Not so long ago, just twelve years ago, any striving for iconic beauty was considered almost a curiosity. It was called an archaic fad. For those who did not know the icons, it even served as a sign of imperfect taste.
I vividly remember the verdict that everyone close to ancient icons had to listen to, defending their confidence that icons and religious mural painting, great in their sacred mystical meaning, will also say a great word in the future of our art.
With the stupidity of barbarians, the most numerous passed by beautiful images. Sacred faces were closed to them. The sparkling colors were black for them. The wonderful sophistication of creativity was inaccessible to him ... If some neglected the national treasure of art, then others with rough hands snatched out of it the parts they did not understand and tried to explain them and even correct them. True, these unsolicited corrections and interpretations were often worse than neglect.
They tried to explain the mountainous realm of art by the letter of dead science. Cold knowledge killed for many years what our heart could live on. The eye turned away from art hidden by inappropriate words.
Listening to a dead speech about beautiful picturesque images, one often thought whether it would be better for these creations to perish than to provoke judgments so far from creativity, from beauty! Rough hands rushed to the icons. And the monuments perished irrevocably. It was not closed, but the high creativity of our primitives was corrected and renewed by craftsmanship.
We reproach less dark people who simply hid creations they did not understand, rather than arrogant correctors who destroyed magnificent monuments.
Driving through Rus', one had to personally recognize the indescribable mockery of sacred images. With a feeling of relief, one had to hear about icons that were simply taken out to the pantry, and to see frescoes that were not dangerously smeared ... However, no matter how imperfect the culture of the country, no matter how poor the knowledge of clergy and rulers in the world, among people devoted to icons, there lived a firm conviction that in the very near future we would nevertheless know high value iconic monuments. Young people will understand that the true, bold art of ancient artists can no longer lie hidden in dark corners.
Of course, social movements are always indomitable. From offensive ignorance, we will quickly jump even into snobbery. Along with the former, already rare, denials, one can hear a new-found, funny enthusiasm ...
But it is better to let the passion, let the blinding light than darkness. Snobs who came to look at the icon will pass. Their infatuation did not last long. They, the boring ones, will get bored with everything, but someone will come out of their ranks and be deeply imbued with the beauty of the old work and find out what broad, brilliant paths of the future the Russian icon gives.
The last years have been especially dangerous for our sacred images. Too much has become distorted. As if the vandals were in a hurry in their vile business. What they had spoiled began to crumble. A lot of it turned out to be pre-washed and knocked down.
A terrible thought came to mind. Will future generations really have to study antiquity by means of false and crude renovations? What, then, could be imprinted in obscure minds, if even true beauty was not recognized by them?
Artels devoid of taste and understanding appeared. The firm tradition of the Mstyora and Kholuy masters began to be distorted. In addition, under the guise of "improving the case," they began to be taught to draw ancient gypsum and thereby tear them away from their primordial solid knowledge. The few voices of those who understood sounded lonely, and the beautiful icon collections did not change anything.
Foreigners helped us here too. Row best artists West began to strongly point to our forgotten treasure. In the West, there was a buzz about icons. Began to envy.
Let the icons be placed in the most prominent places. Let them hoist them at crossroads, in squares, let them shine for everyone, but let them remember that it is not appropriate to wear icons along all streets. The right measure will establish on our stone of art and the right edge.
We will remember this. Let's forget about the old reproaches forever.
Let's learn to look with a kind eye. Let us remember that what we need is not dispute, but construction.
In the understanding of icons for last days there were true assessments. Finally realized that it's not easy dark forces they created icons, and artists, true artists of their time!
Let us recall the ecstasy of writing an icon:
... “they gave him holy water and holy relics, so that, mixing holy water and holy relics with paints, he would paint a holy and consecrated icon. And he painted this holy icon, and only on Saturdays and Sundays did he partake of food, and with great zeal and vigilance in great silence did it "...
Let us recall once again how jealous of the icon Stoglav and the Cathedral of Tsar Alexei Mikhailovich:
... “with great care to paint the image of Our Lord Jesus Christ and His Most Pure Mother of God and the Holy Prophets ... in the image and likeness and in essence, looking at the image of the ancient icon painters. And celebrate with good examples.
The Cathedral of Tsar Alexei Mikhailovich explains:
... "Yes, the icons are lepo, honestly, with worthy decoration, with an artificial examination of art, they will be written, in a hedgehog of any age, reverent eyes on thee, leading to contrition of the heart for the love of God and His Saints, imitation of their life pleasingly excited and coming to them in heaven would stand before the faces of the most primitive. .
