In Moscow, Mukhina completed a 2-month nursing course and worked in a hospital. She worked for free, 12 full-time nurses and she was 13th: she went to work for the sake of an idea and did not want to take money. In parallel, she worked on sculpture. In 1915, she began to make "Pieta", inspired by military events. The theme is the cry of the Mother of God over the body of Christ. The Mother of God is depicted in the scarf of a sister of mercy. In this work, one can feel the influence of the cubists, the desire to work in the spirit of the times. The work has not been saved.
Since 1916, the theatrical period of Mukhina's activity begins. She works as an assistant to production designer Alexandra Exter at the Chamber Theatre. Designs scenery, costumes for performances. These are "Rose and Cross" by A. Blok, "Dinner of Jokes" by Benelli, "Electra" by Sophocles. Sketches of her theatrical costumes are presented in the showcase. In them, she did not follow the usual stylization path, but conveyed precisely the style of the era, its generalized image.
Mukhina met the revolution in the hospital, and at first she did not realize her arrival. They did not leave the hospital for a week, they were filled up with the wounded. Nearby was the Alexander Junker School, and the Junkers, and the Bolsheviks, and anarchists were carried. Mukhina received the wounded, they had to sort it out, otherwise it would be a fight.
In parallel with the change of power, changes are taking place in the personal life of the sculptor. In the hospital, she met the doctor Alexei Zamkov, in 1918 they got married. Mukhina never regretted her choice, devotedly loved Zamkov all her life. In 1918, she sculpts a portrait of her husband. "He was very handsome. Internal monumentality. At the same time, he has a lot of the peasant. External rudeness with great spiritual subtlety."
In 1920, a son, Vsevolod, was born. But after 4 years, another test befell the family. The boy fell from the railway embankment, the injury caused bone tuberculosis. The doctors pronounced the verdict: hopeless. Zamkov decided on the most difficult operation. Operated at home, on the dining table. Mukhina assisted. The son was saved. But for a year and a half - gypsum, for another three - crutches. All this time, Vera Ignatievna did not stop working.
In 1920, together with theater decorator Alexandra Exter and fashion designer N.P. Lamanova, she created a collection of elegant clothes from soldier's cloth and canvas. Hats and belts were made of matting, dyed and trimmed with peas. The collection was based on the traditional cut of Russian and Ukrainian folk costumes. For her, Mukhina and Lomanova received the first Grand Prix in Paris.
In 1925, Mukhina carved a 2-meter sculpture "Julia" from the trunk of a linden tree, in which she emphasized the helical movement. The motive of movement, resistance runs through all the work of the sculptor. An example of this is "Women's Torso" (1927), "Wind" (1926) - figures trying to resist a powerful gust of wind.
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Opposite to the above - the sculpture "Peasant Woman" (1927). Here the movement, the readiness for action, the sculptor leads inside, combining with external calmness. At the vernissage of the anniversary exhibition-competition "10 years of October" this work immediately attracted attention. "Peasant Woman" was Mukhina's first undoubted success. The sculpture was taken to the Tretyakov Gallery. True, this success did not bring a lot of money: the statue was bought for 1000 rubles, and its molding and casting from bronze cost the author more. But along with the award, Mukhina received a business trip abroad.
The story of "Peasant Woman" did not end there. The further fate of this work no longer depended on its creator. It was exhibited at the 19th international exhibition in Venice, where it became the "nail" of the Soviet pavilion, as they wrote in the press. The owner of a private museum in the city of Trieste was eager to purchase the statue. The question arose: for how much? She was insured with 1,000 rubles in gold, and they sold her for this money. In 1946 "Peasant Woman" entered the Vatican Museum in Rome - one of the richest collections of art masterpieces. And instead of the sold statue, they made a second bronze casting and installed it in the Tretyakov Gallery ..
Vera Ignatievna Mukhina (1889-1953) was born in Riga. Her artistic abilities were discovered early, but she began to work systematically only in Moscow, where she arrived in 1910. She studies at the private school of K.F. Yuon. She made her first attempt at sculpture in the private workshop of Sinitsyna, where novice sculptors worked without a teacher. However, such work does not satisfy Mukhin.
