Ivan Dmitrievich was born on January 30 (February 11), 1887 in the city of Shadrinsk (now the Kurgan region) in a large (14 children) family of a carpenter. In 1898, Vanya was taken to Yekaterinburg to the factory of the Panfilov merchants, where he was first an errand boy, then a watchman and a loader. In 1901, Ivan ran away from the factory. Without any preparation, he successfully passed the exam in drawing at the Yekaterinburg School of Industrial Art, where he studied until 1906 with T. E. Zalkaln.
In the summer of 1907, Ivan Shadr, together with fellow student Peter Drobyshev, set off to wander around Russia, to the places where Maxim Gorky had once visited. They visited the Kama, Volga, Don, traveled around the Caucasus, Ukraine, stopped in Moscow, Ivan walked to St. Petersburg. in the capital, after failed attempt to enter the Academy of Arts, Ivan worked part-time, in particular, by street singing. Once his voice was heard by the director of the Alexandria Theater M. E. Darsky, who took an active part in the fate of the young man. He helped Ivan to enter the Higher Drama Courses of the St. Petersburg Theater School, to study as a singer. At the school, I. Shadr continued to draw and sculpt. His drawings came to I. E. Repin, who gave them a high rating. At the request of the St. Petersburg connoisseurs of Ivan Dmitrievich's talent, the Shadrinsk city government awarded him a scholarship. In St. Petersburg, Shadrin also attended the drawing school of the Society for the Encouragement of the Arts of N. K. Roerich and the School of Music and Drama. Ivan lived in the capital until 1908, then served in the Russian army for a year.
In 1910 Ivan went abroad. First to Paris, where he was a student of higher municipal courses in sculpture and drawing at the Academie de La Grande Chaumiere under the guidance of F. O. Rodin and E. A. Bourdelle. Then, the Parisian teachers sent I. Shadr for an internship in Rome at the Institute of Fine Arts. In 1912 Ivan Dmitrievich returned to Russia. In Moscow, he studies at the Moscow Archaeological Institute). In 1918, Shadr left for Omsk to take his family to Moscow, but remained in this city until 1921. There he lectured on art. In 1921, as soon as the railway communication was restored, Shadr left for Moscow.
In 1926, I. Shadr became a member of the Society of Russian Sculptors, later the Union of Soviet Sculptors.
Creative activity
In his work, Ivan Shadr was looking for ways to create a monumental realistic sculpture. Numerous memorial structures, created by him in the 1910-1930s, were dedicated mainly to the victims of the First World War. They are associated with the traditions of modernity and national-romantic movements, they are distinguished by viscous, heavy rhythms, addiction to a metaphorical understanding of the motive. human body, hardening in dead matter of a stone or released from it, sometimes using elements of folk architecture. Among his early work the project "Monument to World Suffering" (1915) stands out. Later, this work was transformed into an even more grandiose project of the “Monument to Humanity”.
In 1919 the Siberian cadet corps for 18 thousand rubles ordered Ivan Shadr a monument to his pupil General Kornilov. In the same year, the sculptor is preparing a project for the coronation of Admiral Kolchak, as well as a project for a monument in honor of the liberation of Siberia. However, these projects remained unrealized, since in November 1919 the Omsk government fled from Omsk and the city was occupied by the Red Army.
In April 1920, I. Shadr undertakes to perpetuate the memory of the victims white terror buried in the city garden of Omsk. In May of the same year, he received an order from Sibrevkom for a monument to Karl Marx. In the summer, the statue was already ready and installed. In Omsk, Ivan Dmitrievich also worked on reliefs depicting Karl Marx, Karl and Wilhelm Liebknecht and Rosa Luxemburg.
I. Shadr is the author of sculptures of the so-called "money men" - figures of a worker, peasant, Red Army soldier and sower (gypsum, 1922, Russian Museum; bronze castings - in Tretyakov Gallery), created by order of Goznak for reproduction on banknotes. The first three sculptures became the basis for issuing the fourth definitive issue of postage stamps of the RSFSR (TsFA (ITC "Marka") #73-85), the first definitive issue of the USSR (TsFA (ITTs "Marka") #99-194) and partially for the next two (CFA (ITC "Marka") #281-287, 291-295). The first art stamped postcard and stamped envelope in the USSR came out with "Shadrov" stamps. Sculptures of Ivan Dmitrievich were also reproduced on the bonds of loans and government securities of the USSR. The sculptor found the prototypes of his heroes in the village of Prygovaya, Shadrinsk district.
In 1923, Shadr took part in the design of the All-Russian Agricultural and Handicraft-Industrial Exhibition in Moscow. His sculptures were also shown there, which were a legitimate success.
In 1924, Ivan Shadr created a natural sculpture "Lenin in a coffin", which made him the main master of the pre-war sculptural Leniniana. For 13 years, I. Shadr created 16 sculptural images of V. I. Lenin, including for Central Museum V. I. Lenin in 1934. One of his most significant works is a monument with an 11-meter bronze figure, installed in 1927 on the territory of the Zemo-Avchalskaya HPP named after V. I. Lenin (ZAGES) in Georgia. This is one of the first monuments to V.I. Lenin, it was dismantled in 1991.
