Margit, Jolanta i inne lwowianki
Margit, Jolanta and Other Women of Lviv

Summary/Abstract: The past year brought wide-ranging presentations of Ukrainian avant-garde and modernistic art, held in Europe. The exhibitions in question share yet another common feature: they discuss and describe art from the largest centres and cities of present-day Ukraine, such as Kyiv, Kharkiv or Odessa, created mainly during the eras of the Russian Empire or the Soviet Union; on the other hand, they totally ignore significant cultural centres in the western part of the country, such as Lviv. Nor do they take into consideration the history of art in those present-day day regions of Ukraine, which in the past were situated within Austro-Hungary, Poland, Czechoslovakia, Hungary or Romania. Paradoxically, all the exhibition projects attempting to distinguish Ukrainian avant-garde and modernism from, predominately, Russian avant-garde and, more widely, modernism, include them extremely firmly (naturally, perforce) in the Russian cultural background. The presented text focuses on several heretofore unknown motifs concerning precisely the Lviv milieu during the inter-war period – a sui generis footnote to a general presentation of modernistic Ukrainian art and, in particular, artists-creators who established the “artes” group or were linked with the latter, such as Aleksander Krzywobłocki or Wanda Diamand, and predominantly Margit and Roman Sielscy

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