At the end of 1912, Mukhina moved to Paris and entered one of the private academies where Bourdelle taught. Communication with Bourdelle, a living example of his art, his subtle artistic intuition, his criticism develop in her a sense of plastic form, but, perhaps, Mukhina studies even more in museums.
Mukhina stayed in Paris for two years. Then a trip to Italy. The titanic creativity of Michelangelo shakes her.
The monumentalism of Mukhina is a natural expression of the main properties of her talent. This becomes especially clear when the victorious revolution of 1917 puts before sculpture new tasks of monumental propaganda. Mukhina successfully participates in a number of competitions. In 1925-1927, she exhibited a number of works that attracted the attention of the artistic community: "Julia", "Wind", "Female Torso". Especially great success is her "Peasant Woman". A number of portraits created at that time - Professor Kotlyarovsky, Professor Koltsov, Dr. A.A. Zamkov, the bust of the Collective Farm Girl testify to the great portrait talent of Mukhina.
The best work of the 30s was the Soviet pavilion at the World Exhibition in Paris, crowned with a sculpture by Vera Ignatievna Mukhina. The group "Worker and Collective Farm Woman" was perfectly linked with the architecture of the pavilion.
When in Paris in the thirty-seventh year at the World Exhibition Mukhin's sculptural group "Worker and Collective Farm Girl" was mounted, the curious asked who performed this group, who was its creator. And one of our workers, who understood the question asked in a foreign language, answered like this: “Who? Yes, we are the Soviet Union!”
Feat, creativity, joy, love of life - everything is here, in this great creation of Mukhina. As if the era itself, the country itself molded this titanic symbol - the steel giants who raised the hammer and sickle up, and gave this symbol to the sculptor for execution.
When you see this pathos of flying steel, the forms are beautiful and powerful, when you are imbued with the sublime spirit of this creation, your thought is about your country. About your superiority in the present world. About the high superiority, measured by all the difficulties, all the victories that were in the way of our people. This work has become truly epic, popular, has become one of those values that elevate the soul of the people. The thought of the artist seems to have absorbed the thought of millions of people, has become the focus of people's thoughts about themselves, about their time.
Mukhina completed the project of a monument to Gorky in his hometown.
In the first years of the war, the sculptor created wonderful portraits of B.A. Yusupova, I.L. Khizhnyak. In one of the halls of the Tretyakov Gallery, the bronze colonel Khizhnyak and the bronze colonel Yusupov stand side by side. They were twinned by the art of Mukhina. The great Soviet artist Vera Mukhina sculpted these heroic portraits.
The most important thing in Mukhina's work was that she was able to notice in the character of her contemporaries all the best and new, born of Soviet reality, to find a wonderful ideal in life and, embodying it, call to the future. Mukhina achieves great power of typification in her work The Partisan.
Monumental art cannot be prosaic, ordinary, it is the art of great, lofty, heroic feelings and a great image. The ideal is always beautiful. Idealization never contradicts reality, since it is the quintessence of everything beautiful that exists in life and what a person strives for.
Therapist Krasnodar for a fee to find out the prices for an appointment with a therapist Clinician.
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She modeled feminine dresses and sculpted brutal sculptures, worked as a nurse and conquered Paris, was inspired by her husband's "short fat muscles" and received Stalin Prizes for their bronze incarnations..
Vera Mukhina at work. Photo: liveinternet.ru
Vera Mukhina. Photo: vokrugsveta.ru
Vera Mukhina at work. Photo: russkije.lv
1. Dress-bud and a coat of soldier's cloth. For some time, Vera Mukhina was a fashion designer. She created the first sketches of theatrical costumes in 1915–1916. Seven years later, for the first Soviet fashion magazine Atelier, she drew a model of an elegant and airy dress with a bud-shaped skirt. But Soviet realities made their own changes to fashion: soon fashion designers Nadezhda Lamanova and Vera Mukhina released the album Art in Everyday Life. It contained patterns of simple and practical clothes - a universal dress, which "with a slight movement of the hand" turned into an evening dress; caftan "from two Vladimir towels"; soldier's coat. In 1925, at the World Exhibition in Paris, Nadezhda Lamanova presented a collection in the a la russe style, sketches for which were also created by Vera Mukhina.
