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Designed and built by Ukraine in Color team

Українська

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Designed and built by Ukraine in Color team

Taras Shevchenko1856

Samaritan Woman

The drawing depicts a biblical scene from the Gospel of John where Jesus meets a Samaritan woman at a well. In the image, the woman is in the foreground, holding a jug on a yoke, while Jesus is shown in the background speaking to a group of people. The encounter was significant as Jews and Samaritans were traditionally enemies, but Jesus, by speaking with her, extended compassion and the possibility of salvation. Shevchenko's work is part of a series of allegorical drawings he completed during his exile.

Taras Shevchenko National Museum

Author:Taras ShevchenkoDepicted:JesusProduction technique:BistreOriginal: Public domainRestoration: All rights reserved

Taras Shevchenko1856

Samaritan Woman

The drawing depicts a biblical scene from the Gospel of John where Jesus meets a Samaritan woman at a well. In the image, the woman is in the foreground, holding a jug on a yoke, while Jesus is shown in the background speaking to a group of people. The encounter was significant as Jews and Samaritans were traditionally enemies, but Jesus, by speaking with her, extended compassion and the possibility of salvation. Shevchenko's work is part of a series of allegorical drawings he completed during his exile.

Taras Shevchenko National Museum

Author:Taras ShevchenkoDepicted:JesusProduction technique:BistreOriginal: Public domainRestoration: All rights reserved

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 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

Snake Island by Carlo Bossoli.The painting depicts a stormy sea with a ship, possibly HMS Victory, and a smaller vessel near an island. The island, historically known as the "Island of Achilles," is located in the Black Sea. The painting is a public domain work of art.

General View of SevastopolCarlo Bossoli was an Italian-Swiss artist known for his detailed landscapes and battle scenes. The work depicts the city and harbor of Sevastopol, a strategic Black Sea port. Bossoli created a series of lithographs based on his travels through Crimea in the 1840s. The image captures Sevastopol shortly after the Crimean War, which concluded in 1856, and shows the destruction from the siege that lasted from October 1854 to September 1855.

Bakhchysarai, the former capital of the Crimean Khanate

Bakhchysarai, the former capital of the Crimean KhanateThe painting depicts the Bakhchysarai Palace (also known as Khan's Palace or Hansaray), a 16th-century architectural complex that served as the residence of a succession of Crimean Khans. Built in 1532 by Sahib I Giray, it is considered the only preserved example of Crimean Tatar palace architecture in the world. The palace complex was built with a blend of Ottoman, Persian, and Italian architectural styles. It originally included a mosque, a harem, a cemetery, living quarters, and gardens. The palace's famous "Fountain of Tears" was the subject of a narrative poem by Russian writer Alexander Pushkin.

A Tartar House in the Village of AlupkaThe Crimean Tatar people have a rich cultural history, with their architecture showing influences from Islamic and Turkic motifs. The most prominent example is the Bakhchysarai Palace, the former capital of the Crimean Khanate. This palace, which served as a political and cultural center, is the world's only preserved example of Crimean Tatar palace architecture. After the so called "russian federation" annexation of Crimea and the subsequent deportations in 1944, much of the Crimean Tatar cultural heritage was destroyed. However, artists and activists have been working to revive and preserve Crimean Tatar arts and traditions.

The interior of the "Tomb of Mithridates, near the Lazaretto of Kerch" renamed as "Royal Kurgan" by you know who, a monumental burial mound located in Kerch, Crimea

The interior of the "Tomb of Mithridates, near the Lazaretto of Kerch" renamed as "Royal Kurgan" by you know who, a monumental burial mound located in Kerch, CrimeaThe engraving is titled "Tomb of Mithridates, near the Lazaretto of Kerch", reflecting the historical and archaeological context of the time it was created. It's a lithograph, a type of printmaking, rather than a painting.