We will not be too lazy to recall once again with what word of the District Diploma the Quietest king of icons and icon painters granted:
... “and as if under the most pious and equal-to-the-apostles Tsar Constantine and after him the former kings of the faithful clergymen ... with great honor we honor byakha, with the king’s ciglit and other nobles, equality of veneration is everywhere accepted, so in our tsar’s Orthodox power of icons of saints, writers of chastity and honesty , like the true church magnificence of the artist, let them be honored, let everyone else accept the chairmanship of the artist, and the brush is used in different colors by a cane or pen by the writer, and preevere; it is worthy of being from all revered cunning by an artist revered to be.
The deed of creation is revered by God himself, when in the Old Testament he led the angelic faces in the temple and imagine over the icon case of the covenant. Honor is also received in the new Grace from Christ the Lord Samago, when I deigned my face on the obrus to Abgar the king without writing the outline. Honor from the saints the Apostle, for the holy Evangelist Luke wrote the holy icons. Honor from the entire Orthodox Catholic Church, when at the Seventh Ecumenical Council the worship of the icons of the saints was properly established. Revered also from the Angel of the Saints, for many times the holy icons of God themselves were written by command, as if in the great holy Lavra of the Kiev-Pechersk, instead of the icon painter Alympius the saint and sometimes many.
This Orthodox handicraft is irresistible and neglected, and from those who rule in the world in all the foregoing centuries, it was more: not only noble children, chasing idleness and idleness, multi-balled kindly laboring with a brush, but the golden scepter itself was a fair holder of joy, a brush and balls of various colors of art cunning eat Imitate God and nature. Who's in ancient rome glorious from Paul Emilius, with his praises all the history books were filled: this is the demand in Athens of Mitrodorus, an icon painter, and also a philosopher, in order to teach the young ones the most beautiful and glorious victories of their inscription. If the glorious family of Favius of Rome: this forefather Favius won no less praise with an icon brush, like others with a sword and a sharp spear. And the Greek wisdom of the legislator only honestly judges this to be art, as if you make a covenant to them, but no one from the slave and captive of icon writing will be given to study, but only noble children and adviser sons will get used to art. So much so from God, from the church and from all the ranks and ages of the world of the venerable artist, let the deeds be revered in reverence ... With this, we invariably legitimize those who want to be in our Orthodox kingdom and command imitating the legitimization of the blessed Sovereign Tsar and Grand Duke John Vasilyevich, Autocrat of all Russia, remembered in Stoglav in chapter 43, but about honest and holy icons and icon painters, all the above in this charter of our kings is impregnably preserved and dishes will be taken out "...
Attuning and touching is the word of the Quietest Tsar. It is appropriate for us to recall these speeches. Note that it is not some seedy, insignificant craftsmen granted by the royal word. It is valuable for us to realize that both the Councils and the tsars favored precisely those artists whom we rightly admire. By fiery cleansing from under the old drying oil, igniting the original colors, we see all the boldness of a truly picturesque boldness. We see creativity folded with a deep mystical meaning. And the great deepening created a delight common to many centuries and peoples.
You can temporarily, as happened with us, move away from these beauties. Through negligence and unreason, one can forget about them, but the world protects its treasures, and they come out of the darkness in time to shine on new paths.
IN church building new tones are already sounding. We remembered that wall painting should be beautiful in colors. They remembered the harsh and bottomless significance of the old compositions. We remembered the combinations of colors, bold and enviable in their unexpectedness. We remembered that we know too little about icons.
Icons in museums on best places. The sovereign, with a heartfelt word and example, showed the rulers everything deep meaning our sacred images. The best hierarchs saw the light of our true treasures, which many of them had formerly expelled out of ignorance. The youth understood the beauty of the icon. Illuminated from the icon bright way future achievements of art.
"Russian Icon" wants to strengthen in Russian society artistic value icons. I send greetings to a good undertaking, and I bow to the icon.
Russian icon. 1914. No. 1. S. 14 - 19.
"Literary Russia". - 05/19/1978. - No. 20 (800).
