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try reached great heights at that time which reflected the true aesthetic tastes of the people of Halychyna. On the other hand there was great poverty in the arts in Soviet Ukraine in the 1930’s. Mychajlo Dragan wrote about one exhibition in which Soviet artists partic ipated in which he says that the only themes apparent are militarism, sports, the construction industry and children. The last subject is of a totally lyrical character, as if to escape from the depressing sameness. The artists in Halychyna grieved for the fate of the arts in Ukraine that was forced to serve the Soviet administra tion. Here is an excerpt from an art diary describing an exhibition of Ukrainian Soviet artists in Paris in 1932: ’’The exhibition was called Soviet Art but the exhibit fea tured Ukrainian artists exclusively. This “universal” name given to the exhibition from which the word “ Ukrainian” was omitted totally, greatly disturbed us. We would like to focus the attention of Soviet art groups to attempt to influence the little-cultured representatives of the Soviet government. Those emissaries in their posts in missions and consulates in other countries come in contact with artists perhaps for the first time in their lives, and not knowing ethics, do them harm.” ( Mystectvo , 11-111, Lviv, 1932). The validity of this statement still holds for today, maybe it has even more so. The word Soviet brings the varying characteristics of nations which live within the territory of USSR down to one level; the word Soviet is dangerous to the very existence of any national culture. In 1939 when the Red Army entered Halychyna it brought with it a new socialist art. Most artists greeted these changes without any particular enthusiasm. Some artists emigrated, but those that remained were forced to learn the new art under the sensitively watchful eye of Soviet watchdogs. This started the period of deterio ration in the cultural life of Halychyna. The first new concept to germinate was confor mism; artists began to adjust to the new “ method” although some did create artistic works on a high level, but these were hidden from the public eye. It was not necessary to wait long for the results of socialist realism — the work of various artists could not be distinguished one from another since the style and themes were the same — all socialist in nature. The lack of talent was rampant and show of originality was quickly squashed. Even an agency was formed within the political system to destroy art. In Halychyna this agency took the form of the Art Union after 1939. It worked on the basis of various privileges: the acquisition of materials, commis sions, participation in exhibitions, and others. It was very difficult to function independently and people who attempted to do so were coerced by various methods. During the German occupation cultural life did not die. From 1941 to 1943 exhibitions were mounted by the Association of Ukrainian Painters under the direction of M. Osinchuk and in 1942 under I. Ivanec. This Associa tion continued the activities of ANUM (Association of Independent Ukrainian Artists). In the history of Soviet art there is no mention of the Association of Ukrainian Painters. This ideological program lasted for almost fifty years (except for a brief respite during the 1960’s), and had a degrading effect on the cultural centers of Western Ukraine. Very few individuals retained the right to call themselves artists. These were individuals who had the strength to withdraw themselves from this programed industrialized art, and to put themselves and their art against the flow of dullards, callousness and those devoid of culture. The mid 1980’s heralded the start of democratic reforms. In Ukraine, cultural life was revitalized. How ever, in view of past performance, can one really trust the sincerity of artists who rapidly changed from ardent “socialist realists” to equally ardent avant-garde promo ters? Let us not forget that conformism was a chronic disease imbedded in our cultural activists. That is why it is difficult to believe in the reformation of an artist who yesterday painted a steel mill and today offers his ver sion of the Passion of Christ. It became evident that the demoralizing process took on new forms and variants. Conformism became more refined, plagiarism was not as apparent as before. In as much as the Artist’s Union almost lost its author ity, it was not able to attempt the task of changing the prevailing situation. Hence, the clear thinking members of the commun ity came to the reasonable conclusion that the respon sibility of straightening out the cultural environment rests on their shoulders. One of the elements necessary to a healthy cultural life is the existence of independent supporting art groups whose creative thought would be liberated from the ills of totalitarianism and free from the litter caused by Емблема товариства "Шлях". Автор Володимир Кауфман. Emblem of “Shljach." Author Wolodymyr Kaufman.
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