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“НАШЕ ЖИТТЯ”, ЧЕРВЕНЬ 2014 WWW.UNWLA.ORG 13 new image of Shevchenko very carefully. Of course there are people who reject this new trend: at the Andrey Sheptytsky National Museum in L’viv, there was much debate whether it was even worth including the Yermolenko pieces in the Bi- centennial Shevchenko exhibit. Yet even in L’viv, a city that is quite conservative in its tastes, the exhibit received much praise. Andriy Yermolenko, the inscription quotes from Shevchenko’s poem “Do Not Be Envious of the Rich...”: “Do not be envious of the rich: the wealthy man enjoys/Nor love nor friendship—these he buys, and hired pleasure cloys.” (Engl. trans. by C.H. Andrusyshen and Watson Kirkconnell) Adapting Shevchenko to the lived experi- ence of later generations is not a new concern. As it turns out, the early 20th-century Galician literary group Moloda Muza (Young Muse), while search- ing for its own artistic style, pondered the question of Ukrainian conservatism and its influence on how the Ukrainian public received new literary phenomena. As poet Petro Karmanskyi wrote, “[w]e, the members of the Young Muse, perhaps even instinctively felt that Europe was charging ahead while we, the Galicians, were sitting stone- like on the granite foundations of traditional folk- lorism, clichéd patriotism, primitivism, and senti- mentalism... We saw that most of the public had not even digested Shevchenko and Franko, stub- bornly mulling over only the essays by the former and the pathos of “Kameniari” (“Stone-Cutters”) by the latter...” (P. Karmanskyi, Ukrains’ka Bohema , L’viv, 1996, pp. 126-7) Interestingly the Shevchen- ko exhibit at the National Museum included a cari- cature of Shevchenko drawn in 1922 by the futurist artist Osyp Sorokhtei, which looked strikingly modern and expressive. In just a few graphic lines, the artist captured both the poet’s character and his inner strength. Osyp So- rokhtei, Shevchenko caricature (1922) The Shevchenko exhibit which opened at the National Museum in March of 2014 demon- strates perfectly the changes that have happened in our perception of Shevchenko: it takes the visi- tor from the purely illustrative material to the re- contextualized image of the poet, to the interac- tive elements in the project Our Shevchenko by Serhiy Proskurnia. A “barricade” built out of works by Vladimir Lenin and other Soviet literature that were kept in the basement of the National Museum in L’viv.
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