Харків 2018

2розділ

UDC 7.04.71:27-312.8
ID ORCID 0000-0001-8477-9522

Beregovska Kh.
Lviv National Academy of Arts

ICONOGRAPHY AND STYLISTICS IN THE SERIES OF ARTWORKS OF
“PASSIONS OF THE CHRIST” BY VASYL KURELEK

Beregovska Kh. Iconography and stylistics in the series of
artworks of “Passions of the Christ” by Vasyl Kurelek.
Aim. Art Criticism is a young fi eld in Ukraine, and is just begin-
ning to grow into maturity. Many topics have been adequately
studied and scores of names have been recognized, but hundreds of
worthy artists are waiting to be registered and feted in the national
discourse. The history of the 20th century was such that artists of
Ukrainian heritage often found themselves creating outside the
borders of their native land. However, regardless of the geographic
locale in which the art was created, it always had at its nucleus
the traditions of the artist’s native land.
One such artist, well known and respected in Canada, but very
poorly known in Ukraine, was William Kurelek (1927–1977).
In Canada, he is known as “The Bruegel of Manitoba”, in Lon-
don – “The Canadian Bosch” or “Van Goh of the Prairies”. It is
diffi cult to disagree with these assessments, so let us familiarize
ourselves with him.
The theses discuss one of the fundamental themes in the works
of the famous Ukrainian Canadian artist William Kurelek – “The
Passion of Christ”. Attention is paid to the meaningful role played
by the only verse-by-verse illustration of the Gospel According to
Matthew in the world. Described are the mechanics of illustrative
portraiture and the thematic structure of sacred subjects.
Obviously, the story of Christ’s suffering had been retold many
times in various formats by various voices earlier, but new artists
were always attempting to retell it in their own way, each focus-
sing on what was important to them. William Kurelek was aware
of these works by earlier artists. However, his version of “The
Passion” is to a large extent a mirror if his own life and calling.
William Kurelek fi rst had the idea of creating a series of paintings
about “The Passion of Christ” in 1956. Of the four Gospels, he
chose the one according to St. Matthew, saying that it had the most
easily understandable details and provided the best dramatic quali-
ties. Kurelek created 160 paintings, illustrating verse for verse,
building from sketch to completed painting. His very long-term
plan was to illustrate the entire Gospel according to St. Matthew – a
series of 800 paintings. However, he only managed to complete
30 works. His plan was cut short by his untimely death.
In order to be able to create a more perfect reproduction the events
of the fi nal three days of Christ, Kurelek travelled to the Holy Land
in 1959, where he made hundreds of, sketches, took hundreds of
photos, and collected historical and geographical information
about the places where Christ lived. This precious knowledge laid
the foundation for Kurelek’s series, which he began at the start of
1960 and completed in 1963.
In the 160 paintings, we see the various styles and approaches
used by Kurelek – some are created in a natural/primitivistic
method, while others are exemplars of the highest form of de-
tailed precision.
Kurelek spent three weeks in the Holy Land, walked from Jeru-
salem to Bethlehem, and took hundreds of photos – on which he
would base his depictions of location and landscape.
The formal language of the series “The Passion” discloses an on-
going attempt to unite traditional and personal thought. The artist
had his own take on religious painting. His iconography became
a form of synthesis of eastern (Byzantine), northern-renaissance,
and Mexican styles.
Kurelek was interested in the use of light, colour, and techniques
of depiction of the static form, its deconstruction and composi-
tion in freeform, and the relationships between line, form, and
shade in general.
In the series we fi nd many works of various scope – mass or
individual. Therefore, the series can be separated into two
groups: those which multiple fi gures, and those with only one
or two – again dictated by what the artist wanted to emphasise.
Kurelek paid great attention to detail, investing in serious study