The famous Soviet science fiction writer Ivan Efremov entered his page in the artistic annals dedicated to the Altai Mountains. Peru author of many science fiction works belongs to the story "Lake of Mountain Spirits", the plot of which was inspired by the writer's meeting with the Altai artist Grigory Ivanovich Gurkin (1870 - 1937), acquaintance with his wonderful pictures, in particular with amazing execution technique painting canvas"Lake of Mountain Spirits". I. Shishkin, who was Gurkin's teacher, M. Gorky, A. Lunacharsky spoke highly of the talent of the Altai nugget. The latter wrote that the landscapes of Choros-Gurkin, an Oirot artist from Altai, were remarkable in their subtlety of painting, downright precious in their colors.
In 1969, the Gorno-Altai book publishing house published an album of drawings and engravings by the young Altai artist Ignat Ortonulov "Panorama of the Mountains", which also interested I. Efremov, who sent the following letter to the talented graphic artist on July 26, 1970:
“Dear Ignat Ivanovich! Many thanks for your wonderful gift. I was not mistaken when I felt (according to the advertisement in the newspaper "Book Review") that I would find in your works those features of the true Altai that I fell in love with in the work of G.I. Gurkin.
The first impression of your drawings and engravings is very good. Linocuts for the epic are good, despite the poor reproduction technique, they are powerful and wide. Of the others, I especially like: "Road of the Ancestors", "Morning", "Dyangar", "Horse", "Singer", "Mountain Lake", "Altai Girls", "Arkanschiki", "Katun", "Explorer", - as you can see, I liked a lot. Good health to you and further success! Thanks again. With sincere regards and regards. I. Efremov.
A few years ago, the artist I. Ortonulov released his new album « Mountain Altai”, where in many of his drawings and engravings we again see “features of the true Altai”, features that were especially dear to the writer Ivan Antonovich Efremov.
ALEXEY ZAMSKY, screenwriter of the Igor Grom series of the Bubble publishing house, told a Geekster correspondent Maxim Obolonsky about the launch of a comic book, favorite writers, the place of a screenwriter in creating a work and how to write about St. Petersburg while living in Minsk. The interview is published with cuts and changes.
I'm curious to know what you thought when you first saw the result of your work?
Of course, there is a magical moment - when I first saw the first pages. When Natalya [Zaidova] sent a black and white line art to the first issue, for the first time in my life I saw that some stupid words that I left on the page ... And the script is always, unlike prose, stupid words, they they don’t look like the “final product” looks like, you don’t really imagine how it will all work. Then you see everything in the picture and do not believe that you did it ...
Like someone else did it?
I mean this feeling of Pinocchio that now he real boy; what you wrote in your head, someone actually drew, and someone will actually read it. I still do not believe in the reality of people who open and read my comics, and I am not even completely sure that the comic exists and is actually coming out, because all this must be my hallucination. This feeling - I say at the risk of seeming pathetic - "quantum immortality." I may not be there, tomorrow a brick will fall on my head, but the magazine will remain. In this magazine there is something that I dreamed up in detail. No, of course, this is primarily the ability of Natalia and Maria (if we talk about the first numbers) to turn boring words into a real nightmare that other people read and get scared or not scared to the best of my talent. I still can't believe that someone trusted me to compose something and it ended up on paper, and people are reading it. It's an amazing feeling!
About the experience and the importance of the script
Did you have screenwriting experience before the series “Igor Grom”?
Before Igor Grom, I was twice hired as a screenwriter for commercial projects. In both cases, for one reason or another, they did not go out, or when they do, they will not have my name on them. A commercial project should look the way the customer wants, and if you don’t have mutual understanding somewhere with the customer, other people come and rewrite for you. This is normal practice. I haven't had much success with independent comics. Some things I'm still trying to fit in and find crazy artist who would agree to draw it were written and offered before Thunder was written and released.
Agree. It's hard for an aspiring comic book writer to find an artist who would be willing to work with you on an independent project.
To be honest, I still don't understand why comics need writers. Any artist is, by definition, a screenwriter, right? We are all capable of putting a few words into sentences, we know how real people talk, because we see real people and we ourselves are them. Any artist, even one who is just starting out, is able to build a competent comic book page. Of course, I am exaggerating somewhat, which is still not clear to me why there are separate writers in comics. But any artist who decides to take up comics in the post-Soviet space takes and deals with them himself. I may, of course, have different feelings about the quality of the story and how it turns out. At the time when I took the liberty of writing critiques about comics, I was pretty harsh on the subject. Ultimately, to make comics, you need to be able to draw, and someone who can't draw (like me) goes around everywhere, pokes his manuscript and persuades someone to draw pictures.
