(MENAFN- USA Art News)
The Re-Emergence of Gregor Kruk
Ukrainian art studies have uncovered numerous names, phenomena, and world-class works that were recently“closed off” to cultural, educational, and museum institutions. The sculptor Gregor Kruk has now come into the spotlight. The most comprehensive sources of information about him are archival documents, periodicals from the pre-war and post-war periods, diaspora literature, monographs, and photo albums, mainly housed at the Ukrainian Free University-a sanctuary of Ukrainian culture in Bavaria.
Early Life and Education in Ukraine
The roots of the famous sculptor Gregor Kruk lie in Ukraine. After finishing school in Stanislav, he enrolled in the Lviv College of Decorative Arts , studying sculpture under Professors Nalborczyk and Stazhynski. It was here that Gregor Kruk met S. Lytvynenko, who had brought the latest Western European trends from Paris, incorporating them into the monument to Ivan Franko at Lychakiv Cemetery, a project in which Gregor Kruk was also involved.
Training and Development in Kraków and Berlin
In 1934, under the patronage of his teacher Lukashevych, Gregor Kruk joined the Kraków Academy of Fine Arts under Professor Ljaszko (where Lytvynenko also studied). Together with his teacher, the young student worked on carving the side altar for the Ukrainian Church of St. Norbert in Kraków (1947). This church was later seized from Ukrainians by the Polish authorities, who destroyed the iconostasis and objects of the Eastern Rite.
In 1937, after graduating with honors from the Kraków Academy, Gregor Kruk enrolled in the Berlin Academy of Arts , where he studied under Professors Otto Gitsberger, Alfred Fock, and August Krantz.
Breakthroughs and Exhibitions
Professor Gitsberger highly valued the creative potential of the Ukrainian artist, recognizing his ability to stylistically convey the identity of his people. One of the most significant encounters in Gregor Kruk's life occurred at the Berlin Academy of Arts-his meeting with Professor Yemets, a sculptor who had a lasting creative and emotional influence on him. Two years later, after graduating from the academy in 1942, Gregor Kruk exhibited his works at an academic exhibition, becoming the only foreign participant.
In 1945, Gregor Kruk, along with his brother Ivan, moved to Munich, where he lived in an attic studio. This modest abode became a center for Ukrainian-German bohemia. That same year, at the initiative of French writer Jean Cassou , director of the Museum of Modern Art in Paris, and with support from the German diplomatic mission in France, headed by the renowned German art historian Wilhelm Hausenstein, Gregor Kruk's first solo sculpture exhibition was organized.
International Recognition and Artistic Themes
Gregor Kruk first presented his works in Germany at a large exhibition of Ukrainian visual art in Munich in 1947. Jean Cassou later shared his impressions:“The works reflect the artist's pursuit of simplification of form and expression of movement.” The dominant piece of the exhibition was the composition“Bandurist.” An art critic observed:“He wanted to extract the impossible from man, attempting to capture the connection between the spiritual and the physical, the eternal and the temporal.”
During his lifetime, Gregor Kruk's works were exhibited at 52 exhibitions-in Munich (1952), Paris (1945; 1954), London, Edinburgh (1954), Bonn (1955), New York, Philadelphia (1961), Vienna (1962), Dubrovnik (1970), and others.
As is known, at the beginning of the 20th century, during the time of Metropolitan Andrey Sheptytsky, the Galician clergy patronized the artistic bohemia. Following Sheptytsky's example, clergymen provided spiritual and material support to talented,“needy” artists. Gregor Kruk's spiritual mentor was Bishop Ivan Buchko, the apostolic visitor for Ukrainians in Western Europe. With his support, the sculptor received a scholarship to study in Italy for a year. During his studies in Rome (1950), enriched by the lessons of Roman Empire art and having examined museum collections, Kruk developed his original plastic style. The dominant theme in Gregor Kruk's work remained nationalistic.
Portraits of Prominent Ukrainians and Contemporaries
Gregor Kruk created a gallery of portraits of prominent Ukrainian figures who have become iconic in history: Volodymyr the Great, Princess Olga, Anna Yaroslavna, Taras Shevchenko, Pavlo Skoropadsky, Symon Petliura... He also sculpted contemporaries, such as Patriarch Josyf Slipyj of the Ukrainian Greek-Catholic Church and Pope Paul VI. These works won first prize at a competition in Rome and earned a medal from the Pope.
