑÎÐÎ×ÈÍÑÜÊÈÉ ²ÊÎÍÎÒÀÑ / The Sorochynskyi Iconostasis (RODOVID, August 2010).
Once again, I extend my gratitude to everybody, including Natalka Samruk, Tania Hafiychuk and Olena Osypchuk from the RODOVID office.
I suggest that everybody who is interested should purchase the book because, as it is written on the cover of the catalogue: Price $40.00.
The work on this publication was so pleasant and inspiring that we decided to create a series, Ukrainian Iconostases, and we have already photographed the next iconostasis. With that, we invite anybody who is interested to cooperate.
Sincerely,
Lidiya Lykhach
More good news: three books published by RODOVID (two designed by Iryna Pasichnyk and one by Mykola Shtok) have been selected for presentation at the 9th International Biennale of Graphic Design, “Golden Bee” in Moscow. The exhibition will take place in the Central Artist House August 25 – September 3.
The first book, The Old Ukrainian Icon, is written by Oleh Sydor and designed by Iryna Pasichnyk. The second book, designed by Iryna as well, is entitled The Ukrainian Icon and Artifacts of the 11th -18th century from the collection of Oksana and Ihor Hryniv. The last one is the catalogue of the exhibition, On the Altar of Time: sculptures and folk icon from the private collection of the President of Ukraine Viktor Yuschenko.
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