UK
Back

Two Drawings

Yulian Zaiats

  • Two Drawings 2
  • Two Drawings 3
Basic information
ID
Ф-З-Арх-ЛГМ-8/8
Author
Yulian Zaiats
Name
Two Drawings
Date of creation
06.12.1962–10.12.1962
Country
the Ukrainian SSR
Technique
drawing
Material
paper pencil
Dimensions (height x width, cm)
20.3 x 28.6
Additionally
Type
graphic art
Genre
portraiture
Plot
Portrait
Provenance
Received from Nina Zaiats
Information about author
Author
Yulian Zaiats
Artist's lifetime
1880–1971
Country
Austro-Hungarian Empire, the Second Polish Republic, the USSR
Biography
Yulian Zaiats (May 30, 1880, Bohutyn, Austro-Hungarian Empire, now Pomoriany district, Lviv region – September 2, 1971, Lviv, Ukrainian SSR) was a Ukrainian artist, lawyer, scholar, bibliographer, and cultural figure. According to some sources, he was the son of a Greek Catholic priest.

He initially studied at a gymnasium in Lviv (graduating with honours in 1899). The artist then enrolled in the law faculty of Lviv University, but for political reasons transferred to the Jagiellonian University in Krakow (1901). At the same time, he enrolled in the Kraków Academy of Fine Arts, where he studied under Leon Jan Wyczółkowski (11 April 1852 – 27 December 1936). According to researcher Oleh Kupchynskyi, he was actively involved in research work. In 1902, he submitted his scientific work, "Usus fructus nominis", to the historical and philosophical section of the Shevchenko Scientific Society, which was published in the "Journal of Law and Economics." It should be noted that, based on the results of this work, Julian Zayats defended his doctoral dissertation in 1907. He then worked as a lawyer in the State Treasury Prosecutor's Office (Lviv). In addition, in 1909 and 1912, he improved his legal qualifications in Berlin, where he prepared a scientific work entitled "Jus iurandum in litem." According to researcher Oleh Kupchynskyi, he attended lectures at the Berlin Academy of Arts by the renowned German painter and graphic artist of Jewish origin, Max Liebermann (July 20, 1847–February 8, 1935). However, during this period, the artist did not teach regularly at this institution and was only appointed to the Senate of the Berlin Academy of Arts in 1912.

It should be noted that after World War I, Yulian Zaiats worked as an employee of a private law firm in Komarne (now the centre of the Komarne municipal community in the Lviv region), and later as a lawyer in Lviv. Yulian Zaiats also taught Roman law at the Ukrainian Secret University and was a permanent legal advisor to Metropolitan Andrei Sheptytskyi. He joined the Legal Commission of the Shevchenko Scientific Society and became a member of one of the key parties in the region at that time, the Ukrainian National Democratic Union. During the Second Polish Republic (1918–1939), Yulian Zaiats authored appeals to the League of Nations and the Vatican regarding the violent measures against Ukrainians within the framework of military-police terror, the so-called “Polish pacification”, initiated by the leader of this state entity, Jozef Pilsudski. At the same time, in the 1920s, he was invited to work at the Lviv branch of the Financial Prosecutor's Office of the Polish State Treasury. Later, before the annexation of the western Ukrainian lands to the Ukrainian SSR, he was a judge of the Supreme Administrative Tribunal of Poland in Warsaw (1939). From 1941, he was president of the Court of Appeal (Lviv).

After the end of the Nazi occupation, he was arrested as a person who could have been involved in the crimes of the occupiers. At the request of the intelligentsia (according to documents from the archives of the Security Service of Ukraine, first published in the works of scholars Mykola Kobyletskyi and Lesia Trepak), in particular, Metropolitan Andrei Sheptytskyi, and the head of the National Museum, Ilarion Svientsitskyi, the criminal case against Yulian Zaiats was closed. In 1945, he began teaching at Lviv State University, and from 1946, he worked as a bibliographer at the Scientific Library of the V. Stefanyk Academy of Sciences of the Ukrainian SSR. In 1951, the artist failed to pass the certification due to a lack of professional qualifications, but with the permission of the Certification Commission, he held the position of librarian from 1953 until his retirement.