of history, tradition, and architecture of the land of Israel in the
time of Jesus.
An analysis of the stylistic character of the works will show a
synthesis of the infl uences on Kurelek. We know that he often
drew on the works of his favourite painters, emulating the greatest
achievements in the world of art.
The series “The Passion of Christ” is not the result of detached
artistic calculation, but rather an honest, moving declaration of
faith. It is a proof that even today religion continues to be an
inspiration for cultural expression. This series was an explicit
act of conversion of a practicing atheist to devout Catholic – an
ascent from depths of personal suffering and torment, to a fulfi lled
spiritual life. In the words of the artist, in his work he positioned
point vs counterpoint – love vs hate, creation vs destruction, faith
vs superstition [5, p. 30].
Kurelek believed that he was given his artistic ability in order to
serve God. He considered himself His servant, and his art was a
tool of God’s will – not his.
Results. The phenomenon of William Kurelek fi rst absorbed the
best from the classics of the old world, then matured in the ashes
of personal psychological traumas, suffered, proceeded to be was
washed in faith, and fi nally became whole. The result was the
creation of a thousands strong army of masterpieces, armed with
deep meaning and symbolism. The artist created monuments on
canvas to multiple ethnic groups of immigrants to Canada and
illustrated “The Passion of Christ” from the Gospel according
to St. Matthew verse by verse, yet he continued to strive for
more. Having exchanged outlook from clinically depressed to
theologically-metaphysical, he created a rich, enduring legacy of
prophetic, mysterious, and religious art.
Novelty. “The Passion of Christ” is one of the most signifi cant
works in the history of religious art. This series is a symbolic
thanks to God from the artist for his spiritual salvation. His creativ-
ity continues to remain an open fi eld in the search for the Eternal.
Keywords: Series, phenomenon, subject, creativity, The Passion
of Christ, Canadian, William Kurelek.
Береговська Х. О. Іконографія та художньо-стилістичні
особливості серії творів «Страсті Христові» Василя
Курилика. У статті висвітлено сакральну живописну серію
«Страсті Христові» канадського художника українського
походження Василя Курилика. Ця серія — єдиний аналог у
світі повіршового живописного ілюстрування вангелія від
Матея — цикл про Страждання, Смерті і Воскресіння Ісуса
Христа. Зокрема у статті досліджена іконографія образів та
різносюжетних композицій творів, детально проаналізовано
художньо-стилістичні особливості сакральних творів.
Формальна мова творів серії «Страсті Христові» виявляє
постійний пошук автором гармонії традиційних і нова-
торських ідей. Художник володів своєрідним трактуванням
релігійних образів. Його іконографія тяжіє до синтезу східної
(візантійської), північно-ренесансної та мексиканської
стилістики, де автор торкається проблем світла, кольору,
середовища. Проаналізувавши стилістичний характер творів,
можна збагнути про синтез різноманітних творчих впливів.
Відомо, що Курилик чимало черпав із творчості улюбле-
них мистців (П. Брейгеля, Ван Гога, Рівери), наслідуючи
найвдаліші світові мистецькі досягнення.
Ключові слова: іконографія, «Страсті Христові», впливи,
художні особливості, Василь Курилик.
Береговская К. А. Иконография и художественно-сти-
листические особенности серии произведений «Страсти
Христовы» Василия Курилика. В статье исследована са-
кральная живописная серия «Страсти Христовы» канадского
художника украинского происхождения Василия Курилика.
Эта серия — единственный в мире аналог стихотворного
живописного иллюстрирования Евангелия от Матфея —

© Beregovska Kh., 2018



цикл про Страдание, Смерте и Воскресение Иисуса Христа.
В частности, в статье исследована иконография образов и
разносюжетных композиций произведений, подробно про-
анализированы художественно-стилистические особенности
сакральных произведений.
Формальный язык произведений серии «Страсти Христовы»
проявляет постоянный поиск автором гармонии традици-
онных и новаторских идей. Художник владел своеобразной
трактовкой религиозных образов. Его иконография тяготеет
к синтезу восточной (византийской), северо-ренессансной и
мексиканской стилистики, где автор касается проблем света,
цвета, среды. Проанализировав стилистический характер
произведений, можно понять о синтезе различных творческих
воздействий. Известно, что Курилик немало заимствовал из
творчества любимых художников (П. Брейгеля, Ван Гога,
Риверы), наследуя удачные мировые художественные до-
стижения.
Ключевые слова: иконография, «Страсти Христовы», влия-
ния, художественные особенности, Василий Курилик.

The pantheon of 20th century artists century
is rich with unquestionable talent. Some of these
artists have hundreds of books and documentaries
dedicated to them and their work, others are known
only in certain regions, still others are popular only in
their home countries – the rest however, are familiar
only to scholars.

If the mid-20th century is examined through
a prism of art, a map of the planet will show a
constant pulse of genius – from self-taught artists
to professionals: Pablo Picasso was continuing his
experimentation in Paris, Salvador Dali was creating
surrealism in Spain, Jackson Pollock was mastering
abstract expressionism in the US, Nikifor Dovnyak
(Lemko) was creating primitive landscapes in Po-
land. At the same time, in Canada William Kurelek
was creating a hierarchical “cannon” of portraits of
the fi rst settlers of the Canadian prairies.