But what about the fact that this is a separate screenwriting that is taught in universities?
This is true, but many of the disciplines that are taught at universities, we are able to master on our own. We have the Internet, we have workshops, and any artist can learn how to be a screenwriter for much more a short time than it will take me to learn how to draw at least “not very disgusting”, as our Chief Editor. It is clear that I exaggerate when I say that screenwriters are not needed: if I sincerely believed that screenwriters were not needed, I would not be doing this.
Of course, it would be nice to have people who took the time to learn the laws of story construction while you took the time to set up the hand like an artist. But because any artist can be a screenwriter, but not any screenwriter can be an artist, the need for individual writers in comics is much lower.
Any artist who wants to have a story written for him will instantly find in in social networks or there are dozens of people on imageboards who will be ready to write a script for him, and a scriptwriter who cannot draw will be looking for an artist for a pretty long time. As far as I understand, most non-commercial scriptwriter/artist pairs in domestic comics are first of all friends who are interested in working together, and only then professionals of different profiles.
In my opinion, the role of the script in any creative project one of the most important, because I can’t remember a single Russian comic that would hook me with its story, although I like what the Bubble publishing house does in recent years three.
Have you, for example, read "Shuv" by Olga Lavrentieva? Somehow it happened in Lately that this is my standard example of a Russian comic that is worth reading for the sake of the script. The drawing is there ... you can’t say that it is primitive, it is “traditional” for a European or Canadian author's comic, but for people who read “Bubble” or “big two” comics, it can out of habit seem primitive. But, above all, this is an author's comic that needs to be read because of the story.
In a sense, we are still growing as an industry. Not even as an industry, but as an area of art. As far as I can imagine the Russian comics scene, which I technically removed from, it has grown from authors who were primarily artists, and we have formed a primacy artistic expression over the narrative. This is completely normal. Many comic book traditions have gone through the same process. It seems to me that we already have authors who can captivate the plot. Gradually, a higher demand will form for them, then these people will be intensively published and read much more than now.
There are a huge number of great "webcomic" authors that we pay less attention to, because there is a certain stigma for this format in our area. We still prefer to buy " paper book and read it just like a book.
There are people who undeservedly get by with attention, including critical attention.
For example, the series “Borovitsky. House with dragons. Its author - screenwriter and artist - Ivan Yeshukov. I don't know if it exists as a book, but it definitely came out as singles. At least once all our comic sites wrote about her, but they wrote less than she deserves. This is another example of a comic where great attention stories.
As far as "entertainment" comics for a general audience... You know, there's also the effect that most of us's introduction to comics began with the titans of the "British Invasion". If you take an adult comic book reader from us who started relatively recently, and let's say he has read three comics, you "shake" him, and it turns out that he has read "Sandman", "Watchmen" and "V for Vendetta". This sets such a bar for the plot in the comics, the relationship to the narrative and the script, which is very difficult to break!
With the Sandman narrative, 90% of Spider-Man comics cannot play on the same field, because it is an entertaining comic aimed at a wide audience, and The Sandman creates the feeling of a “serious book” that will take you through your entire life. life. After that, you can’t open Major Grom or Besoboy and expect that he will make the same impression on you. This is comics for different people about different things.
If Alex Hatchettthe current screenwriter of "Besoboy" - approx. ed. ) will set out to talk about even more complex things and difficult language like Gaiman does in the later Sandman, he'll just get a large audience of people who say it's incomprehensible and uninteresting. And these people will be absolutely right, because they came for the comic book about "Demonboy".
It seems to me that over time everything will form with us in the same way as graphic novels grew out of comics about Superman, Batman " Sandman and Transmetropolitan. We will have a separate demand for narratively complex and still mainstream comics.
We have serious "art-house" comics, even more of an "author's" kind, which are published by Boomkniga, but there will be a demand for other authors as well.
As a result, it turns out that the typical reader compares everything Russian with the already formed West.
Yes, moreover, he compares ordinary representatives of Russian comics with the best representatives West. I have nothing to say, I'm not worth one Alan Moore's little finger. Every day I bang my head against the surrounding flat surfaces in order to learn how to write the way he wrote junk 6-page stories in almanacs about " star Wars”, even before he became a famous American screenwriter. I hope that this will come to me from beating and other exercises, but, of course, I cannot condemn a person who, choosing what to read from what is available in Russian, chooses not me, but the already announced Transmetropolitan.