Kerch, seen from the high road to Eni-Kale

Kerch, seen from the high road to Eni-KaleA view of the city of Kerch, a port city in Crimea, seen from a high road that leads to the Yenikale Fortress. In the image, there are ships in the harbor, a city with buildings at the foot of a mountain, and people and horse-drawn carriages on the road in the foreground. The artwork is a color lithograph and is part of an album called "Views of Crimea

Kerch Bay from Mount MithridatesThe painting depicts a panoramic view of the Gulf of Kerch and the city of Kerch, located on the Crimean Peninsula, as seen from the top of Mount Mithridates. The scene includes the city with its harbor and ships, a church-like structure on a hillside, and a few figures with sheep in the foreground.

View of Karasubazar ( Bilohirsk )The work depicts a scenic view of the city of Karasubazar (now Bilohirsk) in the Caucasus region, with a focus on the bustling activity and vibrant culture of the area in the 19th century. The city was an important center of the Crimean Khanate. The painting captures a general view of the city, showing its buildings and the surrounding landscape with hills and mountains.

The Castle of the Forty DragonsGeneral View of Balaclava, from the Genoese Forts

Women and girls, possibly dressed to celebrate a wedding, in Ukraine's Pavlohrad Region in 1909

Women and girls, possibly dressed to celebrate a wedding, in Ukraine's Pavlohrad Region in 1909

A village scene from Ukraine's Volyn region in 1909

A village scene from Ukraine's Volyn region in 1909

A wedding ceremony is immortalized in a print found in Fedir Vovk's personal archive.

A wedding ceremony is immortalized in a print found in Fedir Vovk's personal archive.

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

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

Ukrainian peasants in the Kyiv region in the late 1800s or early 1900s

Ukrainian peasants in the Kyiv region in the late 1800s or early 1900s

Tartars Travelling on the PlainsA caravan of Crimean Tatars traveling across a plain, possibly in the region of Crimea. The caravan includes both a horse-drawn carriage and camels, along with people on horseback.

The Khan's Palace in BakhchisaraiKhan's Palace in Bakhchysarai on the Crimean Peninsula. The scene shows a bustling street with people, buildings with Ottoman-style architecture, and minarets in the background.

Interior of an Early Christian Church. A scene from the Inkerman Cave Monastery in Crimea

Interior of an Early Christian Church. A scene from the Inkerman Cave Monastery in CrimeaThe Inkerman Cave Monastery is a cave monastery located in a cliff near the mouth of the Black River in Sevastopol, Crimea. The monastery was originally founded around the 6th century. The image shows a group of people and goats inside the caves, with a view of the landscape outside through the archways. The monastery was closed in 1931 and reopened in 1991, and is currently occupied by so called russian federation.

Crimean Tatar DanceThe painting depicts a celebration with Crimean Tatars in Massandra, Crimea. In the scene, people are shown dancing and gathering in a village setting with a large tree at the center, mountains, and a body of water in the background. The figures are dressed in traditional clothing. Some are actively dancing in a circle, while others are seated and observing the event.

View of YaltaThe artwork depicts a view of the southern Crimean town of Yalta from the sea, showing the town nestled in a valley with a church on a hill, surrounded by mountains. In the foreground, two rowboats are on the water, with larger sailing ships anchored in the bay.

Yevpatoriia (also known as Eupatoria) The piece depicts a peaceful beach scene in the western Crimea. The painting is one of 52 illustrations of the Crimean Peninsula by the artist and was published in a book titled The Beautiful Scenery and Chief Places of Interest Throughout the Crimea. The scene shows a bustling beach with buildings lining the shore, including a mosque with a domed roof and a prominent white building with a columned facade. There are people and children playing on the sand and in the shallow water, while a few sailing ships are anchored in the bay.

Self-portrait of a girl on her headIn the summer of 1976, as part of governmental cultural exchanges between the US and the USSR, Kyiv hosted the “US Photography” exhibition showcasing the latest achievements: around four hundred mostly color large‑format photographs, plus three studios and darkrooms. New York photographer David Attie worked in a studio and expanded an idea he first tried in 1974 in Bucharest—inviting visitors to make their own portraits. In Kyiv, he repeated the experiment while preserving all negatives: he brought a full‑length mirror from Vienna, equipment from the US, and Polaroid plates, and set up an open studio where visitors could create full‑length self‑portraits and receive prints immediately. The project engaged not only professionals but also the broader public.

