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Ukrainian Artists’ Association and participated in nu merous individual and group exhibitions. The artist faced his greatest artistic challenges in the area of painting and woodcuts. “It is his woodcuts and paintings that we can trace most clearly his artistic growth. Hnizdovsky defined himself as an artist whose dominant focus was painting and printmaking. He did not consider himself a printmaker who also painted or a painter who made prints, “writes Dr. Leshko. In painting Hnizdovsky’s inner struggle to retain his indentity, not to succumb to any particular school, led him through many years of experimentation and diver sity. His earliest, most important works, rendered in a detailed and realistic manner — A r t A c a d e m y (1944— 1950) and D is p la c e d P erso n s (1948) — show the artist’s remarkable talent in the execution of form and presenta tion of content. With time he developed a modernistic visual language — T he J u d g e , the A c c u s e d a n d the C o p (1955), C ru c ifix io n (1955), L ast S u p p e r (1956), and N u d e (1956), among others, — but one that was exclusively his own. Here “Hnizdovsky reinforces the singularity of his artistic mission as he taps into a rich tradition of western art but one which had Tost resonance for most 20 th century artists,” explainsithe curator. However, it is in the woodcuts and linocuts, that Hnizdovsky’s formidable technical skill is displayed. Interwoven with the artist’s own inventiveness of the image, his devotion to art as craft is underscored. Work ing in this medium has earned Hnizdovsky his livelihood and brought him acclaim and recognition in the art cir cles of the United States as well as on the international arena. Dr. Leshko comments on Hnizdovsky’s woodouts: “Brilliance of invention and of technique, a deep under standing of the story of art, an abiding love of nature, and an uncompromising commitment to artistic quality — these coalesce to produce a graphic oeuvre of great distinction,]justifiably;recognized as an important con tribution to the history of 20th century prints.” In 1962 the artist was awarded First Prize for a work at the Boston Printmakers annual exhibition. His work was part of the 1963 contemporary U.S. Graphic Arts exhibition in the U.S.S.R as well as part of a similar one in Japan in 1967. Hnizdovsky’s woodcuts were included in the Triennale Internazionale della xilographica in Italy in 1972. On the national level, his shows were held at California’s Long Beach Art Museum, at Yale Univer sity and in 1978 and 982 at the University of Virginia, and at the Hermitage Museum ofiNorfolklVa, in 1981, among other prestigious museums and galleries, as well as in museums in Ukraine. In 1967 Hnizdovsky produced a book of essays in the Ukrainian Language, illustrated with reproductions of his paintings, woodcuts and ceramics, entitled H n iz dovsky, ! published by Prolog, In c.IInjl972 helpresented some of his woodcuts on a botanical theme in a book Miser. Woodcut, 1944. Edition o f 75. 7 x 5'Л. F lo ra E x o tic a , with text by Gordon Wolf and published by David R. Godine. “The woodcuts of Jacques Hnizdovsky represent some of the freshest and most original printmaking in American graphic arts of the past thirty years,” wrote Peter Wick, a long-time curator of the Department of Printing and Graphic Arts of Houghton Library at Har vard University in his foreword|to|the 1976 edition of a catalogue raisonne of the artist’s woodcuts H n iz d o v s k y W oo dc u ts 1 9 4 4 — 1975, published by Pelican Publishing, Co. of Gretna, LA. In 1987 an updated edition J a c q u e s H n iz d o v s k y W oo dc u ts a n d E tc h in g s was published, which included all graphic works created during his life time. Hnizdovsky’s prints were included in numerous national and international exhibitions and are part of many museum and private collections, among them: National Museum of American Art, Washington, D.C.; The Library of Congress and the White House; Cleve land Museum of Fine Arts, Louisiana State Museum; Yale University, The Hunt Institute of Botanical Docu mentation, Pittsburgh, PA; Duke University Museum of Art, Durham; New Orleans Museum of Art; The Win nipeg Art Gallery; The New York Public Library, The Ukrainian Museum and many others. The artist’s work is also part of art collections in museums in Ukraine. In conjunction with the exhibition opening, the Museum also hosted a reception at the Ukrainian Natio nal Home for its members and friends. The program during the reception featured a short address by Dr. Jaroslav Leshko, curator of the exhibition, about the life and work of Jacques Hnizdovsky, and Kalyna Cholha, mezzo-soprano in an artistic performance. The event was organized by the Special Events Committee, chaired by Tatiana Tershakovec, of the Museum’s Board of Trustees. Barbara Bachynsky was the mistress of cere mony during the reception. 20 ’НАШЕ ЖИТТЯ”, ГРУДЕНЬ 1995 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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