Konstantin AkinshaRezensionen

The exhibition In the Eye of the Storm: Modernism in Ukraine, 1900–1930s presents the ground-breaking art produced in Ukraine in the first decades of the 20th century, showcasing trends that range from figurative art to futurism and constructivism. The development of Ukrainian modernism took place against a complicated socio-political backdrop of collapsing empires, the First World War, the revolutions of 1917 with the ensuing Ukrainian War of Independence (1917–21), and the eventual creation of Soviet Ukraine. The ruthless Stalinist repressions against Ukrainian intelligentsia led to the execution of dozens of writers, theatre directors and artists, while the Holodomor, the man-made famine of 1932–33, killed millions of Ukrainians.

Despite these tragic circumstances, Ukrainian art of the period lived through a true renaissance of creative experimentation. In the Eye of the Storm reclaims this essential – though little-known in the West – chapter of European modernism, displaying around 70 works in a full range of media, from oil paintings and sketches to collages and theatre designs. Following a strict chronological order, the show presents works by masters of Ukrainian modernism, such as Oleksandr Bohomazov, Vasyl Yermilov, Viktor Palmov, and Anatol Petrytskyi. Exploring the polyphony of styles and identities, the exhibition includes neo-Byzantine paintings by the followers of Mykhailo Boichuk and experimental works by members of the Kultur Lige, who sought to promote their vision of contemporary Ukrainian and Yiddish art, respectively. It features pieces by Kazymyr Malevych and El Lissitzky, quintessential artists of the international avant-garde who worked in Ukraine and left a significant imprint on the development of the national art scene. The exhibition also showcases artworks of internationally renowned artists who were born and started their careers in Ukraine but became famous abroad, among them Alexandra Exter, Wladimir Baranoff-Rossiné, and Sonia Delaunay.

In the most comprehensive survey of Ukrainian modern art to date, with many works on loan from the National Art Museum of Ukraine and the State Museum of Theatre, Music and Cinema of Ukraine, the Museo Nacional Thyssen-Bornemisza celebrates the dynamism and diversity of the artistic scene in Ukraine, while safeguarding the country’s heritage during the inadmissible, present-day occupation of its territory by Russia.

There is a certain sort of "academic" book that relies on lots of long lists- people, paintings, sculptures, places, etc.- in place of story telling. While the proof may well be in the pudding, the pudding must be edible, as it were. If you are an academic in search of proof of the Russian Communist collection of "trophy" art at the close of World War II. If you are not, skip it.

Of a piece with a number of other books on the art looting that took place in 1940s Europe, though this one focuses on the activities of Russia; needless to say, Russia does not come off well at all, given the record of destruction (including by people who should have known better), looting, hiding the looting, and dubious decisions (like keeping art from nations other than Axis powers, and art owned by private individuals). Written, it should be noted, by Russian art historians. Recommended.½

Enthusiasts of early 20th century art are likely to be fascinated by this book, which shows, and discusses, a lot of work that is not widely exhibited or reproduced, at least not in the US. The book is the catalog of an exhibit of the same title held at the Neue Galerie in New York. The reproductions are accompanied by a series of illuminating essays. The primary focus is -- as the title suggests -- on Russian art, with the German works shown serving as counterpoint. The exception here is Kandinsky, who, as one of the essays points out, is counted as Russian in Russia, but whose work is widely shown in exhibits of German modernism - there's lots of Kandinsky in this book. After seeing the exhibit and reading the book, it seems to me that the Russian/German connection was less powerful than the influence of French art on both German and Russian work. The book also brings out the powerful influence of Russian folk art on the painters of the teens. In any event, there are some stunning pictures in here that were completely new to me -- check out Grigoriev's "Portrait of M. Ya. Yasnaya", Khodasevich's "Persian Boy", and Lentulov's "Victorious Battle".

Sadly difficult to get hold of now, but for anyone reading [b:The Monuments Men: Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History|6514074|The Monuments Men Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History|Robert M. Edsel|https://d202m5krfqbpi5.cloudfront.net/books/1344270659s/6514074.jpg|6705842] here's what happened on the Soviet side, where special teams collected art as "trophies" for exhibition in Soviet museums.

A fascinating story, written by Russian authors, of the Soviet organized administration to loot German territories of selected fine arts, gold objects, and a whole loot of other stuff. For years, the USSR kept the details of this organized looting a secret and is still reluncant to discuss it. The Schliemann gold objects are still being kept in Russia