BOOK REVIEW: New biography of Canadian artist William Kurelek

Michael Ewanchuk, "William Kurelek: The Suffering Genius." Steinbach, Manitoba: Perksen Printers and Michael Ewanchuk Publishing, 1996. VIII + 124 pp., softcover, $15.95 (plus $3 for postage and handling: $6 outside Canada; $4 to the U.S.).

by Wolodymyr T. Zyla

"When William Kurelek died he was Canada's best-known painter of the time and one of the best-loved ever." - John McTavish

In the informative foreword to this valuable book, John Lehr notes that "this book is not a critique of Kurelek's art, but an account of the artist as a man. Michael Ewanchuk draws upon his personal acquaintance with Kurelek, a personal interview with him, interviews with those who knew him in his youth, and some of Kurelek's hitherto unpublished correspondence. All of this, I believe makes for an insightful account of a complex individual. Gifted but tortured, Kurelek left a lasting legacy to all Canadians. His art has enriched us all."

Thanks to Michael Ewanchuk, the author of this book, it is now possible to judge "the suffering genius" for himself. Naturally, the book is of interest not only to those directly involved with Kurelek, but also to those interested in anyone with whom he may have had contact, or with whom he may have been compared.

William Kurelek, a sensitive human being, was born and grew up in the home of a Ukrainian immigrant farmer, detached from the established Ukrainian culture and traditions - though some of their characteristics were maintained. In other words, he grew up in a cultural setting modified by the frontier, the culture of resettled people in the New Land: the prairies of Western Canada.

Kurelek attended a public school, and, though he did well academically, the difficult experiences he encountered scarred him deeply and made him withdraw into a shell. In this withdrawal, it seems, he found solace in art.

He studied art at the Ontario College of Art and at the Instituto Allende in Mexico.

During his stay in England (1952-1959), he was hospitalized for chronic depression and found solace in the Roman Catholic faith. Although it is somewhat difficult to understand why the clergy did not help him join the Ukrainian Catholic Church, he still believed that the Ukrainian religious customs should be preserved and re-invigorated.

His artistic rise without the benefit of a proper education was meteoric and is worth careful consideration. His career began in England, where he sold his first painting and where an exhibition of his paintings and oils was favorably received. Upon returning to Canada, Kurelek's first one-man exhibition was prepared in Toronto and proved very successful. Kurelek began receiving more visibility and started to gain distinction as an artist.

In 1962, he married Jean Andrew, with whom he would share 15 years of married life.

In the meantime his list of exhibitions was constantly increasing. Distinguished Canadian writers appraised his creative work. In 1974 he appeared in a film about Ukrainian pioneers. In Toronto he was embraced by the Ukrainian community and entertained at a special banquet given in his honor by the Ukrainian Professional and Business Club. He delivered a lecture at the Ukrainian Literary Club and was invited by Ukrainian students to a special evening in appreciation of his art and a viewing of a film by the National Film Board titled "Wasyl Kurelek." The Globe and Mail published observations by Wendy Hitchner that "through his art the 40-year-old artist brought acclaim to himself and the Ukrainian people."

Having twice visited the Holy Land, he depicted the Passion of Christ according to St. Matthew in a series of 160 paintings, which he considered his magnum opus. His most popular works, however, were paintings of life on the prairies. He created a series of intricate works on prairie life and a series of interesting works depicting various ethnic groups of Canada. Therefore, he began to be considered "a totally Canadian artist who creates pictures of Canadian prairie life as seen through the prism of his own life."

During his visit to Winnipeg and trips to the country, he wanted to learn more about farm life, showing special interest, for instance, in a steam threshing system. As a result he painted murals of the Dauphin area, even the Dauphin train station.

Because of great similarities in their life styles and artistic works, writes Mr. Evanchuk, one may easily call William Kurelek the Canadian Ukrainian William Blake. The English poet and artist (who died in 1827) also was a sensitive person, but he grew up in the restricted environment of a big city. He produced fine poetry and art, while Kurelek created good art and aspired to become a good writer.

Although Blake did attend an art school briefly, he developed his artistic skills as an engraver on his own. In Kurelek's home, however, art was considered unimportant. His father was pragmatic to the extreme and he often said: "You can't earn a living through art, but achievement in school is very important." Both Blake and Kurelek were fortunate to marry women who cared, who respected talent, and who provided the requisite encouragement and assistance.

As writers, the two were different: "William Blake sought enjoyment through imagination, forgiveness and love, while Kurelek, on the other hand, wrote in a mood of judgment rather than love. In summing up, one can easily say that Blake's poetry and art have a definite religious orientation and so does William Kurelek's art."

Kurelek did not forsake the culture of his forebears. In Toronto, for instance, his contacts appear to have been closer with Ukrainians who came to Canada after World War II than with Ukrainians born in Canada. The reason, in this writer's opinion, may be in the understanding of art and its importance in life. After all, art is a weapon that proves to be stronger than force, and sophisticated bombs and rockets.

Mr. Ewanchuk, notes that the artist is well remembered by Ukrainians, who take pride in his work and in his development as an artist. They treasure his realistic and symbolic works. These works, through vivid colors and simple lines, convey an intense love of the Ukrainian pioneers' prairie life and an immense personal vision of a great future.

By the time of his death on November 3, 1977 at the age of 50, Kurelek was one of the most successful Canadian artists of his generation.

In early 1977, Kurelek once again went to the homeland of his father, to the village of Borovtsi in Bukovyna, Ukraine. But on returning home he was physically spent, although spiritually strong enough to say farewell to the native prairies and to the world he loved by painting yet another work titled "When We Must Say Goodbye, 1977." And then he laid his burden down.

Mr. Ewanchuk's book William Kurelek: The Suffering Genius" is an important work. The author of many successful books about the lives of Ukrainian pioneers' lives in Canada, Mr. Ewanchuk once again has successfully captured the development and achievements of the Ukrainian ethnic group by focusing on the genius of Kurelek - an artist and writer who suffered and worked, and who will be remembered forever for his unforgettable work that offers insightful accounts of this complex individual.

Let us hope that this is not the last book by this distinguished author who has contributed so much to the study of Ukrainian immigrants and their work in Canada.

"William Kurelek: The Suffering Genius" is a perfect model for future works of this type, and one can only hope that it will engender such works. It is, without a doubt, an example of fine, concise scholarship that will direct readers and scholars to the next level in their ongoing appreciation of Kurelek's artistry.

The book is illustrated with many outstanding works by Kurelek. It is indexed and contains a bibliography and various appendices.

The book may be purchased directly from the author: Michael Ewanchuk, 828 Borebank St., Winnipeg. Manitoba R3N 1G4; telephone, (204) 489-4604.

Copyright © The Ukrainian Weekly, July 6, 1997, No. 27, Vol. LXV

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