Formulation of the problem. One such art-
ist, well known and respected in Canada, but very
poorly known in Ukraine, was William Kurelek
(1927–1977). In Canada, he is known as “The
Bruegel of Manitoba”, in London – “The Canadian
Bosch” or “Van Goh of the Prairies”. It is diffi cult to
disagree with these assessments, so let us familiarize
ourselves with him.

Today it is very important to comprehensively
explore the “multiserial” legacy of Vasyl Kurylyk,
and in particular his series “Passion ...”, analyzing
iconography and artistic and stylistic peculiarities
of his works.

Analysis of recent research and publications.
About the legacy of Vasyl Kurylyk hundreds of ar-
ticles are written, dozens of them are devoted to the
theme of his sacred series “Passion for the Christ”.
This is mostly the publication of periodical Canadian
editions, as well as Ukrainian diaspora periodicals.
The fundamental book on The Passion of the Christ
by Vasyl Kurylyk, is a catalog of 1975, published by
Kolyanskivsky in Nianar Falls, Canada [6].

After a detailed study of the collected sources it
follows that the legacy of V. Kurylyk is well-known
in Canadian society, however, today we have not met
any scientifi c research that would comprehensively
cover the fundamental heritage of V. Kurylyk.

Aim. The phenomenon of William Kurelek fi rst
absorbed the best from the classics of the old world,
then matured in the ashes of personal psychological

traumas, suffered, proceeded to be was washed in
faith, and fi nally became whole. The result was the
creation of a thousands strong army of masterpieces,
armed with deep meaning and symbolism. The art-
ist created monuments on canvas to multiple ethnic
groups of immigrants to Canada and illustrated “The
Passion of Christ” from the Gospel according to
St. Matthew verse by verse, yet he continued to strive
for more. Having exchanged outlook from clinically
depressed to theologically-metaphysical, he created
a rich, enduring legacy of prophetic, mysterious, and
religious art.

Therefore, the purpose of the article is to ana-
lyze in detail the iconography and the artistic and
stylistic features of this series, which will enable to
clear the deep meanings laid by the artist in the his
art works.

Basic theses. The story of “The Passion of
Christ” has often been depicted by artists throughout
the last two millennia.

The French painter Jan Tissot (1836–1902)
created a benchmark illustration of the life of Christ
with 700 watercolours and sketches. His aim was to
visually describe the complete life of Christ – from
Birth to Resurrection. Part of his work portrayed the
facts as laid out in the Gospel according to Matthew.
However, this artist did not attempt to recreate the
gospel verse by verse chronologically, nor did he
“tie” himself to the Gospel. He was greatly infl uenced
by the work of the renown French Biblical illustrator
of the Romantic period, Gustave Dore (1832–1883).

Obviously, the story of Christ’s suffering had
been retold many times in various formats by various
voices earlier, but new artists were always attempting
to retell it in their own way, each focussing on what
was important to them [1, p. 21]. William Kurelek
was aware of these works by earlier artists. However,
his version of “The Passion” is to a large extent a
mirror if his own life and calling.

William Kurelek fi rst had the idea of creating
a series of paintings about “The Passion of Christ”
in 1956. Of the four Gospels, he chose the one ac-
cording to St. Matthew, saying that it had the most
easily understandable details and provided the best
dramatic qualities. Kurelek created 160 paintings,
illustrating verse for verse, building from sketch to
completed painting. His very long-term plan was
to illustrate the entire Gospel according to St. Mat-
thew – a series of 800 paintings. However, he only
managed to complete 30 works. His plan was cut
short by his untimely death.

In order to be able to create a more perfect
reproduction the events of the fi nal three days of
Christ, Kurelek travelled to the Holy Land in 1959,
where he made hundreds of, sketches, took hundreds
of photos, and collected historical and geographical
information about the places where Christ lived.
This precious knowledge laid the foundation for
Kurelek’s series, which he began at the start of 1960
and completed in 1963.

In the 160 paintings, we see the various styles
and approaches used by Kurelek – some are created
in a natural/primitivistic method, while others are
exemplars of the highest form of detailed precision.



Харків 2018

2розділ
Kurelek spent three weeks in the Holy Land,

walked from Jerusalem to Bethlehem, and took
hundreds of photos – on which he would base his
depictions of location and landscape.

