Jakopič's drawings are usually unsigned, difficult to classify over time, and are rarely conceived as stand-alone drawings. The vast majority are study and preparatory. Studies, especially landscape studies, are carried out in later years with greater mental concentration, are topographically recognizable and complete in themselves. However, compositional designs prevail, which are usually only rough but normatively defined ideas and can be described as preparatory. It is most reliable to define them by motives. They are easy to connect with derived images. For executed figural paintings, there are usually several studies of details and / or the whole. Jakopič always looked at drawing in a distinctly painterly way and arranged the whole by arranging light and dark parts. The studies of the angel with the trumpet could be connected with Jakopič's order for the Kraków Chapel in 1897, which he did not carry out. In them he repeated a naked figure in perspective shortening. In any case, the motif is from Munich time, i.e. before 1900. On the other hand, it could be seen as an idea in the context of his symbolic quests, such as the drawing The Winged Genius with Charcoal - an image of an angel or rot holding the dying man in his arms in some designs. The motifs from this period also include drawings on the back, which refer to formatted compositions with articulated material - loneliness and funerary themes with figures in a row or circle and with a reaper, which appears not only in genre scenes, but can even face of death. However, the content of these studies cannot be more precisely defined. Their source is probably reflections at exhibitions in the Secession or even repetitions of ideas he may have found there. The drawing shows that Jakopič used different drawing methods at the same time, depending on the purpose. The drawing originates from Jakopič's legacy and is documented in the National Gallery among the drawings that the heirs kept when selling most of the painter's legacy in 2012 and 2013 (Dr. Andrej Smrekar).

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Pred 1990

Drawing

Graphite on paper

Figure, Allegory

Jakopič's drawings are usually unsigned, difficult to classify over time, and are rarely conceived as stand-alone drawings. The vast majority are study and preparatory. Studies, especially landscape studies, are carried out in later years with greater mental concentration, are topographically recognizable and complete in themselves. However, compositional designs prevail, which are usually only rough but normatively defined ideas and can be described as preparatory. It is most reliable to define them by motives. They are easy to connect with derived images. For executed figural paintings, there are usually several studies of details and / or the whole. Jakopič always looked at drawing in a distinctly painterly way and arranged the whole by arranging light and dark parts. The studies of the angel with the trumpet could be connected with Jakopič's order for the Kraków Chapel in 1897, which he did not carry out. In them he repeated a naked figure in perspective shortening. In any case, the motif is from Munich time, i.e. before 1900. On the other hand, it could be seen as an idea in the context of his symbolic quests, such as the drawing The Winged Genius with Charcoal - an image of an angel or rot holding the dying man in his arms in some designs. The motifs from this period also include drawings on the back, which refer to formatted compositions with articulated material - loneliness and funerary themes with figures in a row or circle and with a reaper, which appears not only in genre scenes, but can even face of death. However, the content of these studies cannot be more precisely defined. Their source is probably reflections at exhibitions in the Secession or even repetitions of ideas he may have found there. The drawing shows that Jakopič used different drawing methods at the same time, depending on the purpose. The drawing originates from Jakopič's legacy and is documented in the National Gallery among the drawings that the heirs kept when selling most of the painter's legacy in 2012 and 2013 (Dr. Andrej Smrekar).

Unsigned.