Sonia Delaunay and an unknown person in costumes of Sonia Delaunay

Sonia Delaunay and an unknown person in costumes of Sonia Delaunay

Two models in Sonia Delaunay's boulevard Malesherbes studio

Two models in Sonia Delaunay's boulevard Malesherbes studioThe photograph depicts two models wearing designs by artist and designer Sonia Delaunay. The outfits are described as beachwear, swimwear, or clothing with geometric patterns. One model holds an umbrella, also designed by Delaunay. The designs are part of the "Simultaneous" line, which reflects Delaunay's artistic theory of using bold, contrasting colors and geometric shapes to create movement and harmony. The clothing was created to suit the real lives of women, allowing for freedom of movement.

Delegates to the First All-Union Conference of the Association of Proletarian Writers of the USSR, representatives of Ukraine and Belarus.

Delegates to the First All-Union Conference of the Association of Proletarian Writers of the USSR, representatives of Ukraine and Belarus. From left to right, sitting: Mykola Khvylovy, Serhiy Pylypenko, Tsishka Gartny, Adam Babareka. Standing: Grigory Epik, Mikhas Charot, Anatol Volny, Mykola Hristovy. Moscow All executed before 1937, Khvylovy - committed suicide.

Bridesmaid from the area of Gródek Jagielloński in Volhynia, Poland (now Horodok, Lviv Oblast, Ukraine).

Bridesmaid from the area of Gródek Jagielloński in Volhynia, Poland (now Horodok, Lviv Oblast, Ukraine). The woman is shown wearing a traditional Ukrainian floral crown, known as a vinok. Her attire also includes a multi-strand beaded necklace and a traditional garment. The photograph is from a series and is dated between 1925 and 1939. The title of the work is "Druhna z okolic Gródka Jagiellońskiego na Wołyniu", which translates to "Bridesmaid from the area of Gródek Jagielloński in Volhynia".

The costumes for the film Aelita: Queen of Mars were designed by the notable Cubo-Futurist painter and Ukrainian avant-garde artist, Olexandra Exter.

The costumes for the film Aelita: Queen of Mars were designed by the notable Cubo-Futurist painter and Ukrainian avant-garde artist, Olexandra Exter.

Serge Lifar, ‘élévation’The image depicts the dancer and choreographer Serge Lifar performing a jump, referred to as an "élévation," while a female dancer lies on the deck of what appears to be a ship. The photo was featured in the 1934 book Destin d'un Danseur.

Georges Lepape’s “Simultaneous” Vogue Cover, "Simultaneous" dress designed by artist Sonia Delaunay.

Georges Lepape’s “Simultaneous” Vogue Cover, "Simultaneous" dress designed by artist Sonia Delaunay. Vogue magazine from Late January 1925, featuring a work by French illustrator Georges Lepape. The illustration depicts a woman in a geometric, colorful outfit standing next to a car with a similar pattern. The dress is a "Simultaneous" dress designed by artist Sonia Delaunay.

Сoncrete relief on the stairs in the interior of the "Dnipro" sanatorium (now known as Druzhba) in Yevpatoria, Crimea.

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.

Портрет Ани Стен

Anna Sten in Nana (1934), dark room

Anna Sten in Nana (1934)

Anna Sten in Nana (1934) full face

In the Pubdrawing by the Ukrainian artist and poet Taras Shevchenko. The work is a sepia drawing on paper. Taras Shevchenko was a significant figure in Ukrainian literature and art, known for his poetry and his role in the Ukrainian national revival. He created a large body of artwork, including portraits, landscapes, and compositions on various themes, using different mediums. The image depicts three men in a room, with one man standing shirtless and holding a paper, while the other two are seated.

Page from the Peresopnytsia Gospel, an illuminated manuscript of the four Gospels of the New Testament that is considered a significant cultural artifact of Ukraine.

Page from the Peresopnytsia Gospel, an illuminated manuscript of the four Gospels of the New Testament that is considered a significant cultural artifact of Ukraine.