The formal language of the series “The Pas-
sion” discloses an ongoing attempt to unite traditional
and personal thought. The artist had his own take
on religious painting. His iconography became a
form of synthesis of eastern (Byzantine), northern-
renaissance, and Mexican styles.

Kurelek was interested in the use of light, co-
lour, and techniques of depiction of the static form,
its deconstruction and composition in freeform, and
the relationships between line, form, and shade in
general.

For Kurelek, the setting of the painting was a
metaphysical space where two worlds intersected:
the realistic, measured landscapes, and historical-
biblical stories – as interpreted by the newly born
again Christian artist. The space was painted in a
linear way, depicting ancient structures of Hebrew
cities as well as landscapes fi lled with cliffs and sand.
The artist often crops the Biblical image, zooming in
in order to focus on certain details or facts. Each crop
is carefully carried out to convey a specifi c lesson
or meaning. Kurelek is not interested in a complete
depiction of each scene, often cutting the composi-
tion in a most unexpected place, or leaving a detail
from a previous composition. In this way, Kurelek
forges and weaves an invisible chronological chain
of events into the series of “The Passion”.

Interior scenes are set tightly enclosed in
monumental stone walls, as if literally facing an
inevitable prophesy. The artist went to great lengths
to recreate the interiors exactly as they would have
looked: antique orders, capitals, and semi-circular
vaults; the characteristic draperies, and semi-reclined
dining poses at semi-circular tables. Kurelek paid
great attention to detail. He was very familiar with
the architectural styles of the time of Christ, as well
as middle eastern cabinetmaking, clothing, carpet
weaving, ceramics, decoration, and even the assort-
ment of foods served. (fi g. 1)

Kurelek clearly divided the canvas into two
horizontal planes – heaven and earth. The visual char-
acteristics of heaven, or the heat-soaked air, served to
reinforce the emotions created by the events unfold-
ing in the painting: gentle or threatening, baby blue
or leaden. The artist depicted air using half-tones of
light, raising or lowering the temperature. The sky is
not “connected” to the time of day or night, but rather
to the tragedy of inevitable events that unfolded, page
by page, in the Holy Gospel. Tint in each work acts
like a generator of evocative emotion, and buttress of
the dominant accents. It is used to create or balance
the plane. The colour scale Kurelek used is very wide.
Black is the colour of contours and shading. Red is
present in each painting and represents the suffering
and inescapable fate of the Son of God. Red is often
used in contrast with the complementary green, an ef-
fect works to activate visual receptors and strengthen
the already powerful emotional messages. It is impor-
tant to note that colour schemes used in some paintings
border on the psychedelic, which refl ects the personal

experiences and perturbation of the painter. He often
uses a gradation of light and semi-contrasting shades,
especially when depicting evening or darkest night –
the events of the Garden of Gethsemane, the betrayal
by Peter, and the fl ight of the disciples. (fi g. 2) The
use of these achromatic techniques allows Kurelek
to create a profound and mystical stage on which he,
using a fi ne stroke, sets the scene. Line and tint are the
tools which Kurelek juggles, painting dynamic fi gures,
or creating a statue-like web of veins on the backs of
the hands of Christ.

In the series we fi nd many works of various
scope – mass or individual. Therefore, the series can
be separated into two groups: those which multiple
fi gures, and those with only one or two – again
dictated by what the artist wanted to emphasise.
Kurelek paid great attention to detail, investing in
serious study of history, tradition, and architecture
of the land of Israel in the time of Jesus.

Each main persona has a unique speed of
understood physical and spiritual movement. The
contrast of static vs dynamic was a key technique in
differentiating the heroes. The image of Christ, for
example, remains immovable and monumental amid
the confused, teeming masses. Each slight movement
or exaggerated pose was intentional, collectively
enhancing the depiction of the three-day ordeal of
Suffering, Death, and Resurrection of Christ.

An analysis of the stylistic character of the
works will show a synthesis of the infl uences on
Kurelek. We know that he often drew on the works
of his favourite painters, emulating the greatest
achievements in the world of art.

Kurelek’s paintings can be compared to
Giotto’s “Judas Kiss”, in that both masters strive to
dramatize the events as a developed means of ex-
pression. Kurelek took from Giotto the most refi ned
perspectives, and transformed them to fi t his own
personal artistic expression and scale of depiction,
in which he arranged the scenes relative to the next.

