17. Alla Gorska Livoruch Pid Chas Podorozhi UkraїNoyu

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

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.

Yakiv Hnizdovsky painting "The Wanderers", 1948

Slavko Nowycki (1934—2019)

Futurist David Burliuk

David Burliuk in Japan

1929newyork1

Block 37 Proposal, Chicago, Illinois, Perspective View from Daley PlazaBlock 37, the parcel of land in the heart of Chicago’s Loop bordered by State, Randolph, Dearborn, and Washington Streets has stood idle for years in spite of numerous ideas for the construction of new buildings. The redevelopment of the block was originally conceived by Mayor Richard J. Daley in the 1970s to transform the site of old, inferior, low-rise buildings into new and larger buildings with more intensive uses in keeping with the downtown area. The site has been the object of several unsuccessful attempts at development over the years. Architect Helmut Jahn, working for the joint venture development company FJV, prepared several schemes for the site between 1983 and 1987. All of these plans envisioned a giant atrium that would permit continuous movement of pedestrians throughout the block. The developers’ failure to secure a anchor tenant for the development—along with delays by the City and the worsening economic situation—cast doom on the project.

Northwestern Terminal Tower, Chicago, Illinois, AxonometricAlthough the Northwestern Atrium Center (now Citigroup Center) meets the street as a cool, reflective waterfall of glass, this exuberant architectural rendering shows the building exploding from its foundations to expose the complex program of its base. Removed from its messy urban environment, the structure appears to float in an abstract grid, an example of Helmut Jahn’s creative exploration of the motifs, materials, and attitude of high-tech postmodern architecture. Unlike the heavy mechanics of other designers working in this vein, however, Jahn’s work evinces a touch of nostalgia for the delicate qualities of industrial architecture of the past. His Northwestern Center fuses a contemporary mirrored-glass facade with curves and articulation that recall Art Deco interiors and 19th-century iron-and-glass train sheds, an appropriate reference for this modern commuter train hub.

Block 37 Proposal, Chicago, Illinois, PerspectiveBlock 37, the parcel of land in the heart of Chicago’s Loop bordered by State, Randolph, Dearborn, and Washington Streets has stood idle for years in spite of numerous ideas for the construction of new buildings. The redevelopment of the block was originally conceived by Mayor Richard J. Daley in the 1970s to transform the site of old, inferior, low-rise buildings into new and larger buildings with more intensive uses in keeping with the downtown area. The site has been the object of several unsuccessful attempts at development over the years. Architect Helmut Jahn, working for the joint venture development company FJV, prepared several schemes for the site between 1983 and 1987. All of these plans envisioned a giant atrium that would permit continuous movement of pedestrians throughout the block. The developers’ failure to secure a anchor tenant for the development—along with delays by the City and the worsening economic situation—cast doom on the project.

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

Village houses in Ukraine in the late 1800s or early 1900s

Сoncrete relief on the stairs in the interior of the "Dnipro" sanatorium (now known as Druzhba) in Yevpatoria, Crimea. The artwork was created by Ukrainian artist Ernest Kotkov in the early 1980s.

Pioneer of modern architecture in Brazil from Ukraine - Gregory WarchavchikGregori Warchavchik (1896-1972) was a Ukrainian-Brazilian architect who is considered a pioneer of modern architecture in Brazil. This black-and-white photograph shows him looking through a tiny camera on a tripod. In the 1920s and 1930s, Warchavchik was a prominent figure in the Brazilian modernist movement.

Edifício Barão de Limeira, designed by the Ukrainian-Brazilian architect Gregori Warchavchik in 1939The building is also known as Edifício Mina Klabin, named after Warchavchik's wife, Mina Klabin. Located in São Paulo, Brazil, the building is an example of Brazilian modernist architecture, which gained international recognition for its unique blend of European ideas with the local climate and a strong focus on innovative use of concrete. Warchavchik is considered a pioneer of modern architecture in Brazil, with his other notable works including the Casa da Rua Santa Cruz, considered the country's first modernist residence.

Szewczenko School (Shevchenko School). Vita. Canada. 1921. Oseredok

Views of Odessa. [Album]. View of the Pokrovsk Church and Aleksandrovsky Avenue. Mid-1850s.

Odesa. Boulevard. Monument to Duke Richelieu. Late 1870s.

Odesa. View taken from the small pier. 1850s.D’ap. nat. et lith. par F.Gross. Lith. de A. Braun à Odessa.

Odesa. Quarantine. Mid-1850s.

The competitive project presented by the Museum of Antiquities and Arts. The main facade.

Verkhovyna 12

Verkhovyna 11

Petro Levchenko is a Ukrainian painter

Villa Bashkirtseff in NiceFrom 1871 to 1877, the Bashkirtseff family villa in Nice served as a setting for Marie’s early ambitions. Here, surrounded by the social life she adored, Marie immersed herself in private studies, driven by her vision of fame. Today, Nice commemorates her with a dedicated street and a permanent display of her work in the Musée des Beaux-Arts.

Oleksandr Murashko in the forest

10s

Oleksandr and Margarita Murashko on their wedding day

Oleksandr Murashko in his workshop.

Castle of Tadeusz Hrabianka on Podilla, drawing from nature by Napoleon Leda

Kremenchuk bridge

Angelica and Olexandr Archypenko on their way to New York, 1923

20. Alla Gorska Z Druzyami Shistdesyatnikami U Kremeneczi 1963 R

20. Alla Gorska Z Druzyami Shistdesyatnikami U Kremeneczi 1963 R