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REFLECTIONS OF A NATION by Wynne Thomas during the course of his research “old-timers who had lived through that whole period of Western develop ment.” Of the subject “the Section Foreman’s Wife” Kurelek wrote: “She is a much forgotten pioneer whom I vowed not to forget because of the necessarily lonely life she is compelled to live. She has to cook, launder, keep the fire going to ward off the piercing cold of the north country and generally making the house a home for her man to return to of evenings. If she had no children of pre-school age there was not one to talk to all day.” Wiliam Kurelek was to encounter and overcome many vicissitudes during his life, but by the time of his death in Toronto in November 1977 he had come to be recognized not only as an important Canadian painter but as one possessed of a unique and transcending vision of the world. The above was part of an article in the Imperial Oil Review, a Canadian publication. The Ukrainian Museum in New York City presented an exhibition of the paint ings of William Kurelek in 1987. * R eprint courtesy o f the Im perial O il Review. Few painters have been able to evoke the loneliness and desolation of the Canadian praire in winter with the poignancy of William Kurelek, whose painting, “The Section Foreman’s Wife” is reproduced on the cover of this issue. It was acquired by Imperial Oil in 1979 and now forms part of the company’s growing collection of Canadian art. Kurelek painted “The Section Foreman’s Wife” in 1966 as part of a series of works he called “farm paint ings,” The theme of this series, reflecting both Kurelek’s own background (he was born on a farm near Whitford, Alta., in 1927) and his Ukrainian heritage, is “The Ukrainian woman pioneer in Canada.” The concept for the suite, Kurelek was to write later, “did not emerge gradually but all in one evening. In the autumn of 1953 three executive members of the Association of Ukrainian Women of Canada met me at a prearranged meeting and asked me to do a series of paintings on their group’s history, similar to the one I had done on my father.” Kurelek decided to dedicate his new series to his mother. In 20 paintings executed over a dozen or so years, he illustrated Ukrainian immigration in Canada from its beginnings in 1890 to the modern day, meeting 24 ’’НАШЕ ЖИТТЯ”, ЛЮТИЙ 1991 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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