In the Eye of the Storm: Modernism in Ukraine, 1900-1930s

Bold Art for Tough Times

Against the collapsing empires and the chaos of World War I was the Ukrainian modernist movement. Through the turmoil of the 1917 Russian Revolution and the short-lived independence of the Ukrainian People’s Republic (1917-1920), preceding the establishment of Soviet Ukraine came a pivotal moment. Well aware of culture’s role in asserting their identity, Ukrainian artists spearheaded a genuine revival in literature, theater, and the visual arts.

This flourishing period saw an explosion of artistic styles, from figurative art to constructivism and social realism, each offering a unique perspective. Artists embraced various techniques, including oil paint, gouache, watercolor, and tempera, creating a patchwork of artistic expression. Consequently, history and the people made Ukrainian art stand out, with its rich color palette inspired by the vibrant hues from Ukrainian folk traditions and decorative art.

Forgotten Treasures

Notably, the exhibition deep-dives into an art scene lesser known in Western Europe. It recovers some forgotten treasures. These exceptional pieces would have hardly ventured beyond Ukraine’s borders if not for the curatorial efforts. Behind these visionary works, we find versatile talents like Alexandra Exter, David Burliuk, Anatol Petrytskyi, and Mykahilo Boichuck.

Take Anatol Petrytskyi, a multitalented creator who seamlessly transitioned from theater and ballet design to painting. Petrytskyi studied in Alexandra Exter’s studio. During her training, she painted, crafted theater sets, designed costumes, and even imparted her wisdom through stage design courses. In her art, we can discern traces of her time in Paris, where she resided before permanently settling in Kyiv. The imprints Cézanne and Cubism left are palpable in some of her works; both were crucial influences on her artistic journey.

The March of History

In the Eye of the Storm is housed in two expansive halls. The first hall resembles a lengthy corridor, while the second is a cube organized around a circular light well. This structural set produces an arrangement that feels light and airy, creating an enjoyable tour experience in stark contrast to the weighty repercussions of ideological aberrations mentioned on the walls.

There are, indeed, several poignant cases confirming history’s relentless march within the exhibit. An example of this is the Kultur Lige. Once the most vital Jewish cultural organization, it yielded to the Soviet government’s mounting pressure and dissolved by the mid-1920s. Their art section combined Jewish creative traditions with European avant-garde influences and had the prominent El Lissitzky among the members.

Another notable figure is Mykhailo Boichuk, founder of a workshop on frescoes, mosaics, and tempera at the Ukrainian Academy of Arts in Kyiv. At the dawn of the Soviet era, Boichuk and his apprentices took many state commissions, only to be later stigmatized as “bourgeois nationalists.” Sadly, Boichuk and his close colleagues fell victim to the brutal Stalinist purges, but they were were not the only few to undergo state oppression.

History is Still in the Making