У Тіні Образотворчого Мистецтва: Історіографія Графічного Дизайну Української Діаспори 1945–1989 Рр.

Professional careers of the Ukrainian diaspora artists from 1945–1989 are reflected in foreign magazines and newspapers articles, exhibitions catalogs, illustrated monographs and albums. Over the past decades, their names have become known in Ukraine as well. Publications of a different genre, aimed at different audiences, were published at different times in different countries, but almost all of them show a common tendency. Painting and sculpture are considered to be the greatest achievements, etching and book illustration follow, sometimes bookplates and applied art are presented. Rarely graphic design is mentioned or reproduced. As a result, a painting of well-known artist which is kept in a museum or private collection (not always available for public view) is more known today than a magazine cover, music album or a poster designed by the same author, published in a large volume, and distributed on several continents. Objectives. The objectives of this paper are to study Ukrainian and foreign publications and analyze coverage of graphic design in the Ukrainian diaspora of 1945–1989. Results. The literature on the Ukrainian diaspora art presents a wide range of publications: from general overviews, attempts to document each of the au-thors’ activities, to focus on individual names and professional biographies. One of the first attempts to outline the artistic environment of the Ukrainian diaspora in North America was «A Book of Artists», published in 1954. A brief biographical information about nearly 300 authors can be found here. A valuable source of the artistic life of the diaspora and individual artists’ legacies is I. Keivan book «Ukrainian Artists Abroad». The author does not aim at a detailed analysis of artworks, but he tries to write at least one paragraph on every Ukrainian artist who worked in the USA, Canada, Argentina, Brazil, Venezuela, Australia and some European countries. In this work, a certain hierarchy of arts emerges, which was also used by other diaspora authors. According to I. Keivan, the greatest achievements of artists are their paintings, he also writes about easel graphics and book illustrations, sometimes about postcards, emblems, and other works. «Design of Ukrainian publications» is mentioned as the activity of some artists. Important details on the Ukrainian artists in the post-war Displaced Persons camps are presented by V. Popovych in his article «Ukrainian Artists in Western Europe after 1945». He writes about 100 authors who were in the camps. The broadest graphic design description is provided along with Robert Lisovsky’s biography. However, this happened only because of difficult circumstances that prevented him from engaging in «true art». Ukrainian periodicals played a major role both in the documentation of events and providing platforms for public debate. Art magazines («Arka», «Ukrainian Art», «Terem», «Notes on Art») allow us to reconstruct all major trends. Another sources are the articles on art in popular journals («Suchasnist», «Avantgarde», «Our Life», «Women’s World»), and newspapers (for ex-ample, in the «Svoboda» diary) which create a rather detailed picture of the time. Despite the quantity and distribution of these publications in the diaspora, they were not available in the Soviet Ukraine. That is why during the last decades, important texts have been reprinted for the modern Ukrainian reader. The most profound in this direction is the work of R. Yatsiv, who selects important articles and publishes them in anthologies. Many periodicals from the 1945–1989 are digitized and available online today, so the research can take one step further.Recent Ukrainian art history studies show a great interest in diaspora material as the authors try to catch up with long isolation period. Publications on Ukrainian art history involve unknown names, some research on the diaspora art appear. Brief creative biographies of many artists are presented in the works of R. Shmahalo, H. Stelmashchuk, H. Novozhenets. Information on di-aspora artists allows the formation of general narrative of the 20th-century Ukrainian art. As the fifth volume of the «History of Ukrainian Art» (published in 2007) shows, such an approach is still not applied, and the period of 1945–1989 remains exclusively «Soviet». Monographs, albums, articles about the work of individual artists of the Ukrainian Diaspora, especially those who worked in graphic design, became valuable sources of research. However, the general tendency of almost all such publications is a lack of attention to graphic design. The descriptions (if any) are brief, the illustrations (if any) are placed in the end. Examples of graphic design marginalization can be found in the publications about Viktor Tsymbal, Mykhailo Dmytrenko, Myron Levytsky, Petro Andrusiv, Vadym Doborilzh, Leonid Perfetsky. These publications show how researchers focus on a particular artistic field while other achievements remain neglected. The «justice» was partially restored for Mykola Butovych (with the research of O. Fedoruk) and Robert Lisovsky (with the publications of O. Melnyk and R. Yatsiv). An exceptional example of exhaustive presentation of the diaspora’s artist is a book about Leonid Denysenko, who was engaged in this publication himself trying to show everything that has been done for more than five decades. Conclusion. The literature on the Ukrainian diaspora art from 1945–1989 emphasizes accomplishments in the field of fine arts. Graphic design is mentioned rarely if space allows. Concerning the articles in periodicals, the most common reasons for their appearance were personal and group exhibitions. Since graphic design was not exhibited, it was not mentioned. With such an approach, designers who did not practice easel painting and were not exhibited at art exhibitions, are not mentioned in Ukrainian publications and remain unknown.

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