Vasyl Khmeluk was not only the first Ukrainian expressionist artist but also the first Ukrainian to be represented by Galerie Durand-Ruel, one of the most prestigious art galleries of the time.

Khmeluk's personal character and artistic vision were deeply influenced by the turbulent social changes of the early 20th century. World War I, Ukraine's fight for Independence in the 1920s, and his eventual escape to the West shaped his identity. From Ukraine, he fled to Poland, then to the Czech Republic, and finally settled in Paris. Despite these hardships, Khmeluk remained devoted to both poetry and painting. These formative experiences profoundly impacted the expressive style that would define his work.

In his early period, particularly throughout the 1940s, Khmeluk’s paintings are marked by dark, dramatic, and dynamic compositions. His paintings carry a distinct feeling of emotional anticipation, increasing fear of something about to happen, which is especially visible in his landscapes. As his career progressed, beginning in the 1960s, his art underwent a striking transformation. His later works are infused with bright colors and an increasingly joyful tone, reflecting the mastery of an expressive style he had perfected over the years.

In the foreword to Khmeluk’s 1962 exhibition catalogue for the Leonard Hutton Galleries in New York, Charles Kunstler noted: “His name is familiar to great collectors all over the world. He is represented in the museums of Lucerne, London, and Stockholm.” Unfortunately, after Khmeluk’s death in 1986, his fame began to fade, largely due to the absence of anyone dedicated to preserving the legacy of this extraordinary artist.

I first discovered Khmeluk’s work in 2005. At that time, I was already familiar with renowned expressionists such as Soutine and Munch, yet Khmeluk’s expressive compositions—particularly his depictions of Ukrainian subjects—deeply resonated with me. One notable example is his portrait of a Cossack in a traditional Ukrainian embroidered shirt. In fact, the foreword to the catalog of his first major exhibition, held at De L’Institut Tessin in Paris in 1942, specifically identifies him as a "Ukrainian artist." Despite being an immigrant in a foreign land, Khmeluk proudly built his artistic career as a representative of Ukraine, popularizing his homeland through his art long before the nation achieved independence in 1991.

It is with great pleasure that I introduce Khmeluk’s exhibition at Ukraine House in Washington, DC. This exhibition features 22 paintings and three drawings, all from private collections. It also celebrates Khmeluk’s literary contributions, with two of his original poetry publications—'Hin’ (1926) and ‘Autumn Sun’ (1928), both printed in Prague—on display, along with original catalogues and exhibition invitation cards.

The timing of this exhibition is especially poignant, as it coincides with the ongoing war in Ukraine. Many contemporary Ukrainian artists have been forced to flee the atrocities of war, seeking refuge and attempting to rebuild their careers in the West. Just like Khmeluk about 100 years ago…