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« 2026. # 1 (187)

The Ethnology Notebooks. 2026. № 1 (187), 48—58

UDK 75.041.5.021.32(=162.1):929-056.87(477.83/.86)”17/18″(091)

DOI https://doi.org/10.15407/

The date the article was first submitted to the publication 5.01.2026

The date the article was accepted for publication after review 16.01.2026

The date of publication (publication)

PORTRAIT OF MYKOLA VASYL POTOTSKYI IN THE WORKS OF YURIY GLOGOVSKYI. ON THE 100TH NNIVERSARY OF THE BIRTH OF BORYS VOZNYTSKYI

KUPCHYNSKA Larysa

  • ORCID ID: https://orcid.org/0000-0001-6461-4819
  • Candidate of Art History, Associate Professor,
  • Director, Research Institute for Art Library Resources;
  • Vasyl Stefanyk National Scientific Library of Ukraine in Lviv,
  • 2, Stefanyka Str., 79000, Lviv, Ukraine,
  • Contacts: e-mail: oklarysa@gmail.com

Abstract. Mykola Vasyl Pototskyi was a prominent figure of the 18th century. He invested heavily in the construction of churches, monasteries, and public buildings. Many of them have survived to this day and adorn the cities and towns of Ukraine: Horodenka, Buchach, Lviv, Pidkamin, Tysmenytsia, Zolotyi Potik, Zolochiv, Hrushiv, Pochaiv, and others. For many years, he collaborated with renowned architects, sculptors, and painters of the time. In 2005, Borys Voznytskyi’s book «Mykola Pototskyi, starost of Kaniv, and his artists: architect Bernard Meretyn and woodcarver Ioann Georgii Pinzel» was published in Lviv, which revitalised interest in studying the place and role of M.V. Pototskyi in cultural history. The book pays special attention to portraits of historical figures, including a little-known watercolour from 1834 by Yurii Glogovskyi, reproduced for the first time, which demonstrates the relevance of the chosen topic. The purpose of this publication is to reveal the research on the portrait of M.V. Potockyi from the Corpus Christi Church of the Dominican Fathers in Lviv, carried out by Yu. Glogovskyi aimed to recreate the ancient clothing of the nobility, and the emergence of watercolour, which is an important document in the study of the monument. The research conducted indicates that the artist was well acquainted with many other portrait images of M.V. Pototskyi. Of all those known to him, he chose full-length portraits located in Buchach, Zolochiv, Lviv, and Pochaiv, which differed in details and indicated a common source. While studying the works, the artist paid great attention to the history of their appearance. Working through the literature and referring to various types of monuments, he singled out those that were painted on the occasion of the coronation of the images of the Holy Mother of God in Lviv (1751) and Pochaiv (1773). The age of the portrait, which appeared in Lviv, its execution from life, and the participation of the sitter in its creation were decisive factors in Yu. Gіogovskyi’s choice of subject matter. Subsequently, the work from the Lviv temple was published in lithography and woodcut in periodicals of the 19th century. Yu. Gіogovskyi’s watercolour is an example of painstaking work in the field of studying and popularising the painting, and also encourages a rethinking of the information currently available about it.

Keywords: Mykola Vasyl Pototskyi, Yurii Glogovskyi, portrait painting, watercolour, study, popularisation.

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