The professor Serhii Hiliarov (1887-1946) affair

Art historian within Bolshevik and Nazi ideologies

Authors

DOI:

https://doi.org/10.17721/2519-4801.2024.2.05

Keywords:

Serhii Hiliarov, The Bohdan and Varvara Khanenko National Museum of Arts, repressions, art history, Kyiv, totalitarianism.

Abstract

The study aims to analyze the impact of political circumstances, repressions of the 1930s, and the Nazi occupation of Kyiv on Serhii Hiliarov's scholarly work and political trajectory. The main goal is to identify how historical circumstances influenced Hilyarov's work at the Khanenko Museum, teaching at the Kyiv Art Institute, and art research under the pressure of totalitarian regimes.

Methods. This is qualitative empirical research, based on a critical analysis of primary and secondary sources including interrogation protocols, Hiliarov’s articles, lectures, and works by contemporary historians. The research incorporates documents from the Bohdan and Varvara Khanenko National Museum of Arts, the Central State Archive of Public Associations of Ukraine, and the Central State Archive-Museum of Literature and Art. The subject is examined within the context of the Bolshevik consolidation of power in Ukraine during the 1920s, the repressions of the early 1930s, and the Nazi occupation of Kyiv from 1941 to 1943.

Results. The research clearly identifies the events in Serhii Hiliarov’s life that influenced the integration of Bolshevik and Nazi ideological narratives into his articles and lectures. Notably, his arrest in 1933 marked a turning point after which Hiliarov increasingly incorporated Bolshevik ideology into his work. With the establishment of the Nazi occupation administration in 1941, he selectively included elements of Nazi propaganda in his writings.

Conclusions. Serhii Hiliarov sought to focus on academic and teaching activities, striving to maintain objectivity even under political pressure. During the 1924–1932 period, his work largely avoided overt politicization. However, this period also revealed his dissatisfaction with the Bolshevik regime, reflected in conflicts with students and opposition to the sale of artworks by Derzhtorg. These events culminated in his arrest in 1933, after which Hiliarov began producing works aligned with the ideological demands of the authorities. We believe this shift resulted from fear of further repression and pressure from the GPU. Hiliarov’s activities during this period illustrate not only forced collaboration with the regime but also his strategic use of the ideological context to preserve his ability to conduct scholarly work. This approach enabled him to continue studying art while working at the Khanenko Museum and teaching art history. This survival strategy proved useful during the Nazi occupation of Kyiv from 1941 to 1943. On the one hand, Hiliarov openly criticized Bolshevik policies in Kyiv. On the other hand, he adapted to the new conditions to continue his professional work and safeguard the Khanenko Museum’s collection.

Published

2025-01-31

Issue

Section

Special Issue