The Sculpture by Vadym Sidur "Monument to the Fallen Children" (1968) – a Unique Exhibit in the Collection of the Dnipro Art Museum

Abstract

The aim of the article is to present and analyze Vadym Sidur's sculptural work "Monument to the Fallen Children" (1968), as well as to re-contextualize this unique piece in the Dnipro Art Museum's collection from the perspective of 20th-century Ukrainian fine arts. The research methodology is based on a comprehensive approach, utilizing a variety of general scientific and specialized methods, including analytical, historical-chronological, systematization, and generalization. This allowed for a thorough examination of the topic and led to relevant conclusions. Scientific novelty lies in the fact that, for the first time, a comprehensive approach was applied to the analysis and synthesis of issues concerning the representation of Vadym Sidur's sculptural work "Monument to the Fallen Children" (1968) in the Dnipro Art Museum's collection. The study also contributes to the reintroduction of the artist's legacy into the domestic art history discourse. Conclusions. To mark its 110th anniversary, the Dnipro Art Museum received a unique addition to its collection: Vadym Sidur's "Monument to the Fallen Children" (1968). This work is part of a series of succinct artistic images created by the artist in the 1960s, in which V. Sidur explores and reflects on his own wartime trauma. It is precisely these works, with their tragic tone, that brought V. Sidur international recognition. The presented metaphorical artistic image resonates as a direct reflection of our current reality. The inclusion of this original work by the world-renowned sculptor in the museum's collection marks a significant milestone in the history of its modern art department. This event sparks the process of reintegrating both the artist's figure and his work into local and national art history discourse, which is especially timely given the need to reassess and reconsider the contributions of Ukrainian culture and correct the distortions in the history of domestic fine arts.