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whose founder in the post war era was Roman Juliano- vych Selsky. A decorative style was characteristic of the school this period. Since the end of the 1950s a tendency toward con structivism began to emerge in drawing. The 1960s which saw the first easing of restrictions, yielded their results. A myriad of artists emerged and established themselves as creative individualists. Petro Hrytsyk was one of them. Immediately after graduating from the Institute, Hrytsyk was a participant in an exhibition among the republics, held in Kiev. After that came 20 years of obliv ion. He lived and worked in Chernivtsy, a city which to a great degree like many other cities in Ukraine, was per meated with an aura of creative mustiness. He found himself isolated within the routine of Chernivtsy’s artistic combine. Petro made a choice; he would not comprom ise creativity, but would retain his individuality, hence preserving his dignity as a human being and an artist. The early creative period of the artist (1970-1980) was unified and enlightened, a rarity among artists of that generation. His creative style was mature, well thought out and rational. Applying constructivism com bined with symbolism, with elements of surrealism, helped the artist to present on canvas a philosophical concept of existentialism which emerged under the influence of the writings of Camus and Sartre. The biased policy prevalent in Ukraine at that time which isolated artists who did not adhere to the officially sanc tioned style, also helped to shape Hrytsyk’s art. The early works of Petro Hrytsik can be divided into two categories according to style and manner of draw ing. However, they are all united by one concept of exis tentialism, permeated by oen mood which overwhel mingly emphasizes the solitary state of a human being, his uniqueness in society. Toward the end of the 1980s the artist somewhat changed his manner, his style. His work differs in the expression of the troubled soul of the artist, not so much in style, as in its mysti- calk tone and painting style. Here, as nowhere else light is present, which comes from within and in this chaotic web of half real and half visionary things, surprisingly the artist creates a gentle, and mystical world of the un real. The life of the artist has recently also undergone change. In 1989 he was accepted into the Artist’s Union of the USSR. His work was shown in several inter repub lic exhibition and abroad. His works were purchased by private collectors in France, Western Germany, the Uni ted States. He took part in the exhibition “Three Gener ations of Ukrainian Painting,” which was held in 1990 in Odense, Denmark. An extensive catalogue was published with the exhibition. S te fa n ia H n a te n k o (Translated from Ukrainian) • • • A new exhibition entitled “From Parlor to Politics: Women and Reform in America 1890-1925,” opened recently at the Smithsonian’s National Museum of Amer ican History in Washington, D.C. According to Edith Mayo, curator of the division of political history for the Museum, American women became politically active during a time known as the progressive era during the late 1800s. “Women were using their roles as wives, as mothers, as community builders, as guardians of home and family to say that family values needed to be brought into public life,” explained Ms. Mayo. She elaborated that women were active in the temperance movement, in labor reform, specifically to abolish child labor, women’s suffrage, the peace movement and the settlement house movement. Ms. Mayo said that women reformers would move into run down or immigrant neighborhoods and proceed to unfold their programs. This was called “settling in.” The programs involved health, social welfare, education, labor, etc. Today we have government social services for such needs. In those days there was nothing of this nature for the people. In the 1920’s this activism on the part of the women waned, according to Ms. Mayo, to the feeling of com placency following the big suffrage drive. The late 1920s brought the depression, when everyone was more con cerned with their economic state rather than social reform. Ms. Mayo cites political backlash as another reason for the tapering-off of women’s activism in the 1920s. She explained, “When women got the vote, the reform movement turned toward peace and arbitration efforts after World War I.” She went on to say that this caused real fear in the military establishment. The exhibition features the re-creation of Hull House, the famous settlement house founded by Jane Addams. On display are banners, buttons, posters, literature and various other items pertinent to the movement. Also actors, singers and dancers will give scheduled perfor mances as was the custom in settlement houses. After the day’s programs, the community was invited to an evening of entertainment. ’’НАШЕ Ж ИТТЯ”, ГРУДЕНЬ 1990 21
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