Gregor Kruk dedicated significant effort to creating portraits of children. The artist developed his own image of a person with a clearly defined psychological essence-individual traits of the soul. Patience, fatigue, and hard work are central themes in Gregor Kruk's art.
His sculptures embody the harsh moral code of Ukrainian villages, which, in arduous daily labor, traverse the earthly path. He was one of the first to introduce rural themes (the everyday reality of Ukrainians) into world art.
In his younger years, while traveling through the artistic capitals of Europe, Gregor Kruk studied the art of leading schools, enriching his creative experience with progressive trends. Observing the achievements of colleagues and the latest artistic processes, he grasped the cultural context. He stated:“It is enough for me to absorb all that is foreign, to know all the contradictions of 'high' art, to explore the 'pros and cons' in the perspectives of artistic development, to be once again convinced of my own 'calling.'”
He sought to affirm national identity by reflecting the color and uniqueness of the nation in the image of a hardworking Ukrainian woman.
Embracing the Ordinary in Global Art
Gregor Kruk did not aim for imitation-he had many teachers and“authorities” who attempted to leave their mark on his works. However, unlike them and other colleagues, the master did not follow the inherited trends, nor did he synthesize European styles into his own creative manner. He found a different source of inspiration: the realistic recreation of the true image of a Ukrainian peasant, without hyperbolizing forms and details, in a generalized monumental format, but with the preservation of“dynamic statics” and emotionality.
The aesthetic component of Gregor Kruk's work reveals him as a European. He adhered to the norms in art that he had discovered himself, yet world trends inevitably reflected in his sculpture.
From European schools, the sculptor learned the courage to embrace his own identity, to strive to realize true emotion, expressed not externally, but contained within the soul of the image.
Inspiration from Ancient and Modern Art
In exile, the master became fascinated with the sculpture of ancient Eastern and European civilizations. In Paris, he paid tribute to the art of the Impressionist Rodin and the Expressionist Degas. It can be said that Gregor Kruk borrowed poses and dynamics from Degas's works, adapting them to his massive female silhouettes. There are similarities between the works of Gregor Kruk and the Spanish sculptor Antonio Campillo: the figures of Spanish Galician women resemble our Galician women. There are analogies in the approach of the sculptors to the choice of theme and in the execution technique. This is probably not a coincidence: during their stay in Rome, the masters could have met at the Rome Academy of Arts.
Conceptual kinship is also observed in the comparison of Gregor Kruk's works with those of the Colombian master Francesco Botero. In Munich, Gregor Kruk had the opportunity to familiarize himself with the Colombian's work.
Legacy and Uniqueness
The uniqueness and originality of the Ukrainian sculptor are undeniable. He once again confirmed the effectiveness of“routine” work, emphasizing not festivity, but the existential component of his enslaved people. Gregor Kruk captures in his sculpture the images of strong Ukrainians.
At the same time, Gregor Kruk's images never lost their ironic-patriotic mood, which neutralized everyday fuss. In many of the master's works, humor helps Ukrainians maintain an indomitable spirit and high dignity.
Gregor Kruk perceived Ukrainian peasants as a holistic spiritual organism with a unique appearance. Climbing the steps of ancestral memory, the artist ascended to the universal ethical and aesthetic ideal.
Today, more than ever, there is a pressing need, especially in artistic circles, to acquaint oneself in person with the creative heritage of Gregor Kruk.
Auction Sales and Collector Appeal
Gregor Kruk's works have garnered attention in prestigious art markets, with pieces regularly appearing at major auctions. Notably, his sculptures and drawings have been featured at auctions in London, New York, and Munich, fetching impressive prices that reflect his growing recognition. For instance, his sculptures have been sold for amounts ranging from $5,000 to $20,000, depending on the rarity and historical significance of the piece.
Exclusive Sales at Malab'Art Gallery, London
The Malab'Art Gallery in London offers an exclusive collection of Gregor Kruk's works. This gallery presents a rare opportunity for collectors to acquire original pieces that exemplify the sculptor's unique style. From intricate sculptures capturing the essence of Ukrainian rural life to expressive drawings, the gallery showcases the breadth of Kruk's artistic legacy. Collectors interested in acquiring a piece of this rich cultural heritage can explore the collection at Malab'Art, where each work is carefully authenticated and presented with its historical context, making it a valuable addition to any art collection.
Images of his works, such as a dynamic sketch of a female figure and a robust sculpture of a peasant woman, are available for purchase, illustrating Kruk's mastery in capturing movement and emotion. The gallery provides detailed consultations for potential buyers, ensuring they understand the significance and value of each piece.
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