Drawings of the Head and Bust of a Man and a Woman

Yulian Zaiats

Basic information

ID: Ф-З-Арх-ЛГМ-5/16
Author: Yulian Zaiats
Name: Drawings of the Head and Bust of a Man and a Woman
Country: German Empire (?)
Technique: drawing
Material: paper pencil
Dimensions (height x width, cm): 29.4 x 20.9

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

The front side of the sheet features two drawings based on the work of Jan Matejko: a portrait of the head of Stanisław Szczęsny Potocki, based on a fragment of his monumental painting Rejtan, or the Fall of Poland (Rejtan at the Sejm in 1773) (1866), and a female portrait, also reproduced from the original by the Polish artist. Both images were created in soft pencil, with an emphasis on studying the pictorial prototype through the graphic language of academic drawing. Stanisław Potocki's head is presented in a three-quarter turn with a slight downward tilt, which preserves the psychological tension characteristic of Jan Matejko's composition, although somewhat generalised. Despite the simplified interpretation of the details, the drawing captures key emotional traits, such as restraint, alienation, and demonstrative dignity, which, in the context of the original, acquire a political connotation. The image is based on a fragment of a painting that is conditional and not entirely historically accurate: Jan Matejko's depiction of Stanisław Potocki is more a generalised representation of the collaborative position of the Polish nobility during the partition of the Polish-Lithuanian Commonwealth than a life-size portrait. This gives the drawing a double meaning: both a study of Jan Matejko's style and an attempt to comprehend the visual code of a certain historical narrative. Next to it is a female portrait, also painted after Jan Matejko. It is distinguished by its expressive structure and restrained gradation of light and shade, which helps to emphasise the nobility of the features and inner concentration of the character. Both drawings demonstrate a careful study of Jan Matejko's signature style, characterised by meticulous elaboration of faces, typification, and subtle manipulation of light volume. On the back of the letter are two copies of Rembrandt van Rijn's watercolour paintings: "Athena Pallas" (1655) and "Portrait of Jan Six" (1654). Both images are distinguished by a gradation of tonal transitions achieved through transparent layering of paint with gradual complication of the shape. In the case of Athena, the allegorical solemnity of the image is preserved: a massive helmet and expressive lighting of the face – all this is reproduced in the copy, albeit adapted to the limitations of the watercolour technique. The female figure is calmly balanced, surrounded by a soft penumbra that creates the effect of depth. The portrait of the Dutch statesman and art lover Jan Six is a more intimate, chamber image. The watercolour copy preserves the main elements of the Rembrandt style: soft light modelling of facial features, expressive gaze, and calm confidence in posture. The copy artist focused not only on the external similarity but also on conveying the model's inner state, which is especially important in Rembrandt's studios. Both works on the reverse side demonstrate an interest in psychological depth, light and shadow saturation, and a harmonious combination of formal and emotional elements in the image, features that were crucial to Dutch Baroque art. In general, the works demonstrate a systematic approach to studying stylistic differences in European painting of the seventeenth and nineteenth centuries through academic graphic practice.

Inscriptions

On the front, from top to bottom, from left to right: inscription "after Matejko"; signature of Yulian Zaiats; "30/3/09". The inscription "after Matejko"; signature of Yulian Zaiats; "31/3/09". On the reverse side, from top left to bottom right: signature of Yulian Zaiats; "3/4 1919". Signature of Yulian Zaiats; "2/4 1919".

Portrayed person