Art

The Art of The Ukrainian Easter Egg | The – Toronto Star

Published

3 years ago

March 31, 2021

Ukrainian Easter eggs are an art form all to themselves. They are an essential part of some Ukrainian religious services but are also made for fun, given as gifts, and even sold online. The Grizzly Gazette spoke to Tara LaBerge from Swan Hills, Alberta, to learn more about these works of art.

Tara grew up in the Ukrainian community in Winnipeg, Manitoba, active in the Ukrainian Catholic Church and attending one of the city’s Ukrainian schools until she reached junior high.

The proper name for Ukrainian Easter eggs is pysanka when referring to a single egg, or pysanky for more than one egg. There are many traditional designs and symbols used in decorating pysanky, each with its own meaning. Much of the symbology is religious in nature.

Pysanky are an important part of the traditional Easter celebration in the Ukrainian Catholic Church. Families will pack an Easter basket with everything that they will have for their Easter meal, with decorative pysanky, to be blessed with holy water at their church on Holy Saturday (the day before Easter Sunday). The Easter meal will be eaten on Easter Sunday. Pysanky are made with non-edible dyes, and the contents of the egg are sometimes removed during the process, which means that they are not a part of the meal. Krashanky are hard-boiled eggs that have been coloured with edible dyes and can be eaten.

Certain items and tools are necessary to make pysanky. The more common items are a pencil to mark the designs on the egg, a candle to provide heat for the process, and jars to contain the dyes. Then there are the more specialized items, such as the traditional dyes used to colour the egg, the kistka (traditionally a small copper funnel with a wooden handle) to apply beeswax to the egg, and beeswax. These items are available at Ukrainian stores and gift shops and can also be ordered online. Many different types of eggs can be used, including eggs from chickens, ducks, geese, and even emus and ostriches.

Tara started to learn how to make pysanky at home when she was four years old. Young children start out by learning the basics of this process, such as drawing lines and squiggles with a kistka and using the traditional dyes to achieve their desired colours at the end of the process. The children are taught the traditional symbology used in decorating the pysanky along the way. And importantly, they learn how to keep from starting fires with the open flame of the candles. Tara also worked on pysanky at church as a member of the Children of Mary.

Tara continued to learn about making pysanky every year at school. Students in earlier grades have a fair bit of freedom in how they decorate their pysanky, focusing on refining the basic skills. The lessons became much more structured in grade four, focusing on learning how to make authentic traditional designs. Students at this stage begin by planning their designs on paper and then continue in a step-by-step process as a class until they achieve their desired result.

Tara enjoys being creative with her pysanky, having fun with stepping outside traditional designs at times. She has made pysanky with Halloween themes, movie themes, and other creative designs. Tara has also gifted friends with monogrammed eggs. She enjoys making pysanky, finding it to be a relaxing pastime.

Creating pysanky is an involved process that requires a lot of initial planning to achieve specific results. Much of the planning has to do with the dyes. The eggs are dyed in stages, starting with the lightest colours and then in successively darker colours. The different coloured dyes will act on the dyes from previous steps to create new colours, so achieving a person’s desired end result involves picturing how they want their finished egg to look and then thinking backward through the stages of dyeing to figure out where to begin and which colours to use.

The traditional dyes can make quite a mess, so it is a good idea to lay out newspaper over the intended work surface and make sure that there is a decent supply of paper towels at hand. Paper plates can help provide a place to set the egg down and catch any wayward melted beeswax.

Once a person has a “game plan,” they can lightly draw their design on the egg with a pencil. Any lines or parts of the egg that are intended to stay white (or the egg’s natural colour) must be coated with beeswax to prevent the dyes from colouring that area. It is important to note that any place that beeswax has been applied to will not absorb the dyes properly, even if the beeswax is subsequently removed.

Beeswax is applied with the kistka. The funnel of the kistka has a wide end and a narrow end. The wide end is for scooping the beeswax, and the narrow end is for applying the wax to the egg. To fill the kistka with beeswax, heat the funnel’s wide end over the candle’s flame and then glide this part of the kistka through the wax. After the kistka has been “loaded” with beeswax, heat the narrow end over the candle flame to melt the beeswax. When the melted beeswax first begins to flow through the kistka, it tends to come out in heavier blobs, so it is a good idea to draw a couple of lines on some of the newspaper until the wax flows in a smoother and more controlled fashion. Once the wax is flowing evenly, it is time to cover any lines or areas that are intended to remain white.

After the beeswax has been applied, lower the egg is into the lightest colour of dye to be used. Leave the egg in the dye for up to 15 minutes. The egg will need to stay in the dye for longer periods to achieve deeper and richer colours. Gently remove the egg when it has reached the desired colour, handling it and drying it off with a paper towel.

If any parts of the egg are intended to stay this colour, they will need to be coated with beeswax. Then the egg moves on to the next dye. Continue with this process until the egg has been dyed with all of the intended colours, then dry it off thoroughly with a paper towel.

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Now it is time to remove the beeswax. This part of the process has a bit of a learning curve because the egg has to be held over the candle’s flame to melt the beeswax, but it can’t be held too close to the flame, or the egg will get scorched and blacken. Once the beeswax has melted in the heated area, wipe it off with a paper towel. Continue this process until all of the beeswax has been removed.

Congratulations, you now have a pysanka!

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Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

1 day ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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