Kurelek synthesized Giotto’s two dimensional
depiction of spatial areas with Bruegel’s lush subject
matter and emotional hyperbole. It is this Bruege-
lesque plurality of mutually dependent emotions that
creates a unity on the canvas. Kurelek also learned
from Bruegel to modernize faces, using just one line
to depict both the features and emotion. Kurelek also
studied Hieronymus Bosch a great deal, especially
during the period of his emotional crisis. The phan-
tasmagorical personages who inhabited the works of
Bosch heavily infl uenced the development of artistic
creativity in William Kurelek. He associated those
images with the apocalypse and worldly sin, and
they made their way into the works “The Tempta-
tion and Fall of Judas” or “The Rise of the Dead”.
Let us not forget that Kurelek spent time studying
art in Mexico, where he came under the direct infl u-
ence of the work of Diego Rivera – especially his
massive and monumental way of depicting trifl ing
detail. (fi g. 3) Kurelek depicted women in the style of
Rivera: majestic and composed, holding the fates of
loved ones – or even of all humanity – in their hands.

The characters in the series “The Passion”
are witnesses, the chosen, who had the honour of



Fig. 3. William / Vasyl Kurelek. The
Passion of Christ (Mark well, you
have heard…). Fragment. 1960–1963.
Gouache on paper. 51,1 × 48 cm. Niagara
Falls Art Gallery. Canada. Photo by
K. Beregovska. 12.2017

Fig. 1. William / Vasyl Kurelek. The Passion of Christ (And
while they were at the table, He said…). Fragment. 1960–
1963. Gouache on paper. 51,1 × 48 cm. Niagara Falls Art

Gallery. Canada. Photo by K. Beregovska. 12.2017

Fig. 2. William / Vasyl Kurelek. The Passion of Christ (And
began to pray “Father…”). Fragment. 1960–1963. Gouache

on paper. 51,1 × 48 cm. Photo from the book: [6, p. 48]

participating in the historic events of the last days of
Christ. Each person has portrait traits which, when
examined together, give a feel for the mood of each
painting. There are no “extras” in these paintings –
each person has a specifi c role to play in the drama,
as laid out in the Scripture. In the works Kurelek
cropped to focus on people, the viewer can see ev-
ery slight trace of fi lth and depth of treachery on the
sinner; the perfectly natural drops of sweat, tears,
or saliva, and blood-red eyes of the lynch mob; the
scarred body of Christ. The faces are striking – the
emaciated Christ with his heavily Semitic features,
like an image from an El Greco painting; the fat Judas
with his asymmetrical face; the mask-like face of
Pilate, where we can read spiritual trepidation and
confl icting emotions.

Kurelek pours light into the souls of the char-
acters and uses that to arrange his paintings. He is
also not afraid to show the abhorrent face of pain

and suffering. Each painting is inspired by events
from Kurelek’s life – where a calm exterior hides a
charged emotional interior.

All of the characters in Kurelek’s works appear
to be sculpted. We know that sculpture was dear
to Kurelek – he created the unique, two-meter tall
plastic sculpture of Joseph entitled “The Worker”
(1966) for the Jesuit college in Guelph, Canada. We
see shades of this statue in the depiction of Joseph
in the series “The Passion” [3, p. 55].

According to Yuri Shevelov, “Kurelek was a
particular type of surrealist. In one way, he did not
‘photograph’ reality, but rather stylized and simpli-
fi ed it; in another way he rarely resorted to random
combinations of things as did Rene Magritte; and in
still another way he boldly introduced into his works
elements of ethnography, religious tradition, or even
symbolic and allegorical elements. It is impossible to
fully comprehend the refi ned formal face of Kurelek



Харків 2018

2розділ
without examining his proclivity towards primitive,
naïve art – although he was never a primitivist in
the style of Henri Rousseau or Nikifor” [5, p. 51].

The series “The Passion of Christ” is not the
result of detached artistic calculation, but rather an
honest, moving declaration of faith. It is a proof that
even today religion continues to be an inspiration
for cultural expression. This series was an explicit
act of conversion of a practicing atheist to devout
Catholic – an ascent from depths of personal suf-
fering and torment, to a fulfi lled spiritual life. In the
words of the artist, in his work he positioned point vs
counterpoint – love vs hate, creation vs destruction,
faith vs superstition [2, p. 30].

Kurelek believed that he was given his artistic
ability in order to serve God. He considered himself
His servant, and his art was a tool of God’s will –
not his.

His main aim was the salvation of his soul, and
to help others fi nd salvation also. This was much
more important to him than painting for painting’s
sake.

We fi nd clear proof of this in his autobiography,
where he wrote: “If I had to choose one to save – my
soul or my art, I wouldn’t hesitate to destroy my
paintings” [7, p. 501].