Vera Mukhina. Damayanti. Costume design for the unrealized production of the ballet Nal and Damayanti at the Moscow Chamber Theatre. 1915–1916 Photo: artinvestment.ru
Kaftan from two Vladimir towels. Drawing by Vera Mukhina based on models by Nadezhda Lamanova. Photo: livejournal.com
Vera Mukhina. Dress model with a bud-shaped skirt. Photo: liveinternet.ru
2. Nurse. During the First World War, Vera Mukhina graduated from nursing courses and worked in a hospital, where she met her future husband Alexei Zamkov. When her son Vsevolod was four years old, he fell unsuccessfully, after which he fell ill with bone tuberculosis. The doctors refused to operate on the boy. And then the operation was done by the parents - at home, on the dining table. Vera Mukhina assisted her husband. Vsevolod recovered for a long time, but recovered.
3. Favorite model of Vera Mukhina. Alexei Zamkov constantly posed for his wife. In 1918, she created a sculptural portrait of him. Later, from him, she sculpted Brutus, who kills Caesar. The sculpture was supposed to decorate the Red Stadium, which was planned to be built on the Lenin Hills (the project was not implemented). Even the hands of the "Peasant Woman" were the hands of Alexei Zamkov with "short thick muscles", as Mukhina said. She wrote about her husband: “He was very handsome. Internal monumentality. However, it has a lot of the man. Outward rudeness with great spiritual subtlety.
4. "Baba" in the Vatican Museum. Vera Mukhina cast a bronze figure of a peasant woman for the 1927 art exhibition dedicated to the tenth anniversary of October. At the exhibition, the sculpture won first place, and then went to the exposition of the Tretyakov Gallery. Vera Mukhina said: “My “Baba” stands firmly on the ground, unshakable, as if hammered into it.” In 1934, The Peasant Woman was exhibited at the XIX International Exhibition in Venice, after which it was transferred to the Vatican Museum.
Sketches of the sculpture by Vera Mukhina "Peasant Woman" (low tide, bronze, 1927). Photo: futureruss.ru
Vera Mukhina at work on The Peasant Woman. Photo: vokrugsveta.ru
Sculpture "Peasant Woman" by Vera Mukhina (low tide, bronze, 1927). Photo: futureruss.ru
5. Relative of the Russian Orpheus. Vera Mukhina was a distant relative of the opera singer Leonid Sobinov. After the success of The Peasant Woman, he wrote her a playful quatrain as a gift:
At the exhibition with male art is weak.
Where to run from female dominance?
Mukhinskaya woman conquered everyone
Power alone and without effort.Leonid Sobinov
After the death of Leonid Sobinov, Vera Mukhina sculpted a tombstone - a dying swan, which was installed on the grave of the singer. The tenor performed the aria "Farewell to the Swan" in the opera "Lohengrin".
6. 28 wagons of "Worker and Collective Farm Woman". Vera Mukhina created her legendary sculpture for the 1937 World Exhibition. "The ideal and symbol of the Soviet era" was sent to Paris in parts - fragments of the statue occupied 28 wagons. The monument was called a model of sculpture of the twentieth century, in France they released a series of souvenirs with the image of "Worker and Collective Farm Girl". Vera Mukhina later recalled: "The impression made by this work in Paris gave me everything an artist could wish for." In 1947, the sculpture became the emblem of Mosfilm.
"Worker and Collective Farm Woman" at the World Exhibition in Paris, 1937. Photo: liveinternet
"Worker and Collective Farm Woman". Photo: liveinternet.ru
Museum and Exhibition Center "Worker and Kolkhoz Woman"
7. "Hands itching to write it". When the artist Mikhail Nesterov met Vera Mukhina, he immediately decided to paint her portrait: “She is interesting, smart. Outwardly, it has “its own face”, completely finished, Russian ... Hands itch to paint it ... ”The sculptor posed for him more than 30 times. Nesterov could work enthusiastically for four or five hours, and during breaks Vera Mukhina treated him to coffee. The artist painted it while working on the statue of Boreas, the northern god of the wind: “So he attacks the clay: he hits there, pinches here, beats here. The face is on fire - do not fall under the arm, it will hurt. That's the kind of you I need!" The portrait of Vera Mukhina is kept in the Tretyakov Gallery.
