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(单词翻译:双击或拖选)
By Carolyn Weaver1
New York City
19 February 2007
watch Ukrainian Art report
Some of modern art's great innovators, including Kazimir Malevich, Alexander Archipenko and Alexander Rodchenko, are usually described as Russian artists. But these painters and sculptors2 were actually born or raised in Ukraine, and thought of themselves as Ukrainian. Their mislabeling is a lingering result of decades of Soviet3 repression4 of Ukrainian culture. Crossroads: Modernism in Ukraine, 1910-1930, on view at The Ukrainian Museum in New York City, is one attempt to correct the record.
When you think of Ukrainian art, works of folk religious art may come to mind: naïve paintings and rough-hewn sculptures of Christian5 saints and angels, of Christ and the Madonna. A roomful of such works, many of them from the private collection of Ukrainian president Viktor Yushenko, is one of two exhibits now on display at The Ukrainian Museum in New York.
Maria Shust, director of The Ukrainian Museum in New York City
The Museum’s other current exhibit, of Ukrainian modernist art from 1910-1930, is at first glance, radically6 different. But as museum director Maria Shust says, a closer look shows the imprint7 of Ukrainian folk art on the modernists.
"You can see how that [folk] work influenced this,” she said in a recent interview. “The strong sense of colors, the flatness of the surfaces, but also the deepness of the spirituality."
A Composition in Suprematism, 1920s, Kazimir Malevich
The show recovers the overlooked Ukrainian heritage of some modernist masters, including Kazimir Malevich, a pioneer of abstract painting. He’s represented by two works in the show. Shust said that Malevich was the one of the first painters to use geometric shapes alone in his work – shapes that aren’t meant to represent particular objects in the natural world.
Those images may have been partly inspired, she said, by the geometric abstractions of Ukrainian folk embroidery8, and by the simple shapes of village life: a church cross, white-washed houses, the square black opening of a stove.
Dairy-maid, 1920s, Mykhailo (Mikhail) Boichuk
Like Malevich, Alexandra Exter, Alexander Archipenko and other Ukrainian-born or bred artists are often lumped in with Russian artists of the time. Yet they were born or raised in Ukraine, where early in the 20th century, Kyiv, Kharkiv and other cities were centers of innovation in painting, theater, sculpture and other arts. Ukrainian artists were at the forefront of international modernist art movements such as Cubism and Futurism.
That ended with Stalin. In the 1930s, Ukrainian nationalism and language were forbidden. Only "heroic realism," propagandistic art in service to the Soviet state, was permitted. All else, including abstract art, was considered decadent9, subversive10.
Time, 1910, David Burliuk
"Most of the intelligentsia during this period was eliminated,” Shust said. “They were sent to gulags, they were executed. Others were stopped. Others were just forced to change the way they created."
Some artists fled to Paris and other cities in the West. The Soviet government confiscated11 2,000 modernist works in Ukraine. Only about 300 survive today. Crossroads: Modernism in Ukraine, 1910-1930, features more than 70 such works, including many not previously12 seen outside Ukraine. It opened last year at the Chicago Cultural Center and is on view in New York at The Ukrainian Museum until April 29.
1 weaver | |
n.织布工;编织者 | |
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2 sculptors | |
雕刻家,雕塑家( sculptor的名词复数 ); [天]玉夫座 | |
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3 Soviet | |
adj.苏联的,苏维埃的;n.苏维埃 | |
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4 repression | |
n.镇压,抑制,抑压 | |
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5 Christian | |
adj.基督教徒的;n.基督教徒 | |
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6 radically | |
ad.根本地,本质地 | |
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7 imprint | |
n.印痕,痕迹;深刻的印象;vt.压印,牢记 | |
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8 embroidery | |
n.绣花,刺绣;绣制品 | |
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9 decadent | |
adj.颓废的,衰落的,堕落的 | |
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10 subversive | |
adj.颠覆性的,破坏性的;n.破坏份子,危险份子 | |
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11 confiscated | |
没收,充公( confiscate的过去式和过去分词 ) | |
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12 previously | |
adv.以前,先前(地) | |
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