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the guests at the event, Professor Vasyl Doro- shenko. An old friend and colleague of the late Petro Kapschutschenko, Professor Doroshenko was one of the faculty members of the Ukrainian Art Studio and also served on the faculty of Fleischer Art Institute. His specialty was graphic arts, a talent he often used in collaborative work with various Ukrainian organizations and institutions. The program included a musical interlude— songs performed by the Holubky quartet and a bandura duet by Halyna Bodnar and Lada Pastuszak. Following the musical performances, Ms. Pelensky introduced two very special guests: Petro Kapschutschenko’s daughter Ludmila and her husband, Bruce Schmitt. In speaking of his father-in-law, Mr. Schmitt provided some interesting and entertaining personal glimpses of a man who loved his work, Ukraine, and people. He revealed an artist whose “passion was art and culture,” someone who was “into mental calisthenics” and enjoyed provocative discussions with those he referred to as the Ukrainian hromada’s “kulturaty.” Mr. Schmitt described Kapschutschenko’s relationship with his clients, personalizing the exhibit with anecdotes about the people who owned the sculptures and how they had acquired them. In doing so, he underscored the human harmony that was so critical to Petro Kapschutschenko’s life and art. One of the things that attests to the success of a cultural event of this kind is that guests linger long after the program ends, mingling with the speakers and savoring the works on display. Another is the quiet presence of those people who are seldom credited for their work in creating the proper ambience and ensuring that things run smoothly. And thus, a word of appreciation must be extended to Branch 90 members Zhenia Gardezka, Roksolana Gilicinska, Maria Kaminska, Vera Klisch, Orysia Novosivska, Vera Sawchyn, Chrystia Charyna Senyk, Daria Shust, and Philadelphia Regional Council President Christine Chomyn Izak. A post script to this article comes from a conversation between the writer and Ludmila Kapschutschenko Schmitt, which took place a few days after the event. The sculptor’s daughter mentioned something she had observed as the event was winding down—the collectors wrapping and boxing their sculptures for the journey home. It was, in each case, an act of careful tenderness reserved for something precious to be handled with reverence and protected from harm. It was, above all, a silent and reverent tribute to a respected and beloved artist. Article by Tamara Stadnychenko. Photographs courtesy of Ludmila Kapschutschenko Schmitt, Chrystia Charyna Senyk, and Olena Karpinich We gratefully acknowledge the following contributions to Our Life Press Fund: $250 from Jane and Joe Zacek in memory of Rostyslava Bohachevsky; $25 from UNWLA Branch 12 of Cleveland Ohio, donated in memory of Sophia Szwabinsky; $200 from Branch 119 of New Haven, Connecticut; $100 from Lidia Bilous and $100 from Lesia Romanyshyn on the occasion of her 90th birthday (both donations forwarded by Branch 56). Martha Pelensky, Volodymyr Karpinich, and Ludmila Kapschutschenko Schmitt
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