Last year, we celebrated 100 years since the birthday of Sophia Karaffa-Korbut (19124-1996), a Ukrainian graphic artist and illustrator. This is the thread with her incredible works.
Illustration to Taras Shevchenko's poem "Hamalia", 1963
She was born in Lviv; her father was Belarusian, and her mother was Ukrainian. She spent her childhood in the small village of Kutkiv. Sofia took professional drawing lessons from graphic artist Stefania Gebus in high school.
She graduated from the Lviv Institute of Applied and Decorative Arts in 1953. After the institute, she worked briefly at the Lviv Sculpture and Ceramics Factory but left it because the working conditions were bad for her health.
The artist found herself using the colour linocut technique. She collaborated with the publishing houses "Kamenyar" (since 1961, Lviv), "Veselka" (since 1964), and "Dnipro" (both - Kyiv).
Her most significant works are illustrations for Taras Shevchenko's "Kobzar", "Ivan Vyshensky" by Ivan Franko and "Forest Song" by Lesya Ukrainka. She worked on the last one before her death, and it was published only in 2000.
"Mykyta, the Fox" was a super popular children's book by Ivan Franko. I have two books in my home, and I loved them as a kid, especially the illustrations by Sophia Karaffa-Korbut.
She was also part of the dissident movement. She often visited Kyiv, met closely with dissidents, participated in meetings of the Creative Youth Club, and read and distributed samvydav (self-published literature). They made her exhibition in Kyiv in 1964.
She never met her father, who had immigrated to the U.S. At the 1968 World's Fair in Toronto, her father recognised her name and found her through the Red Cross. They corresponded for two years. Sofia waited for him in Lviv, but at the airport, her father fell ill and passed away
She was an illustrator of about 60 works by Ukrainian writers, which were published with a circulation of over 6 million copies (she illustrated every fourth children's book published in Ukraine).
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Today, we honour liquidators, people who fought with radiation and the consequences of the Chornobyl catastrophe. I want to talk a little about an important topic: the representation of women liquidators and women's experiences of the Chornobyl disaster🧵
Doctor, scientist, cook, construction worker, widow of the liquidator - these "roles" are almost invisible in most books, projects, and even the art I research.
In short, female images in art dedicated to Chornobyl are mainly those:
Chornobyl Madonna. A mother with a child representing innocent victims poisoned land and a future that is now marked by the disaster. The most popular artistic image, thanks to the poem of the same name by Ivan Drach.
Vyshyvanky (embroidery shirts) are one of the most recognizable symbols of Ukraine and Ukrainian culture. Remember Degas "Ukrainian dancers"? Or portraits of Ukrainian girls made by Rypin? I made a thread with vyshyvanky in Ukrainian art 🧵😍
These are classic artworks by Vasyl Tropinin, which we study in our schools. He was a serf who lived in Podillia. He married a Ukrainian peasant woman and became a free man at the age of 47. He probably painted his wife.
Ukrainian culture was native to Illia Rypin, born in Chuhyiv, Kharkiv region. He probably made "Vechornytsky," which means evening gathering, in his native region. In this portrait, Sofia Drahomyrova is painted in a traditional Poltava dress.
Today, I found my new love in Ukrainian art: Petro Hanskyi (1867-1942). I realized how little I know about Ukrainian impressionists, so let's learn together.
He was born into an aristocratic family in the village of Mykolaivka, which before 1918 was called Hanske. Mykolaivka is close to Odesa, so his artistic and personal life was connected to Odesa. This is his house in Mykolaivka.
He obtained his first art education in Kropyvnytskyi (then Elisabethgrad). From 1885 to 1889, he was a free student at the Imperial Academy of Arts, then went to Paris to continue his art education at the Jerome Academy.
Today is National Defenders Day in Ukraine. We are very grateful for our freedom and our lives. Today is also the day of the Ukrainian Cossacks. I want to tell you the story of the oldest folk and art symbol—the Cossack Mamai.
Cossack Mamay is one of the most common characters in Ukrainian folk paintings from the late 17th century to the present time. Usually with a kobza – a lute-like musical instrument; a horse, which represented both freedom; and an oak with his weapons hanging on.
Often, the images include a list with a flag, a Cossack cap, and a glass. These were things related to the life and death of a Cossack—a spear was placed at the burial site, and a stem and a glass were placed in the grave. You can read that it's about life and death here⤵️
Emanuel Proweller is one of my favorite artists. He was born in Lviv in 1918 in a Jewish family but spent most of his life in France. Here is a short thread with my favorite works 🧵
"Landscape of suburbs", 1967
Since 1936 Emanuel studied architecture in Lviv. We don't know much about his early years. In 1939 (before the soviet invasion) he had his first group exhibition. Emanuel was friends with another famous artist from Lviv – polish painter Marek Vlodarsky (Henryk Shtrenk)
During the Nazi occupation in Lviv, he bought fake documents in the name of Anatoly Vrublevsky, thanks to which he avoided the ghetto and survived. His mother and sister died in the ghetto and his father was killed by nazis.
Today in 1929, Ukrainian artist of Jewish descent Olha Rapai-Markish was born. Her works are colorful, bright, and from fairy tales. Perhaps these images became a way to escape from a cruel world where there was war, repressions, and the Gulag —a thread about her life🧵
She was born in Kharkiv in the family of writer Perets Markish and translator Zinaida Joffe. Her father wrote in Yiddish, for which he was arrested in 1949 as a Jewish "nationalist" and shot in 1952. Her stepfather was also shot, but ironically, as a 🇺🇦 "nationalist".
Her mother was arrested. And Olha herself in 1953 was sent first to Siberia, as the daughter of "enemies of the state", and then to Kazakhstan. Only two years later, she was released. After returning from exile, she returned to her interrupted studies at the sculpture faculty