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and Petro Mehyk as a faculty member of the Ukrainian Art Studio, an art school established by Ukrainian emigre artists in 1952, where budding artists learned from master mentors the principles of drawing, painting, sculpture, ceramics, printmaking, and art history. Several graduates of the studio evolved into internationally renown artists in their own right. Always influenced by the environment in which he lived, Kapschutschenko’s sculpture adapted itself to his new homeland as it had in Argentina, and his work soon attracted the attention of the broader American public, including an American firm that purchased several of his works for reproduction. In time, Kapschutschenko and his family moved to Lawrenceville, New Jersey, where he built a studio and continued to work. But despite the numerous dramatic changes in his life, Dr. Karpinich noted, Petro Kap schutschenko’s love for Ukraine remained steadfast. In the 1990s, Kapschutschenko exhibited his work in Kyiv and Dnipropetrovsk, the city in which he had been bom. He also donated many of his sculptures to museums throughout Ukraine. In 1996, Kapschutschenko was invited by the board of the Taras Shevchenko National Museum in Kyiv to create a work commemorating the Holodomor. For this commissions, he chose to exhibit a series of sculptures depicting the un speakable brutality and horror of an event that decimated Ukraine’s population and has been recognized as one of the greatest human tragedies of the twentieth century. One of the sculptures, a piece entitled “Zabraly Vse” (they took it all), is particularly harrowing; according to Fedoruk, the work is a powerful symbol of agony and despair analogous to Edvard Munch’s “The Scream”—a silent indictment of an evil beyond human com prehension. By 2005, Petro Kapschutschenko’s work was widely known in Ukraine, his exhibits attended by thousands. When President Viktor Yushchenko came to Philadelphia to accept the Liberty Medal in 2005, the Ukrainian community presented him with a bronze bust of Ivan Mazepa, sculpted and donated by Kapschutschenko. In 2006, for his contributions to Ukrainian art and culture around the world, Kapschutschenko was named “Honored Artist of Ukraine” and was presented with the Presidential Order of Merit medal. Portion of exhibit dedicated to the Holodomor As Dr. Karpinich observed, Kapschutschen ko’s sculptures reflect everyday life and human activity: There are dancers, musicians, children at play, lovers, and people in repose, enjoying a moment of solitude or silence. But his work also has historical and geographic overtones represented by beautifully crafted and life-like Ukrainian kozaks and chumaks and Argentine gauchos and dancers. And while he specialized in miniatures, Kap schutschenko also created larger works on a monu mental scale: Two of these, statues of Metropolitan Vasyl Lypkivsky and St. Olha, grace the Ukrainian Orthodox Church of St. Andrew in South Bound Brook, New Jersey. Dr. Karpinich then provided a brief description of the artist as a family man, supported in his creative endeavors by the calm presence of his wife, Zoya. Painting a verbal picture of a home filled with art and serenity, he closed his presentation with an impassioned recital of a poem by Vasyl Symonenko, the closing line of which resonated with everyone present as a reminder that although Kapschutschenko had died, “he left what mattered to the living.” Following Dr. Karpinich’s detailed and moving sketch of the artist, Martha Pelensky asked that those attending take a moment to honor one of 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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