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    Igor Sikorsky, 1940 flting the VS-300A

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    Jazz (Dress or Furnishing Fabric)
    Jazz (Dress or Furnishing Fabric)Channeling the rapid pace of modern life, Sonia Delaunay’s Jazz design includes forms suggestive of musical notes and notation. In a striking color palette of black, white, red, and gray, pointed angular forms abut smooth, short curves. These undulations puncuated by sharp diagonals produce a medley of syncopated sensations that evoke music and dance popular in the 1920s. Delaunay intended for her designs to produce vibrant juxtapositions of color when fashioned into garments and worn on bodies in motion.
    Punch Drunk
    Punch Drunk
    Between Chores
    Between Chores
    Block 37 Proposal, Chicago, Illinois, Perspective View from Daley Plaza
    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, Axonometric
    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, Perspective
    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.
    Tetiana Yablonska
    Tetiana Yablonska
    
Suprematism (1917)
    Suprematism (1917)
    Kosach family and guests in the Zelenyi Hai (Green Grove)
    Kosach family and guests in the Zelenyi Hai (Green Grove)Top row — Olga Kosach, Oleksandr Drahomanov, Izydora Kosach; bottom row — Olena Pchilka, Lesia Ukrainka, Serhii Merzhynsky. Zelenyi Gai, photo 8 (20) July 1898
    Prada photoshoot in Ukrainian institute in New York
    Prada photoshoot in Ukrainian institute in New York
    Raising The Flag On Iwo Jima
    Raising The Flag On Iwo JimaMichael Strank is an American soldier of Ukrainian origin, a symbol of the US victory in World War II. He was born on November 10, 1919 in Oryabyn (Pryashiv region), emigrated to the United States in the 1920s; his father worked in the mines of Pennsylvania. After school (1937), he served in the Civilian Environmental Protection Corps, working on highways. In October 1939, he joined the Marine Corps; participated in battles on the Russell and Bougainville Islands (1942–1944). The commander of the detachment during the Battle of Iwo Jima landed on Iwo Jima on February 19, 1945 and raised a large flag on Mount Suribachi - a photo by Joe Rosenthal "Raising the Flag on Iwo Jima" became an icon of the war. By the end of March, three of the six, including Strank, were dead (March 1, 1945). Buried in Arlington; Marine Corps Memorial based on photo. Awards: Bronze Star (V), Purple Heart, Presidential Citation, Asiatic Pacific Campaign Medal. Played by Barry Pepper in the film Flags of Our Fathers. In Ukraine: mini-sculpture in Uzhgorod (2015), sculpture in the Museum of the Formation
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    574597947 25940475268874803 5903465435301866190 N
    "Woe to the Liar" Scene from the play. Act V
    "Woe to the Liar" Scene from the play. Act V The premiere took place in Odessa on August 21, 1918, and the premiere in Kyiv was on December 12, 1918.
    Oleksandr Bogomazov
    Oleksandr Bogomazov
    Oleksandras Bohomazovas, „Pjūklo galandimas“, 1927
    Oleksandras Bohomazovas, „Pjūklo galandimas“, 1927
    Oleksandr Bogomazov. "Kyiv. Landscape". 1910‒1912
    Oleksandr Bogomazov. "Kyiv. Landscape". 1910‒1912
    Olexander Bohomazov. "Still Life. Bottles". 1915
    Olexander Bohomazov. "Still Life. Bottles". 1915
    Olexander Bohomazov. "City Landscape. Potter". 1927‒1928
    Olexander Bohomazov. "City Landscape. Potter". 1927‒1928
    Oleksandras Bohomazovas. „Peizažas. Geležinkelio sankasos šlaitas“. 1913‒1915
    Oleksandras Bohomazovas. „Peizažas. Geležinkelio sankasos šlaitas“. 1913‒1915
    Olexander Bohomazov. "Female Portrait". 1915
    Olexander Bohomazov. "Female Portrait". 1915
    Olexander Bohomazov. "Lake Saimaa". 1911
    Olexander Bohomazov. "Lake Saimaa". 1911
    Ukrainian Pavilion at the 1933 World's Fair in Chicago.
    Ukrainian Pavilion at the 1933 World's Fair in Chicago.
    Parishioners arrived, to protest the changes made to the church calendar in Chicago
    Parishioners arrived, to protest the changes made to the church calendar in ChicagoBishop Jaroslav Gabro, of the Ukrainian rite of the Roman Catholic Church, was absent from his Oak Park home when parishioners arrived on Jan. 20, 1968, to protest the changes made to the church calendar.
    People of Ukrainian descent march at Western and Rice avenues on Oct. 13, 1963, in remembrance of the 30th anniversary of the Holodomor, a famine in Soviet Ukraine that killed millions of Ukrainians.
    People of Ukrainian descent march at Western and Rice avenues on Oct. 13, 1963, in remembrance of the 30th anniversary of the Holodomor, a famine in Soviet Ukraine that killed millions of Ukrainians.People of Ukrainian descent march at Western and Rice avenues on Oct. 13, 1963, in remembrance of the 30th anniversary of the Holodomor, a famine in Soviet Ukraine that killed millions of Ukrainians.
    Some of the 5,000 Chicagoans of Ukrainian ancestry listen to speakers on Oct. 16, 1938, at a mass meeting to protest the treatment of their nationality.
