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THE UKRAINIAN MUSEUM, A CULTURAL EXPERIENCE MOROZ EXHIBITION AT THE MUSEUM M. Мороз. Реґенсбург. Церква Св. Покрови. 1949, Картоп, Олія. Mychajlo Moroz. Church of the Intercession of the Virgin, Regensburg. 1949, Oil on board. On May 20th The Ukrainian Museum opened an exhibition of the paintings of Mychajlo Moroz. The crea tive work of this prolific and sensual artist extends over a period of six decades. The exhibition which features oil paintings, mainly landscapes, will be on view through June. According to Dr. Jaroslaw Leshko, Associate Pro fessor of Art at Smith College in Massachusetts, who wrote the essay in the exhibition catalogue, Mychajlo Moroz is ‘‘for many a major link with the highest achievements of Ukrainian cultural life of this century, of which his productive, distinguished career has be come one of the signposts.” Moroz was born in 1904 in Plichiv, Western Ukraine and began his studies in Lviv in the 1920’s with the emi nent Ukrainian artist Olexa Novakivsky. In 1928 Moroz went to Paris where he studied at the Conservatoire National des Arts et Metiers and at the Academy Julien. Here he met the giants of the impressionist school such as Henri Matisse and Paul Cezanne, whose individual approach and characteristics of their style strongly affected the young artist. From his trips abroad Moroz often returned to his native Ukraine, specifically to the picturesque regions of the Carpathian Mountains. Here the full impact of the Ukrainian landscape, its people and their cultural herit age brought into focus the surrounding abundant beauty and wealth, allowing the artist to draw from its bound less configuration of motifs. Moroz’s continued refer ence in his work to the religious, cultural and historical aspects of Ukraine underline his love of and pride in his heritage. Dr. Jaroslav Leshko, who wrote the introduc tory essay to the exhibition’s catalogue states that the idea which is central to the beliefs of Mychajlo Moroz is “that the long, illustrious history of Ukraine should be viewed in a universal cultural context to which it is an important contributor.” Moroz belongs largely to the tradition of landscape painting which unashamedly reveals his abiding love of nature. Dr. Leshko comments on this particular aspect: “Moroz has always been conscious of the important artistic trends developing around him, yet he has chosen to pursue in his art nature’s inexhaustible motif. It is in nature that he feels most at home and at peace, while he is immersed in its processes, his work attains its most eloquent voice." The artist came to the United States in 1949. Dr. Leshko writes: “Although Moroz’s art will always be most closely linked with his Ukrainian identity, it is important for us to realize that during his forty years that the artist has lived in the United States, he has painted many of this country’s most beautiful natural sites and that these works represent his most mature phase. As such, Moroz must also be viewed among the preeminent contemporary landscapists of America." M. Мороз. Кеніґзес. 1946, Картон, олія. Mychajlo Moroz. Kenigsee. 1946, Oil on board.
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