Sofia Nalepinska–Boychuk

Sophia Baudouin de Courtenay and Sophia Nalepinska

Ivanova Antonina Nikolaevna

Oksana Pavlenko

Louise Nevelson, "Sky Cathedral," 1957. Painted wood, 57 x 149 x 16 inches. San José Museum of Art. Gift of Beverly and Peter Lipman, 2010.16. Photo by Douglas SandbergIn the 1950s, Louise Nevelson pushed unorthodox use of material and form to include light and shadow in the creation of large-scale sculptural environments in “a search for continuity between beings, things, and spaces.” At that time, the artist also developed a flamboyant and grandiose persona—jet-black eyelash extensions, colorful coats, and bold jewelry—that reflected the enigma and complexity of her sculptures.

Boychukists studying in the workshop

Work On A Wall Painting In The Club Of Katarzhyn Village Near Odesa

Ukrainian art at the Mezhyhirya Ceramic School Club. Portrait of an Unknown

Boychuk in a workshop in an apartment in Lviv

Boychuk against the backdrop of the murals at the entrance to the chapel of the Jacobite Bursa in Lviv

Group “Renovation Byzantine” of the first waveThe “Renovation Bizantine” group of the first draft – Mykhailo Boychuk (sitting below, in the center); together with the master – Helene Schramm, Mykola Kasperovich, T. Nalepinsky, Sophia Baudouin-de-Courtenay, future wife Sophia Nalepinska, Sophia Segnot, Yanina Levakovska; Paris, 1910

Mykhailo Boychuk and Vasyl Sedlyar

Boychukists of the Boychuk School in Kyiv

Sofia Nalepinska-BoychukUkrainian graphic artist, one of the key figures of Boychukism and a representative of the Shot Revival.

Narbut

Miguel Bakun

From right to left - Guilherme Matter, Vasco José Taborda, Nelson Luz and Bakun at the exhibition.

Miguel (Mikhailo) Bakun

17. Alla Gorska Livoruch Pid Chas Podorozhi UkraїNoyu

2. Viktor Zareczkij I Alla Gorska V Hudozhnij Majsterni Poch. 1960 H Rr. 1

Alla Gorska at work on the mosaic scaffolding

Vasyl Parakhin Alla Horska Hryhoriy Synytsia Viktor Zaretsky — Near the "Prometheus" mosaic.

Alla Gorska on the scaffolding of the mosaic

Alla Horska, Hryhoriy Synytsia, Vasyl Stus, Viktor Zaretsky

All Gorska

Nadiyka Hryhorivska Ivan Drach Alla Horska during a trip to Ukraine

20. Alla Gorska Z Druzyami Shistdesyatnikami U Kremeneczi 1963 R

Mykola Glushchenko and Volodymyr Vynnychenko

Photo of Alla Horska, end of the 1940s, Odesa, Ukraine. Ukrainian Unofficial.

Living Echo of the Cossack Elite: Georgiy Narbut in Paraska Apostol’s Kontusz with Kelep and Colonel MiloradovychIn the photograph, Georgiy Narbut stands in the Cossack hall of the Tarnovsky Museum (now a room of the Chernihiv Regional Library for Youth), fully immersed in a historical Ukrainian image. He is dressed in the kontusz of Paraska Apostol, daughter of Hetman Danylo Apostol, holding a kelep in his right hand, while to his right stands Colonel Mykhailo “Cannon” Miloradovych. This staged yet documentary scene shows Narbut not just studying Cossack-era artifacts, but literally wearing them, turning himself into a living embodiment of the Ukrainian noble-Cossack past.

Poster for an art exhibition. Literature, illustration. Georgy Narbut, 1920, Kyiv.

Yakiv Hnizdovsky painting "The Wanderers", 1948

Slavko Nowycki (1934—2019)

Futurist David Burliuk

David Burliuk in Japan

Pilar Montero (1901)

First Annual Exhibition of the Students of the Julian Academy. Vollard Gallery (1897)

Exhibition poster, Galerie De Varenne, Paris, 1969"Sonia, Robert Delaunay and the Theatre", exhibition poster, Galerie Varennes, Paris, 1969. Published by Jacques Damas. Lithograph printed by Art Leto, Paris. The "Yellow Dancer" motif is based on the costume design for the play "Heart of Gas" by Tristan Tzara, staged in Paris in 1923. Photo: Galerie Modernes.

Portrait of the American sculptor Louise Nevelson, taken by the celebrated fashion and portrait photographer Richard Avedon. The image was captured in New York in 1975.

Band New Order performing live in New York in 1981 at the Ukrainian National HomeA New Beginning: This performance was part of New Order’s first U.S. tour, staged a little over a year after Joy Division singer Ian Curtis’s death. It marked a crucial step in the band’s transition and the beginning of their effort to define an identity separate from their previous group. Musical Evolution: On this tour, New Order moved beyond Joy Division’s post‑punk austerity, embracing synthesizers and propulsive rhythms. In New York they unveiled an early, unreleased ten‑minute version of Temptation, drawing rave reviews and cementing their reputation at the forefront of post‑punk. Video Recording: The show—performed in 1981 in New York City—was filmed by Michael Shamberg and later released on VHS as Taras Shevchenko, capturing the band in a raw, transitional phase and becoming a vital document of their early career. The Ukrainian National Home’s name—and the portrait of poet Taras Shevchenko hanging behind the stage—were prominently displayed, underscoring the venue’s cultural co

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