It is important to note that the series “The Pas-
sion of Christ” and the later book of the same name,
which was published in 1975 and included the entire
set of 160 paintings with descriptions written by the
artist himself, garnered quite a bit of attention in the
press. It is also important that Kurelek wrote the text
for the book himself and personally explained the
depth of meaning of each piece [6, p. 7–16].

For Kurelek himself, the highest praise for his
series “The Passion of Christ” a letter from Pope
Paul VI which he received in 1975, full of praise and
admiration, which read: “I am enchanted by the deep
artistic and spiritual content which is evident in the
scenes of suffering, especially in the depiction of the
fl agellation and crucifi xion; the epic torment, insults,
human injustice and the greatness of God” [4, p. 8].

Conclusions. Studying the artistic heritage
of Vasyl Kurilyk, conducting an art-study analysis
of his numerous different-thematic series, we
dwelt in detail on the series “Passion for Christ”.
Expanding the subject of the study, it was possible
to comprehensively analyze the artistic and stylistic
features and iconography of 160 gouache and
watercolor works. We have shown many infl uences
of creative manner of Bruegel, Van Gogh, Rivera’s,
which Kurylyk transformed through the prism of
his own artistic conception, in the author’s manner.

And also to show the series “Passions of the
Christ” by Vasyl Kurylyk as a powerful phenomenon
not only in Canadian but also in the world context,
fi rst introducing him into Ukrainian art studies.

Prospects for further research. It is very
important for Ukrainian art studies to study
the phenomenon of Vasyl Kurylyk’s art works.
Particularly is important is analyze and holistic
highlight his various thematic paintings series, which
constitute a single “conceptual canvas” of his art.

Література:
1. Джекман Е. Курилик : Страсті Християнського Апо-

столяту [Text] Едвард Джекман // Ми і світ (Торонто,
Канада). — 1977. — Ч. 197. — С. 21.

2. Курилик В. Чому мої картини бувають сумні [Text] /
В. Курилик // Ми і світ (Торонто, Канада). — 1983. —
Ч. 235. — С. 30.

3. Мистецтво [Text] // Ми і світ (Торонто, Канада). —
1983. — Ч. 235. — С. 55.

4. Найвищі признання для «Страстей Христових» В. Ку-
рилика [Text] // Ми і світ (Торонто, Канада). — 1975. —
Ч. 187. — С. 8.

5. Шевельов Ю. З нагоди виставки картин Василя Ку-
рилика в Вінніпезі [Text] / Юрій Шевельов // Сучас-
ність. — 1981. — Ч. 1. — С. 51.

6. Kurelek W. The passion of Christ according to st. Matthew
[Text] / William Kurelek. — Toronto : Niagara falls art
gallery and museum, 1975. — 192 p.

7. Someone with me : The Autobiography of William
Kurelek / James Maas (Foreword). — Ithaca, New York :
Cornell University, 1973. — 523 p.

References:
1. Jackman, E. (1977). Kurylyk : Strasti Khrystyianskoho

Apostoliatu [Kurelek : The Suffering of the Christian
Apostles]. My i Svit, 197, 21. (In Ukrainian).

2. Kurelek, W. (1983). Chomu moi kartyny buvaiut sumni
[Why My Paintings are Sad]. My i Svit, 235, 30. (In
Ukrainian).

3. Mystetstvo [Art]. (1983). My i Svit, 235, 55. (In Ukrainian).
4. Naivyshchi pryznannia dlia «Strastei Khrystovykh»

V. Kurylyka [The Highest Praise for William Kurelek’s
“The Passion of Christ”]. (1975). My i Svit, 187, 8. (In
Ukrainian).

5. Shevelov, Yu. (1981). Z nahody vystavky kartyn Vasylia
Kurylyka v Vinnipezi [On the Occasion of the Exhibition
of Paintings by William Kurelek in Winnipeg]. Suchasnist,
1, 51. (In Ukrainian).

6. Kurelek, W. (1975). The passion of Christ according to
st. Matthew. Ontario, Canada : Niagara falls art gallery
and museum. (In English).

7. Maas, J. (Foreword). (1973). Someone with me : The Auto-
biography of William Kurelek. Ithaca, New York : Cornell
University. (In English).

Рецензент статті: Стельмащук Г. Г., доктор
мистецтвознавства, академік, професор,

Львівська національна академія мистецтв

Стаття надійшла до редакції 06.09.2018