    Some of the 5,000 Chicagoans of Ukrainian ancestry listen to speakers on Oct. 16, 1938, at a mass meeting to protest the treatment of their nationality. The meeting was held in the St. Nicholas church field at Rice and Leavitt streets after a mass commemorating the movement for an independent Ukraine state.
    Ukrainians in traditional dress in Chicago in 1977.
    Ukrainians in traditional dress in Chicago in 1977.
    Two young Ukrainian dancers, Roxana Dykyj, 12, and George Cepynsky, 10, perform at a celebration on Oct. 11, 1970.
    Two young Ukrainian dancers, Roxana Dykyj, 12, and George Cepynsky, 10, perform at a celebration on Oct. 11, 1970.
    A Ukrainian dance team from Detroit, Michigan performed at Riverview Park for the tenth anniversary of the Ukrainian Youth Association on Aug. 2, 1956, in Chicago.
    A Ukrainian dance team from Detroit, Michigan performed at Riverview Park for the tenth anniversary of the Ukrainian Youth Association on Aug. 2, 1956, in Chicago.
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    SNMAH37PIJERBLDEIH6PJA5WRU
    The anti-Soviet protest of Ukrainians in Chicago
    The anti-Soviet protest of Ukrainians in ChicagoRuslana Zavadovych, 8, displays a sign citing infamous incidents in Ukrainian history, including the Chernobyl nuclear plant disaster and Holodomor, at a Daley Plaza rally on June 9, 1986. The anti-Soviet protest was sponsored by the Ukrainian Congress Committee.
    Ukrainian archaeologist Borys Mozolevski with the Scythian Golden Pectoral, which he discovered in 1971.
    Ukrainian archaeologist Borys Mozolevski with the Scythian Golden Pectoral, which he discovered in 1971.The Golden Pectoral is a solid gold neckpiece from the 4th century BC. It was found in the Tovsta Mohyla, an ancient Scythian burial mound in southern Ukraine. The artifact is considered one of the most significant archaeological finds of the 20th century. Mozolevski's discovery is a rare example of artistry and influential discovery.
    Bleaching canvas near a pond. 1920s. Southern Chernihiv region. P. 35.
    Bleaching canvas near a pond. 1920s. Southern Chernihiv region. P. 35.
    Photo of the main facade of the National Museum of Arts of Ukraine. Early 20th century.
    Photo of the main facade of the National Museum of Arts of Ukraine. Early 20th century.
    Ukrainers Ambitions. New York Times article 1917
    Ukrainers Ambitions. New York Times article 1917“UKRAINERS’ AMBITIONS.” Special Cable to THE NEW YORK TIMES. May 27, 1917. “THE HAGUE, May 26.—The Vossische Zeitung of Berlin says: ‘The congress of Ukrainers at Kieff has especial importance owing to the assurance of Ambassador Gerard to the representative of the newspaper L’Ukraine that America will assist the efforts of the 40,000,000 Ukrainers to achieve autonomy.’
    Zino Davidoff, a renowned Ukrainian-Swiss tobacconist and the founder of the Davidoff luxury brand
    Zino Davidoff, a renowned Ukrainian-Swiss tobacconist and the founder of the Davidoff luxury brandThe photograph shows him standing in front of his cigar shop in Geneva, Switzerland. Zino Davidoff's father, Henri Davidoff, a tobacco merchant, opened a tobacco shop in Geneva in 1911 after the family fled Ukraine. Zino later took over the business and was instrumental in its growth. He is credited with several innovations in the cigar industry, including the invention of the desktop humidor. During World War II, he famously acquired the cigar stock from Paris to protect it from the invading forces, which cemented his reputation as a key figure in the European tobacco trade. The Davidoff brand, now owned by Oettinger Davidoff AG, has expanded beyond cigars to include a range of luxury products such as fragrances, leather goods, and accessories.
    Postcard from Lesya Ukrainka to her brother Mykola and sisters Oksana and Isidora
    Postcard from Lesya Ukrainka to her brother Mykola and sisters Oksana and IsidoraI'm already leaving for Switzerland. I'll write tomorrow or the day after. My plans are all the same as in the letter to my father. I feel well, otherwise I wouldn't have gone. Write to me poste restante, because it's boring without news from you. I kiss everyone. I don't write to Lily and mother, because I don't know where they are. Lesya Lili did write, but mother doesn't like postcards, and there's no way to write a letter now. I really ask my father to come to terms with Kobylyanska's essays. Were they accepted by the "K[iev] Star[aryna]"? The author asks, but I don't know.
    Пантелеймон Куліш у шапці
    Пантелеймон Куліш у шапціPanteleimon Kulish (1819–1897) was a key figure in the Ukrainian cultural revival. He authored the first Ukrainian historical novel, The Black Council (1857), and worked as a publisher and editor (including the journal Osnova), as well as an ethnographer and historian. He developed the phonetic Ukrainian orthography known as “Kulishivka,” translated Shakespeare and worked on a translation of the Bible, helping to establish standards for the literary Ukrainian language. He moved in the circle of Taras Shevchenko, was married to the writer Hanna Barvinok (Oleksandra Bilozerska), and was connected to the intellectual milieu of the Cyril and Methodius Brotherhood. He hailed from the then Chernihiv Governorate (now Sumy Oblast).
    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.
    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 Home
    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
    Tatar Children's School
    Tatar Children's School