Abstract
The article is devoted to the analysis of the creative work of the Podolsk artist Jan Grejm (1860–1886), whose short life and activity practically remained out of attention of researchers and scientists. Information on the history of the Grejm family, conditions of formation and development of his creative talent, the influence of the spiritual atmosphere of the environment on the formation of professional qualities of the artist are considered. Emphasis is put on the work of Jan’s father, Mykhailo Grejm (1828–1911), a famous photographer, restorer and numismatist, who created an atmosphere of creativity, conditions for constant intellectual and creative development for his son. It was stated that Jan Grejm, with the support of the best representatives of the Polish intelligentsia of Podillya, through his father’s international relations, received the highest quality art education at that time, studying in art institutions of Europe: Warsaw, St. Petersburg, Munich. The article highlights the results of the authors’ searches for information about the artist in the archives of Poland and Ukraine, which made it possible to clarify the presence or absence of Jan Grejm’s creative works, to correct the mistakes of previous researchers. New information about the young artist’s awards for participation in art competitions has been introduced. The article proves that the few architectural compositions of J. Grejm, which record the lost objects of Podolsk architecture, together with much more common photo compositions of his father M. Grejm represent a unique, and sometimes the only fixation of destroyed monuments, extremely important for restoration work, able to significantly replenish the historical and architectural science and ensure the creation of quality graphic reconstructions; they contain information about the style and typology of the depicted objects of antiquity in a specific period of time (second half of the 19th century).
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