Drawing of Two Elderly Men's Heads

On the front of the image are two oval portraits of men. As in other cases with copies by Yulian Zaiats, here we see signatures indicating the author of the original (unfortunately, they are quite illegible, which makes identification impossible). These copies are a good example of how the author demonstrated mastery of figurative and spatial thinking, as well as an understanding of characteristic types. The style of the originals suggests that they are the work of an academic artist who carefully studied the painting of the old masters. The upper portrait is presented in a right-hand turn, with a slight tilt of the head and a characteristic long beard. The subject's gaze is directed to the side, and Yulian Zaiats emphasised his deep eyes, cheekbones, and forehead. The lower portrait is more tonally refined, with a rich background that creates an oval vignette around the head. The lower portrait also depicts an elderly man with a long beard, but with a different facial type, which indicates the distinct individualisation of images characteristic of classical European portraits. In both cases, the light and shadow modelling is based on the principles of academic drawing, with a single light source, tonal transitions, and soft hatching that form volume and reveal the plasticity of the facial features. Particular attention is paid to the eyes, nose, cheekbones, and beard—the main emotional and psychological elements of the image. In the lower sketch, the artist uses contrasting tonal darkening of the background to enhance the depth and highlight the silhouette of the head. Overall, this graphic work demonstrates Yulian Zaiats' ability to work with historical models and carefully reproduce the individual features of the characters depicted. Therefore, it can be said that this side of the sheet is an example of a high-level training exercise and, at the same time, a record of academic teaching methods focused on the careful study of the heritage of European portrait painting. On the reverse side of the sheet are three sketches of a nude female figure, executed academically in ink (sepia) and pencil. The drawings are examples of a training exercise designed to study anatomy, movement, and the expressive plasticity of the body. The composition is structured as a series of successive poses of the model, with each figure occupying a separate place in space. On the left is a woman in a bent, almost crouched position with her head bowed; the central figure is sitting, leaning on a vase (?); on the right is a figure in a dynamic turn, with her arm raised, creating a sense of dance movement. All the poses capture the character of the gesture, the weight of the body, and the tension or relaxation of the muscles, which indicates deep observation of nature. The style of drawing is simplified, yet it maintains precise proportions and plasticity. The lines are confident and contoured, sometimes with an emphasis on points of tension in the body or its curves. The absence of light and shadow is compensated for by the rhythm of the lines and the expressiveness of the silhouette. This manner is characteristic of quick study sketches, which served as exercises in feeling movement, space, and anatomical structure. The images are stylised, particularly in the interpretation of hairstyles, which brings them closer to the aesthetics of the first third of the 20th century. Despite their educational purpose, the drawings demonstrate the author's individual approach, attention to form, and psychological specificity. In addition, these sketches are of undoubted value as sources for studying the creative development of Yulian Zaiats in the context of the pedagogical practices of that time in the academic environment.

The front bears the illegible signature of the author of the original image – "M. Lonb..."; the dates of execution are indicated under the portraits: "28/12 1911"; "20/10 11". On the reverse side, under each figure, there is Yulian Zaiats' signature and the dates (from left to right): "4/8 19"; "4/8 19"; "18/ 6 19".

Borys Voznytskyi Lviv National Art Gallery