The Royal Academy of Art- In the Eye of the Storm: Modernism in Ukraine, 1900-1930s: Part Two
A few days ago I showcased some of the remarkable works from the In the Eye of the Storm: Modernism in Ukraine, 1900-1930s a significant exhibition held at The Royal Academy of Art, London (29 June - 13 October 2024). If you missed this post please click here.
The exhibition brings attention to the historical and cultural challenges faced by Ukrainian modernists, particularly during the 1920s and 1930s. As Ukraine found itself caught between revolutionary fervor and authoritarian repression under Soviet rule, artists had to navigate censorship and political persecution. Despite these challenges, the exhibition demonstrates how their creativity flourished in the midst of adversity, giving rise to a powerful artistic legacy that was nearly lost due to historical suppression. The collection of works, many of which have not been widely seen outside Ukraine, offers a profound insight into a critical moment in the development of modern art in Eastern Europe, reclaiming Ukraine’s important place within the broader narrative of 20th-century modernism.1
Today I will conclude the history of this period of art in Ukraine and share a few more of the works created by these remarkable artists under the most appalling conditions.
Ukraine under the Soviets
After nearly five years of the bloody Ukrainian War of Independence (1917–21), the Bolshevik Red Army defeated the national Ukrainian forces, and the Ukrainian Socialist Soviet Republic was established with Kharkiv as its capital. In 1923, the Soviet authorities introduced the policy known as ‘ukrainizatsiia’ (Ukrainisation), an ideological concession to appease local national sentiment.2
This policy allowed for a level of cultural autonomy in the Republic, facilitating the development of the Ukrainian language and culture. For the next decade, Ukrainian intelligentsia participated in the ambitious project of creating a new cultural identity that was both Ukrainian and Soviet.2
During this period, Mykhailo Boichuk’s studio of monumental art emerged as the leading artistic group in Soviet Ukraine. 2
Its members, known as the Boichukists, completed state commissions to create murals for public spaces and buildings. The school was short-lived, however. Labelled “Ukrainian bourgeois nationalists”, Boichuk and a close circle of his associates were executed during the Stalinist purges of the 1930s, with most of their public art subsequently destroyed. 2
Kyiv Art Institute
The development of the visual arts in Ukraine in the 1920s was intimately linked to the Kyiv Art Institute. This was the successor to the Ukrainian Academy of Art, the first institution of higher art education in Ukraine, founded when the country proclaimed its independence during the period 1917–18. 2
In 1924, to conform to the Soviet system of higher education, the Academy was restructured into the Kyiv Art Institute. With a modern curriculum, including contemporary subjects such as industrial design, the Institute became one of the USSR’s leading art schools. It also hired new instructors from across the Soviet Union, with such progressive artists as Kazymyr Malevych, Viktor Palmov and Vladimir Tatlin joining its faculty.2
The Last Generation
The last generation of Ukrainian modernists matured in the late 1920s and early 1930s. Mainly graduates of the Kyiv Art Institute, these artists were fascinated with international art movements, such as New Objectivity and Italian Novecento, but their artistic activity was cut short by a radical change in the political climate. Art was increasingly viewed through the prism of “class consciousness” and Soviet subject matter came to dominate all spheres of artistic output.2
Between 1932 and 1934, Socialist Realism was introduced as the only official artistic style to be practised in the Soviet Union, effectively ending modernist experimentation.2
Building on its examination of Ukrainian modernism, In the Eye of the Storm delves into how Ukrainian artists actively engaged with revolutionary ideals while also confronting the realities of war, famine, and political turmoil. These external pressures fostered a sense of urgency in their artistic output, as they sought to redefine both Ukrainian national identity and the role of art in a rapidly changing society. The exhibition captures this dynamic period, showcasing how Ukrainian modernists moved between tradition and innovation, drawing from folk art and religious iconography while experimenting with radical new forms and techniques. This blend of the old and new speaks to the complex cultural identity of Ukraine, reflecting both its deep historical roots and its modern aspirations.1
To be able to see the In the Eye of the Storm: Modernism in Ukraine, 1900-1930s at The Royal Academy was a real pleasure and I learnt so much about this period and the artists who were involved..
A key feature of the exhibition is the way it situates Ukrainian modernism within the broader context of European art, showing how Ukrainian artists contributed to and diverged from the dominant artistic movements of the time.1
While Ukrainian modernists were in dialogue with their peers in Paris, Berlin, and Moscow, they also faced unique circumstances shaped by Ukraine’s political and cultural situation. The exhibition sheds light on how these artists maintained a distinct voice, despite the homogenizing pressures of Soviet art policies. Ultimately, In the Eye of the Storm invites viewers to reconsider the narrative of modernism by highlighting the contributions of Ukrainian artists, whose work not only enriched European modernism but also articulated the aspirations and struggles of a nation seeking to define itself amidst profound global change. 1
Credits
1. ChatGPT under instruction from Anne Newman
2. Gallery labels from In the Eye of the Storm: Modernism in Ukraine, 1900-1930s plus information provided in the large print guide, Royal Academy of Art, London
3. royalacademy.org.uk/exhibition/eye-of-the-storm