8. Faceted glass and beer mug. The sculptor is credited with the invention of faceted glass, but this is not entirely true. She only improved his form. The first batch of glasses according to her drawings was released in 1943. Glass vessels became more durable and ideally suited for the Soviet dishwasher, invented not long before. But Vera Mukhina really came up with the shape of the Soviet beer mug herself.
Sculptor Vera Ignatievna Mukhina was born in 1889 in the city of Riga. Her family came from a very wealthy merchant family that settled in Latvia after the Patriotic War of 1812. In 1937, the then already well-known master opened an inheritance, which amounted to about 4 million lats.
In 1892, the father of little Vera transports her to Feodosia, since after the death of his wife from tuberculosis, he is already worried about the health of his daughter. Here the family stayed until 1904. It was in this city that Vera Ignatievna graduated from high school and received her first skills in drawing and painting.
In the period from 1912 to 1914, Mukhina was in Paris. She entered the Academy of Grande Chaumière on a course with the famous muralist Émile Bourdelle. Further, the path lay in Italy, where Vera Ignatievna studied the creations of the Renaissance period - sculpture and painting.
In 1918, Vera Mukhina got married. Her chosen one was a talented doctor Alexei Andreevich Zamkov.
In 1923, the novice sculptor designed a pavilion for the Izvestia newspaper at the First All-Russian Agricultural and Handicraft and Industrial Exhibition. Alexander Exter became the co-author of the project.
Sculptor Vera Mukhina entered the galaxy of outstanding masters of the 20th century after the World Exhibition in Paris. It was there, in the Soviet pavilion, that her most significant work was presented - the monument "Worker and Collective Farm Girl", which today is located near one of the entrances to the All-Russian Exhibition Center-VDNKh.
Vera Ignatievna passed away in October 1953 and was interred at the Novodevichy cemetery in the capital.
Monuments and sculptures by Vera Mukhina still adorn the streets of Moscow and are its sights.
Photo 1. Monument to Pyotr Ilyich Tchaikovsky at the Conservatory
July 1 marks the 128th anniversary of the birth of Vera Mukhina, the author of The Worker and the Kolkhoz Woman, the stone orator of the Stalin era, as her contemporaries called her.
Workshop of Vera Mukhina in Prechistensky Lane
Vera Mukhina was born in Riga in 1889 into a wealthy merchant family. She lost her mother early, who died of tuberculosis. The father, fearing for the health of his daughter, moved her to a favorable climate in Feodosia. There, Vera graduated from high school, and later moved to Moscow, where she studied in the studios of famous landscape painters. Konstantin Yuon and Ilya Mashkov.
Mukhina's decision to become a sculptor, among other things, was influenced by a tragic incident: while riding a sleigh, the girl received a serious facial injury. Plastic surgeons literally had to "sew" 22-year-old Vera's nose. This incident became symbolic, opening Mukhina the exact application of her artistic talent.
At one time, Vera Ignatievna lived in Paris and Italy, studying the art of the Renaissance period. In the USSR, Mukhina became one of the most prominent architects. General fame came to her after her monument "Worker and Collective Farm Girl" was exhibited at the World Exhibition in Paris in 1937.
It was with the sculpture "Worker and Collective Farm Woman", which became a symbol Mosfilm, as well as with a simple, at first glance, invention - a faceted glass - the name of Vera Mukhina is associated in the minds of the majority.
But Moscow is also decorated with other sculptures by the famous master, many of which were installed after her death.
