Drawings of Two Male Heads

Yulian Zaiats

Basic information

ID: Ф-З-Арх-ЛГМ-8/3
Author: Yulian Zaiats
Name: Drawings of Two Male Heads
Date of creation: 21.11.1962–24.11.1962
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

Drawing copies of Martiros Saryan's bust portraits (based on the original by Pavlo Korin) and a self-portrait of Serhii Maliutin, made by Yulian Zaiats in 1962, form a unique graphic diptych composition in which the two images seem to engage in a silent dialogue – either an argument or mutual complementation. Both portraits are profile portraits of mature artists, but they are positioned in opposite directions, as if the subjects' gazes are directed towards different temporal, spiritual, or conceptual horizons. The figure of Martiros Saryan, shown in profile on the left, is executed with exceptional respect for the original painting by Pavlo Korin. Zaiats preserves the clarity and expressiveness of this image: a distinct profile, a concentrated gaze focused on a point invisible to the viewer. Martiros Saryan's profile conveys the strength of will, dignity, and inner concentration of a man who lived through the trials of the turbulent 20th century. Zaiats worked with restraint here, accurately reproducing the plasticity of the face and the character of the lines, focusing all attention on the inner life of the image. In contrast to this is the self-portrait of Serhii Maliutin, located on the right side of the composition, also in profile, but facing the opposite direction. Maliutin's profile is softer, with a moustache and a small beard, medium-length hair, and a calm, attentive gaze that absorbs not only the outside world but also, it seems, the echoes of artistic experience. Y. Zaiats interprets this portrait with particular sensitivity; the lines here are softer than in the image of M. Saryan, yet at the same time expressive, conveying the integrity, independence, and calm dignity of an artist who sees beauty and harmony above all else in the world. Together, these two portraits, facing each other with their backs, create a complex composition in which the directions of their gazes are like vectors of opposite movements of time or ideas. One is directed into the depths of the past, the other into the future; one is a stern, meditative presence, the other a contemplative, almost lyrical mood. It is doubtful that such a composition could have been formed by accident: most likely, Yulian Zaiats, who was already a mature author at that time, used this opposition as a means of visual and sensual exploration of the theme of creative identity, the artist's inner position in history. Both drawings do not simply represent copied originals; they are part of Zaiats' deeper reflection on the phenomenon of the artist as a personality in the cultural space, which unfolds not only in one direction, but in a multiplicity of axes and constant movement between the poles of experience, tradition, and future ideas.

Inscriptions

In the centre, beneath the images: "From Korin"; "24/11 62"; Yulian Zaiats' signature; "From Maliutin"; "21/11 1962"; Yulian Zaiats' signature.

Portrayed person