The Imaginative World of Heorhii Narbut and the Making of a Ukrainian Brand

Myroslava M. Mudrak

Rodovid Press

Based on collections in the Chernihiv Historical Museum, this is the most comprehensive research on the topic. Nearly 300 color fragments of embroidery in silk, gold and silver thread as well as multicolored cotton thread on sheets, ritual cloths, pillowcases, tablecloths, clothing, ecclesiastical vestments and other objects common to the households of the Cossack elite. 
Vira Zaichenko is senior researcher at the Chernihiv Historical Museum and has conducted wide-ranging historical and ethnographic research in the Chernihiv region.

Embroidery of the Cossack Elite of the 17-18 Centuries. Catalogue of the Collection in the Chernihiv Historical Museum, Ukraine

Arts & Photography

Vira Zaichenko

Graphic Design

This publication is the result of Yevhen and Tetiana Prychepiys' many years of research and enthusiasm. For five years, they traveled around Ukrainian villages amassing a collection of embroidery from the Vinnytsia Subdnistria region. Yevhen Prychepiy, PhD, did the comparative research on the symbolism of embroidered ornaments, their structure, and the typical signs found in Eastern Podillian embroidery. It is this research and the Prychepiy's unique collection that are presented in Embroidery of Eastern Podillia. Illia Pavlov and Maria Norazian designed the book. The Prychepiys' collection, which they gathered from 2001 to 2008, has been on display at the Ivan Honchar Museum since 2014, when the couple donated it on the occasion of Yevhen's 75th birthday.

EMBROIDERY OF EASTERN PODILLYA

Tatiana Prychepiy Ievhen Prychepiy

Panas Yarmolenko's village portraits are, without a doubt, a phenomenon in Ukrainian visual culture. They are a sensation that not only reveals to us a new, talanted individual, but also give us a new context in which to view the life of the portrait: from the salons of the Cossack elite, from the 19th-centurty urban intelligentsia, the portrait spread and grew in popularity among villagers beginning in the 1920s. Panas Yarmolenko: A Portrait of My Land presents new research by Halyna Shchupak, Petro Honchar, and Lidia Lykhach. The story of Yarmolenko's life and his works is accompanied by many illustrations that bring together the artist's paintings with photos uncovered from the archives.

PANAS YARMOLENKO

Honchar Petro, Lidia Lykhach

This is the first detailed look at the contribution of artists from the 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-Rossiné, 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. Ukrainian events that took place in the French capital are discussed against the general background of the School of Paris. A detailed appendix is included, featuring a dictionary of more than 250 Ukrainian artists in Paris as well as a chronology of Ukrainian events in the French capital, both covering the years 1900 to 1939.

Ukrainian Artists in Paris: 1900–1939

Susak, Vita

History & Criticism

For the first time, 250 works by highly professional and folk artists from the 13th to the early 19th centuries are featured in this elegant album, representing a diverse array of times and styles. As part of private collections in different Ukrainian cities—Lviv, Ivano-Frankivsk, Kyiv, Cherkasy, and Poltava—these works of great cultural value have been previously inaccessible to a broader circle of enthusiasts. Finely complementing one another, these masterpieces clearly illustrate the milestones of old Ukrainian icon painting over 500 years.

Ukrainian Icons: 13th–18th Centuries

Sydor, Oleh

This artistic monograph is the first of its kind to present the panorama of the most typical examples of Hutsul embroidery, specifically those embodied in the collection of the Ukrainian Kobrynsky National Museum of Folk Art. Presenting a selection of beautiful, unique creations, this is a sophisticated work of stunning composition; ornamental motifs; and clear, artistic, and aesthetic characteristics. These motifs are ancient symbols that have survived to the present day in the most varied of interpretations.

Hutsul Embroidery: From the Collection of the Kobrynky National Museum of Folk Art, Kolomyia, Ukraine

Maria Prymachenko 100 is a publication that brings together under one cover a series of articles, essays, reflections, and texts on the occasion of Maria Prymachenko's 100th birthday. It attempts to look at the work of the famous artist not through the sentimental lens she's usually viewed with, but as an object of well-grounded scholarly investigation. The first "retrospective" part offers the most important articles published in the 1960s; part two brings together texts from contemporary Ukrainian art historians and artists, written specifically for this centennial. They include Nina Matviienko, Ihor Dychenko, and Halyna Skliarenko, among others. Artist Tyberii Silvashi and art historians Dmytro Horbachov and Liudmyla Lysenko comment on the place Prymachenko's work occupies in contemporary art and life. Literary critic Tamara Hundorova examines the archetypes and symbols in Prymachenko's work through the prism of psychoanalysis

Maria Prymachenko 100

Tamara Hundorova, Yuriy Rost, Oleksander Naiden

Burden of Innocence is the project of a Canadian Ukrainian, the painter Natalka Husar, who has made a name for herself in her field in both Canada and abroad. Here Husar's visual work is presented with her own commentary on what she sees as the social ills and goods in contemporary Ukraine: the subject matter is post-Orange Revolution Ukraine and our continually shifting, always-problematic but utterly abiding relationship with our parents' homeland and the homeland of our imaginations. Burden of Innocence is a bridge between various worlds: Canada and Ukraine, painting and writing, and verbal and visual images.

Natalka Husar: Burden of Innocence

Husar, Natalka

The history of Ukrainian art illustrates various phenomena that fundamentally altered the established flow of events and defined the further development of Ukraine's culture. Art historians frequently refer to them in an attempt to create their own versions of the past. Where Ukraine's visual arts of the twentieth century are concerned, it is impossible not to mention the founding of the Ukrainian Academy of Art in 1917.

The Ukrainian Academy of Art: A Brief History

Kashuba-Volvach, Olena

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