Monument to Tchaikovsky
Bolshaya Nikitskaya 13/6
In the mid-50s on Bolshaya Nikitskaya, in front of the building Moscow State Conservatory erected a monument Pyotr Tchaikovsky, on which the sculptor worked for 25 years. In 1929, at the request of Nikolai Zhegin, director of the Tchaikovsky house-museum in Klin, a bust of the composer was made by Mukhina. After 16 years, she received a personal order to create a monument to Tchaikovsky in Moscow.
The original version of the sculpture depicted the composer conducting while standing. But such a monument required a large space, and it was abandoned. The second sketch depicted Pyotr Ilyich sitting in an armchair in front of a music stand, on which lies an open music book. The composition was complemented by a figure of a shepherdess, which speaks of the composer's interest in folk art. Due to some ambiguity, the shepherd was replaced with the figure of a peasant, and then he was also removed.
The project of the monument was not approved for a long time, and the already seriously ill Mukhina wrote Vyacheslav Molotov: “Put my Tchaikovsky in Moscow. I guarantee you that this work of mine is worthy of Moscow…”. But the monument was erected after the death of Mukhina, in 1954.
Monument to Tchaikovsky in front of the Moscow Conservatory
Monument to Maxim Gorky
Muzeon Park (Krymsky Val, property 2)
The project of the monument was developed by the sculptor Ivan Shadr in 1939. Before his death, Shadr made a promise with Mukhina to complete his project. Vera Ignatievna fulfilled her promise, but during her lifetime the sculpture was never installed. Monument Gorky on the square Belorussky railway station appeared in 1951. In 2005, the monument was dismantled in order to clear a place for the construction of a transport interchange on the square of the Belorussky railway station. Then he was laid, in the truest sense of the word, in the park Museon where he remained in this position for two years. In 2007, Gorky was restored and put on his feet. Currently, the Moscow authorities promise to return the sculpture to its original place. The monument to Maxim Gorky by Mukhina can also be seen in the park near the building Institute of World Literature named after A.M. Gorky.
The city authorities promise to return the monument to Gorky to the Belorussky railway station
Sculpture "Bread"
"Park of Friendship" (Flotskaya st., 1A)
One of the famous works of Mukhina in the 30s was the sculpture "Bread", made for the exhibition "Food Industry" in 1939. Initially, at the request of the architect Alexey Shchusev, the sculptor was preparing four sketches of compositions for the Moskvoretsky Bridge, but the work was interrupted. The sculpture "Bread" was the only one, the sketches of which the author returned to and brought the idea to life. Mukhina depicted the figures of two girls passing a sheaf of wheat to each other. According to art historians, the music of labor “sounds” in the composition, but labor is free and harmonious.
Sculpture "Fertility" in the park "Friendship"
"Worker and Collective Farm Girl"
VDNKh (pr-t Mira, 123 B)
The most famous monument to Vera Mukhina was created for the Soviet pavilion at the World Exhibition in Paris in 1937. The ideological concept of the sculpture and the first layout belonged to the architect Boris Iofan, the author of the exhibition pavilion. A competition was announced for the creation of the sculpture, in which Mukhina's project was recognized as the best. Shortly before this, Vera's husband, a famous doctor Alexey Zamkov, thanks to the intercession of a high party official, returned from Voronezh exile. The family of Vera Mukhina was "on the note." And who knows, they would have been repressed by the side, if not for the victory in the competition and the triumph at the exhibition in Paris.
Work on the statue took two months, it was made at the pilot plant of the Institute of Mechanical Engineering. According to the author's idea, the worker and the collective farm woman were supposed to be naked, but the country's leadership rejected this option. Then Mukhina dressed the Soviet heroes in overalls and a sundress.
During the dismantling of the monument in Paris and its transportation to Moscow, the left hand of the collective farmer and the right hand of the worker were injured, and when assembling the composition in 1939, the damaged elements were replaced with a deviation from the original project.
After the Paris exhibition, the sculpture was transported back to Moscow and installed in front of the entrance to the Exhibition of Achievements of the National Economy. For many years, the sculpture stood on a low pedestal, which Mukhina bitterly called "stump". Only in 2009, after several years of restoration, the “Worker and Kolkhoz Woman” was set to a 33-meter height.
