Artistic Forms of Shaping Ukrainian National Identity by Leon Getz

Abstract

Abstract The article deals with the phenomenon of shaping Ukrainian national identity in artistic works of autobiographical nature, created at the time of life crisis and oppressive sociopolitical situation, using Leon Getz as an example. Getz (1896–1971) was a painter who was raised in a Polish-Ukrainian family in Lviv but made a decision to identify nationally with the Ukrainian minority, oppressed both in pre- and postwar Poland. After WWII, he was subjected to surveillance by the Polish Security Office because of his Ukrainian identification. That led him and his wife (also a Ukrainian) to attempt suicide—unsuccessful in the case of the artist, fatal in the case of his wife. Getz wrote down his memoirs twice: the first time in the 1930s, the second time after his wife’s death in the 1950s. The first memoirs expressed his loneliness in an environment dominated by Poles, and they were drawn up openly, though for the author’s needs only. The second memoirs presented his personal tragedy and were kept in secret because the Security Office sought to intercept Getz’s notes as documents incriminating the officers. However, the author hoped to make the text public in the future. The subject of the analysis is constituted by memoirs read in the context of the artist’s other personal documents and works. They present the formation of his Ukrainian national identity as the chosen one and at the same time as the one that, in his opinion, was related to his and his wife’s tragedy. I interpret these memoirs in two different but complimentary ways: first, as life writing at the time of a man’s personal life crisis and, second, as life writing in a situation of oppression by the authoritarian and after WWII totalitarian state, under surveillance by the Security Office, whose moves put the very subjectivity of an individual in crisis. Both interpretations highlight the process of building Getz’s self-identification not as a discovered preexisting nationality, but as a deliberate—and nonobvious—choice of national path. The article is based on Getz’s unpublished memoirs and works, which are held in archives in Cracow (Poland) and Rome (Italy).