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as that of his wife, of the actress Vera Lewycka, the ballerina Roma Pryma-Bo- hachewska, Oksana Makarevych and others. Arcadia Olens’ka Petryshyn, herself an artist and a scholar of art says in her article about Mychajlo Cher- eshniowsky that ’’the majority of the sculptor’s portraits of women undeniably belong among his best works." In the first place, we would like to stress his interest in the person of Lesya Ukrainka. It began with the monument in Cleveland, which as is well known was initiated by the UNWLA, later another stately monument of this poetess was erected in Toronto (the unveiling took place in October of 1975) and in the summer of 1976 a bust of Lesya Ukrainka was unveiled on Soyuzivka in Kerhonkson. A full-scale model of the monument of Lesya Ukrainka was one of the central and most important exhibits at a showing in commemoration of the 200-th anniversary of America., in Washington and this exhibition, organ ized by and under the personal super vision of Mychajlo Chereshniowsky was perhaps the most impressive one which the Ukrainians held during the Bi centennial. Besides these there are a few smaller sculptures of the great poetess; we do not know of all of these so we will mention only the one which was in cluded in the exhibit in New York in 1974 and which was subsequently transported to Winnipeg. The artist diligently prepared for his work in the execution of the sculptures of Lesya Ukrainika. He not only read works written by and about her, not only examined pictures of her and noted her dress, he also spoke at length with her sister, Isidora Petrivna Borysdva. All this he did in order to portray her outward appearance as well as render her M. C ze r e s z n io w s k y j: R ea p e r, w o o d (e x e c u te d d u rin g a rt s c h o o l d a y s ) M. Ч е р е ш н ь о в с ь к и й : К о с а р ( д е р е в о — п р а ц я із с т у д е н т с ь к и х ч а сів). psychological portrait. After all, the effect that is most impressive in all of his sculpture-portraits is that he succeeds in conveying not only the physical likeness but also the spiritual makeup of the individual. The actual technical process of the sculptor is complicated: the model is first done in clay, then in plaster and finally in wood and bronze. For monuments which are to be made in bronze, the sculptor first makes a small model in plaster, which is later enlarged to the desired size. The Madonna which is featured on our cover is done in plaster. It is not coincidental that the same sculpture is found inside our issue but that one is done in wood. This is for the purpose of showing that the same sculpture produces distinct effects when rendered in various materials. The technique and materials not only require different tools, they also have different effects. Besides sculptures M ychajlo Chereshniowsky also does wood- carvings. Well known is his iconostas in the church in Hunter, which took the artist two years to complete. He also makes smaller carvings in wood: crosses, maces, etc. Mychajlo Chereshniowsky belongs to that class of artists, who do not en close themselves only within the circle of artistic creativity (which sometimes even has harmful consequences for the art). We must mention a few facts from his interesting biography beginning with the mere 7-year old who secretly used to carve "topirci", we go on to his study at the craft school in Kolomya and in the Institute of Arts in Cracow, then to his active participation in the Ukrainian In surgent Army (U.P.A.) and come to his present life in which he attempts to combine work in OMUA with personal participation in the organization of exhi bits (including hanging up the paintings of others in preparation for such exhibits) and with the encouragement of young Ukrainian artists to work in their native environment. He also leads a wood carving school the pupils of which number 20, through whom he wants to transmit the art of Ukrainian carving to future generations. Obviously all the additional social in terests and burdens are limiting and in any event do not subserve his personal creative work. Yet without all of them Mychajlo Chereshniowsky would not be Mychajlo Chereshniowsky. MUSEUM The Museum Committee will gladly accept gift exponents to enrich and enlarge the Museum collection. However, in accepting such gifts, the Committee must adhere to certain rules which govern all museums in the U.S.A. and Western Europe. The Museum will accept folkart artifacts made for personal or home use, prior to World War II. Artifacts should be accompanied by a short history — place of origin — village, town; who made it; its name and history. Artifacts which are known to have been made to order by village craftsmen, but which differ from the traditional form of that object at that given period in history or given time or place, can be accepted by the museum only upon approval by the Committee. Due to lack of space, exponents will be rotated according to a strictly followed plan, thus allowing maximum exposure to the many artifacts in the collection. No commitment can be made to show any given artifact at any given time. The Museum Committee retains the right to exchange dup licate exponents with museums in U.S.A. and Canada. The Museum Committee retains the right to sell duplicate copies of artifacts to raise funds. The Museum Committee will inform each contributor as to the status of his gift who will then decide if he wishes the Museum to retain it, or return it. The expense for returning ex ponents will be borne by the contributors. The M u se u m C o m m itte e . 26 НАШЕ ЖИТТЯ, СІЧЕНЬ 1977 Видання C оюзу Українок A мерики - перевидано в електронному форматі в 2012 році . A рхів C У A - Ню Йорк , Н . Й . C Ш A.
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