During his time as a bibliographer, Yulian Zaiats produced a number of bibliographic works: “Materials for the Bibliography of M. Voznyak” (1946), “Bibliography of the works of M. P. Drahomanov” (1947, co-authored), “Bibliography of the history of the city of Lviv” (parts 1–2, 1948) – however, none of them were ever published. He was into collecting art and old books, and did some painting and drawing. Participated in art exhibitions in Lviv (1929–1932, 1934, 1935, 1937, 1943; National Museum and Ukrainian Society of Art Lovers), in Warsaw (Polish Society of Art Lovers in the “Zachęta” Salon), and other cities. Among his well-known works are “Lady in Blue”, “Daughter”, “Self-Portrait”, “Boy”, “Church in Krasne”, “Church in Kryvchytsi”, Flowers”, and “The Kaminka River”, which were highly praised in the press and exhibition catalogues of the time.

Additionally, he possessed a distinctive vocal talent and a powerful tenor voice. According to researcher Oleh Kupchynskyi, he graduated from the Lviv Conservatory (class of Nestor Nyzhankivsky). However, from 1928, Nestor Nyzhankivsky (August 31, 1893–April 10, 1940) taught at the Mykola Lysenko Higher Music Institute in Lviv. Also, according to Oleh Kupchynskyi, Yulian Zaiats performed solo concerts in Lviv, Warsaw, and other cities and participated in annual holiday programs for Shevchenko Days in Galicia. Between 1920 and 1926, he served as the leader of the “Muse” singing society. As for the artist's legacy, thanks to the efforts of Ilarion Svientsitskyi, a significant collection of his works is housed in the Andrei Sheptytskyi National Museum in Lviv, and some works are in the art department of the Lviv Library of the Vasyl Stefanyk National Academy of Sciences. According to researchers Mykola Kobyletskyi and Lesia Trepak, twenty works by Yulian Zaiats were purchased by the State Tretyakov Gallery in Moscow.

An important part of Yulian Zaiats' creative legacy is a series of graphic works currently stored in the Archive of Artists and Cultural Figures of the Borys Voznytskyi Lviv National Art Gallery, which provide valuable insights into the specifics of the educational process as well as the priorities in more conservative artistic circles focused on developing a realistic visual language through careful study of nature and the creative work of artists of past eras, especially those who practised the faithful reproduction of people and the world around them.
Object description
Two drawings by Yulian Zaiats, based on portraits of prominent artists of the late 19th and early 20th centuries, combine academic precision with a subtle sense of the model's individual character. Both images are three-quarter profile portraits, but with fundamentally different visual accents. The choice of source material, namely Vasyl Vereshchahin's "Muslim. Portrait of a Man" and "Portrait of a Woman in a Beret" by Mykola Bohdanov-Belskyi, testifies to Y. Zaiats' interest in the multifaceted nature of the portrait tradition within the classical school of fine arts. The portrait of a man after V. Vereshchahin is presented with particular attention to ethnographic specifics. The depicted Muslim wears a light-coloured (in the original, saffron) turban that tightly covers his head, leaving only his face with prominent cheekbones and a thick beard exposed. His gaze is directed to the side (in the original, at the viewer), which gives the image a restrained concentration. In Y. Zaiats' interpretation, there is a noticeable desire to convey the model's stern dignity; he forms the image with soft but confident strokes. The contrast of light and shadow works here to enhance expressiveness, and the background is kept clean to avoid distracting attention from the main point – the strength of character of the person portrayed. The female portrait by M. Bohdanov-Belskyi has a completely different tone. A young woman in a light beret (?), with soft features and a calm expression, is depicted in a slight turn, looking to the side. Y. Zaiats subtly models the chiaroscuro, especially in the areas of the cheeks and chin, giving the face a lively volume. The hair, barely peeking out from under the beret, is drawn with delicate lines, and the clothing is rendered in a generalised manner, focusing attention on the face as the centre of the composition. Placed side by side, these two portraits form a contrasting pair: a stern and reserved male image embodying the cultural tradition of the East, and a calm and melancholic female image of a European intellectual of the early 20th century. In this dialogue, Yulian Zaiats acts not simply as a copyist but as an attentive interpreter, preserving the style and character of the originals, while at the same time revealing his own interpretation of plasticity, light, and psychological expressiveness.
Inscriptions
In the centre, beneath the images: "From Vereshchahin"; "6/12 1962"; Yulian Zaiats' signature; "From Bohdanov-Belskyi"; "10/12 1962"; Yulian Zaiats' signature.
Legal regulation
Borys Voznytskyi Lviv National Art Gallery

Other