About Literature
You graduated in Russian Literature in Philology, so my next question is: the writer who impressed you the most?
In general, I am an impressionable person, and I find it difficult to name one person.. You know, here's to me in my youth great impression produced by Gustav Meyrink, especially in the small form, as a master of short stories, and not as a novelist. This is a literary impression that I still carry with me, despite the fact that I do not know German and read it in translation.
What does he write about? This is the first time I hear about this author.
Meyrink is, so to speak, a "classical" German mystic, expressionist of the late 19th century - early 20th. Meyrink is a mystical writer, not in the sense that he performed some kind of magical transformation with the help of his literature, but in the sense that alchemy, Kabbalah, European hermetic magic were a source for him artistic images, and a source ... I would not say inspiration, but rather literary analysis. He seems to inherit not literary, but magical traditions in the text, and in my youth this fascinated me, first of all, thematically, but he writes about mystics that never existed, except in his literature. He writes, among other things, under the influence of the passion of Europeans for Indian mystics and yoga, only in a different form than we know it now.
Of all the contemporary authors, he is most similar to Kafka, but where Kafka saw the absurdity of reality, Meyrink discovers a very complex and difficult to comprehend for a person "mechanism" of reality, a magical substrate on which we exist. This is a combination of esotericism and expressionism ...
Gustav Meyrink
Well, expressionism in literature is such a very limited and mostly German thing, but it's the combination that has impressed me the most so far. Of course, from the point of view of the thematic content, Meyrink surprised me in different ways at different moments of my life, and still surprises me with some things.
That's noticeable! A lot of mysticism has been happening in Igor Grom lately.
I can't say that when I started doing my first scripts, I traced such an influence directly, although it may be there. In Grom I write about things that fascinate me, and Meyrink writes about things that fascinate me. Of course, "Igor Grom" is mystical comics, if not literally, not about magic and sorcerers, but these are comics about the wrong side of reality.
Pretty tough.
Well, it seems no more harsh than the Russian crime series, with which I am always compared.
If you name more authors, then... You know, it is very difficult to separate the first youthful impressions from the more mature ones and somehow substantiate them. My desire to write literature was greatly influenced when I was 13 or 14 by Henry Lyon Oldie. This is the pseudonym of two Ukrainian science fiction writers, Gromov and Ladyzhensky. Where most of the Russian science fiction books that I read at that time had a text consisting of a plot and work with character images, Oldie leading role played the poetry of the text, its structure - and jewelry work, the conscious "decorative" work on prose. It was so different from any Conan and Lukyanenko!
Duo Oldie
I can't say that I "discovered" that science fiction can be serious literature, I knew that before. I have found that fiction can be about something completely different and told through different means. There were epigraphs from books that I had heard about for the first time, discussions on topics that I had not yet thought about at that time. The magic of reading opened up to me for the second time. Do you know how it happens?
It was like that with Harry Potter: when I touched this series, I started looking for something similar.
It seems to me that everyone has a book that, already at a pre-child age, explains to you anew why we read books. This was that case.
I can probably list endless people who made a big impression on me, but let's say one more thing, from super-bright impressions, about Suzanne Clark.
This is a British fantasy writer with exactly one big book up to this day. She has published one novel and one collection of short stories. A novel even by the British, it was "Jonathan Strange and Mr. Norrell". Susannah Clark is a student of Neil Gaiman who could very well be his teacher. This is all the best you know about Neil Gaiman and Terry Pratchett, except for the humor. A very British magical fantasy built on an endless fascination with literary fairy tale. Very stylized, very artsy.
Jonathan Strange and Mr Norrell. Susanna Clark
Which writer do you think is the most overrated? When reading which you thought “God, what am I reading?”
Here Neil Gaiman impresses me all my life with what depths readers discover for themselves in him and how much later this is not supported by the text. How simple and superficial his paintings are in American Gods! To what extent is he large form does nothing more than necessary. He also has brilliant stories.
ok i didn't read it last novel about northern mythology, but how much he does not make extra efforts for the sake of the reader! He does only what is necessary to make his metaphor work, and leaves the text immediately afterwards.
But he has a lot of work with mythology.
I would not say that he works very deeply with mythology. Anyone from our corner of the land can once again check how much and what Gaiman says about Slavic mythology which looks very exotic for American Reader, but doesn't "work" for us at all.
In fact, it works on the same level with other mythologies.
