Skip to content
Call Us Today! 212-533-4646 | MON-FRI 12PM - 4PM (EST)
DONATE
SUBSCRIBE
Search for:
About Us
UNWLA 100
Publications
FAQ
Annual Report 2023
Annual Report 2022
Annual Report 2021
Initiatives
Advocate
Educate
Cultivate
Care
News
Newsletters
Sign Up For Our Newsletter
Join UNWLA
Become a Member
Volunteer With Us
Donate to UNWLA
Members Portal
Calendar
Shop to Support Ukraine
Search for:
Print
Print Page
Download
Download Page
Download Right Page
Open
1
2-3
4-5
6-7
8-9
10-11
12-13
14-15
16-17
18-19
20-21
22-23
24-25
26-27
28-29
30-31
32-33
34-35
36-37
38-39
40
“НАШЕ ЖИТТЯ”, БЕРЕЗЕНЬ 2018 WWW.UNWLA.ORG 11 wanted to know all about us, all about Ukrainians living in America, and especially wanted to know how someone who grew up in Philadelphia spoke Ukrainian. This trip down memory lane brings me back to the present discussion on language, which is com- plicated and sometimes contentious, as one side tries to modernize the lingo with hybrid words like “лідери” and “мітінґи” while the other side clamors for linguistic purity and integrity because in REAL Ukrainian, we have “провідники” and “збори.” And therein lies the question: What is real Ukrainian? Listening to all sides (and yes, there are more than two sides to this issue) can be overwhelming; deter- mining which is correct is even worse. I end this contemplative saga with a more recent personal encounter and discussion on the subject of language. It took place at a local branch of Samopomich when one of the tellers, a more recent immigrant to America, asked me where I was born—a prelude to a conversation about language during which she expressed great surprise that I had managed to learn how to speak Ukrainian so well. I smiled and thanked her for the compliment while thinking (but not saying) that her Ukrainian was also pretty good. Reflecting on this exchange suggests that there is room for compromise and that co-existence is possible. – tsc Our Cover Artist Maria Dolnytska was born in Lviv, Ukraine, 1895. Her family moved to Vienna c. 1911–1912 when her father was appointed an imperial justice to the city. Maria studied enamel, drawing, and painting for seven years at the Imperial-Royal School for Arts & Crafts in Vienna. She was awarded the meritorious Eitel- berger prize in 1918 and began to sell her work. The ravages of World War I left few opportunities in Vienna or Ukraine, a situation that encouraged Dolnytska to immigrate to the U.S. in 1921. She initially resided with her sister in Minneapolis, worked prolifically, and began to exhibit her work, which received promis- ing reviews but did not sell well. This motivated her to move to Philadelphia, but the same situation pre- vailed and Dolnytska returned to Vienna in 1925, deciding to focus solely on enamel. She exhibited widely across Europe, including at the Two Hundred Years of Artistic Creativity of Austrian Women Artists at the International Women’s Congress (1930); at the Volkwang-Museum in Essen (1932); and especially at the Museum of Arts & Crafts in Prague (1936), which featured 55 of her enamels. She also exhibited her work in Lviv from 1927 into World War II. Life in Vienna became increasingly difficult for her during and in the aftermath of the war, particularly following the Soviet offensive of Vienna and the subsequent Allied occu- pation of Austria. In 1955, when the occupation ended, she resumed creating art and public life. Her works are found in numerous collections across Europe and the United States. She died in Vienna in 1974. Наша обкладинка Марія Дольницька , Відень (Австрія). Народилась у Львові у 1895-му р.; померла у Відні у 1974- му р. Приблизно у 1911 — 1912 рр. родина переїхала до Відня, де батько дістав призначення на посаду імперського судді. Протягом семи років вивчала емаль, малюнок та живопис в Імператорсько-Королівській школі мистецтв і ремесла. Отримала похвальну нагороду Айтельберґа у 1918-му р. і невдовзі почала продавати свої роботи. Тяжкі випробування Першої світової війни не дали Дольницькій розвинути свій талант і у 1921-му р. вона еміґрувала до США. Проживала в Міннеаполісі разом з сестрою та плідно працювала, виставляючись і отримуючи позитивні відгуки. Роботи продавались важко й мисткиня переїхала до Філядельфії, але комерційного успіху не мала й там. Повернулася до Відня у 1925-му р. і зосередилась на емалі. Виставлялася в Европі, брала участь у виставках «Двісті років творчости австрійських мисткинь» на Міжнародному конґресі жінок (1930), у Музеї Фолькванґ в Ессені (1932) та в Музеї мистецтв і ремесла у Празі (1936), де представила 55 емалей. З 1927-го р. виставлялась також у Львові. Її життя стало важчим під час і після війни через «совєтський» наступ на Відень та окупацію Австрії. Почала виставлятися знову і повернулась до активної роботи та громадського життя тільки після закінчення окупації Австрії у 1955-му р. Її твори є в багатьох колекціях Европи та США.
Page load link
Go to Top
1 
2-3 
4-5 
6-7 
8-9 
10-11 
12-13 
14-15 
16-17 
18-19 
20-21 
22-23 
24-25 
26-27 
28-29 
30-31 
32-33 
34-35 
36-37 
38-39 
40 