By virtue of his area of interest, he knows better northern Europe, and therefore, when he writes about the Celts-Scandinavians, he gets more lively and interesting. As soon as he touches on topics that he mastered either specifically for the book, or they are not very interesting to him in principle, he does not go beyond the most simple and superficial assumptions. Dawn of the morning, Dawn of the evening, wonderful. One exists during the day, one at night. Finished, closed.
Cover of the novel “American Gods”
At American Indians, you think, it turns out there is no religion at all! Because, Gaiman tells us, it doesn't sound like a Christian, Abrahamic reading of northern European tradition. And if it doesn't look like it, it doesn't count. What about mythologies well developed and well represented in the US that Gaiman is not interested in writing about? Well, he forgets about them too. The result is a huge representation of Scandinavians in the US, but zero representation of Indians, and close to zero representation of East Asians: China and Japan.
His choice of mythology is completely unrelated (although he claims so in the book) to the history of the United States and how some people exported their gods from abroad. This choice is connected with his personal interests in world mythology or literally with what he read. The same thing happens with the "new gods" which are essentially ultra-close-up fiction.
I do not mean to say that it is necessary for a science fiction writer to be able to predict the emergence of the Internet 50 years in advance, although there are such examples, but how little Gaiman says about new gods and a new period in the history of mankind! The book is good, but they see a lot of deep immersion in mythology and religion in it, and I haven’t seen it before, and I still don’t see it.
About "Igor Grom"
Why did you need new image Main character? Whose idea was it?
ILLUSTRATIONS
STUDY WORKS
I. DRAWINGS FROM LIFE
Geometric bodies
Geometric bodies
Ball in a bowl
Still life from household items
Still life of household items with a stuffed bird
Sketches of individual objects: a barrel, a stool and a chair
Sketches of individual items: a basket and a cup, shoes
Drapery on a chair
Still life with drapery
male head
female head
Male head in four turns
Woman's head in the track corners
hand sketches
Male figure in three turns
II. SKETCHES
standing boy. sketch
Children on a walk. Composite cast
Sitting boy. sketch
At the table. composition sketch
Polar bear sketch
Outline cat
Outline lions
Outline cubs
Pine branches (watercolor)
Grasshopper (watercolor)
Forest landscape drawing
III. COMPOSITION
Sketch of the composition "In the container" (oil)
Horse in the field (watercolor). Preparatory study
Horse with foal (watercolor). Preparatory study
Sketch composition "In the stable"
Stable. Preparatory sketch
WORKS OF THE MASTERS
A. L y s e n k o. Sitter's drawing
A. And in a n about in. Model drawing
A. And in a n about in. naked boy
F. B p y n and. Drawing of naturalists
P. H and c t I to o in. Sitter's drawing
B. C e p o in. Started drawing from life
V. S e r o v. II finished drawing from life
A. And in a n o in. girl head
A. And in a n about in. Levushka's head
D. K a p d o in c to i y. head of an old man
H. K and with and t to and n. boy head
G. V e r e y s k i y. Portrait of Ershov
I. P e p and n. Portrait of Batasheva
B. C e p o c. Album sheet
B. C e p o c. Owl outline
B. B a t a g i n. Ostrich sketch
V. B a t a g and n. hare outline
B. Serov. Oak
D. K a r d o v s k i y. Sketches of pines
B. C e p o c. landscape sketches
B. C e p o c. Trishkin caftan. Sketch for the composition
B. C e p o c. Trishkin cafta
B. I to o in l e in. Still life
I. H r u c k i y. Still life
Sh a p d e n. Still life
Sh a p d e n. Still life
B. C y p and to o in. Boyar Morozova. Composition sketch
B. S u r i k o v. Boyar Morozova.
V. S u r i k o v. Boyarynya Morozova Composition sketches
B. S u r i k o v. Boyarynya Lorozova_ Composition sketches
B. S u r i k o v. Boyarynya Morozova. Fragment of the composition
V. S u r i k o v. Female figure with crossed arms. Sketch for the painting "Boyar Morozova"
V. S u r i k o v. Female figure with crossed arms. Study for the painting "Boyar Morozova"
B. S u r i k o v. Wanderer. Study for the painting "Boyarynya Morozova"
R aphael M o rgen. Engraving from the fresco by Leonardo da Vinci "The Last Supper"
The book contains academic work students of the Moscow secondary art school at Art Institute them. V_ I. Syrikov Academy of Arts of the USSR