Ivan Shadr created revolutionary-romantic, generalized-symbolic images, for example, the high relief "Struggle with the Earth" (1922), the sculpture "Cobblestone - the weapon of the proletariat" (1927). The latter, in addition to Moscow, was installed in Chelyabinsk, Lvov, Mongolia and Romania.
In 1934, Ivan Shadr began work on the sculpture "Girl with an oar" for the Gorky Central Park of Culture and Culture in Moscow. The main model of the sculptor was Vera Voloshina, a student at the Moscow Institute of Physical Education. The sculpture was installed in the center of the fountain on the main thoroughfare of Gorky Park in 1935. However, it was criticized and in the same year it was moved to the park of culture and recreation in Lugansk. Its reduced copy is kept in the Tretyakov Gallery. In the late 1950s, at the insistence of the sculptor's wife, the plaster work of I. Shadr was transferred to bronze.
By the summer of 1936, I. D. Shadr created a new enlarged eight-meter sculpture from tinted concrete. The model for her was the gymnast Zoya Bedrinskaya (Belorucheva). The new "Girl with an oar" was installed in the center of the fountain in its original place. The sculpture was destroyed in 1941 during the bombing.
It is erroneously believed that the sculptures of Ivan Shadr served as prototypes for the creation of cheap plaster copies, which were massively installed in parks almost throughout the USSR. In fact, they were based on the work of the sculptor R. R. Iodko with the same name, made by him for the park of the Dynamo water stadium in 1936.
In the late 1930s, Shadr worked on a project for a monument to A. S. Pushkin. In 1939 he created a sculpture of A. M. Gorky in the image of the Petrel (bronze, Tretyakov Gallery). In the same year he prepared more classic model monument to Gorky. However, this monument was erected at the Belorussky railway station in Moscow after the death of Ivan Dmitrievich by the sculptor V.I. Mukhina with the help of N.G. Zelenskaya and Z.G. Ivanova. For this monument, Ivan Dmitrievich was posthumously awarded Stalin Prize.
Most of the works of I. D. Shadr, in particular, "Storm of the Earth", "Cobblestone - the weapon of the proletariat" and others, are in the Museum modern history Russia in Moscow.
I. Shadr, the author of the tombstones of N. S. Alliluyeva (1933; architect - I. V. Zholtovsky) and E. N. Nemirovich-Danchenko (1939) on Novodevichy cemetery in Moscow. Both tombstones are made of marble and granite. The tombstone for Nadezhda Alliluyeva was made by a sculptor commissioned by the Central Committee of the All-Union Communist Party of Bolsheviks.
The pseudonym "Shadr" Ivan Dmitrievich began to use since 1908. Its basis was the name of the native city of Shadrinsk. Ivan Dmitrievich wrote:
“There are too many of us Ivanovs. You have to somehow distinguish yourself from other Ivanovs, so I took the pseudonym "Shadr" for myself - from the name of my native city, in order to glorify it. »
* In 1987 Sverdlovsk (now Yekaterinburg) art school received the name of I. D. Shadra. 
The many years of creative activity of Ivan Dmitrievich Shadr (Ivanov) put him among the most prominent Soviet sculptors. His works "Cobblestone - the weapon of the proletariat", "The Sower", monuments to V. I. Lenin and A. M. Gorky are examples of the realistic method in plastic, and the heroic pathos inherent in them reflects the best, main, features of their time. Shadr has been compared to Gorky more than once. Like Gorky, future artist came from a poor environment: his father was a carpenter, fourteen children grew up in the family. At the age of eleven, he was given "to the people" - to a factory in Yekaterinburg, and he knew all the hardships and hardships. Only an instinctive love for art, a vague feeling of another, beautiful world, helped him change the fate predetermined by external circumstances. In 1902, Shadr managed to enter the Yekaterinburg School of Industrial Art; here his teacher in sculpture turned out to be the famous artist T. E. Zalkaln - it was he who advised the novice sculptor to continue his studies at the St. Petersburg Academy of Arts.
Shadr's attempt to enter the Academy (and for this he came to St. Petersburg on foot) was not successful - and here his biography made another, quite fictional, turn. Left in the capital without means and livelihood, spending the night on a dilapidated barge, Shadr hired himself as an assistant to an organ grinder - to sing in the yards. In one of his speeches, his voice attracted the attention of the director of the imperial theaters M. E. Darsky. Darsky took part in the fate of a talented young man, identifying him without exams in theater school, in the class of artist V. N. Davydov. Before Shadr opened a career as a professional singer.
However, the skills in sculpture obtained at the Yekaterinburg school bore fruit - the fine arts attracted Shadr more than vocals, although here the debut was successful. In 1910, thanks to the financial assistance of I. E. Repin, V. N. Davydov and others (and many figures of Russian culture played a role in the formation of Shadr), he was able to go to Italy and Paris - for direct acquaintance with European art. The artist never received an academic education, and work in the Louvre and Vatican Museum, copying the frescoes of Raphael, essentially became his only school (except for the lessons of Zalkaln and Yekaterinburg). And in 1915, returning to Moscow, Shadr begins an independent professional activity.
One of his first works was the project "Monument to World Suffering" (1915), adopted by the Duma and earned Gorky's approval. The project arose from a competition task - to create a monument to those who died on the hospital ship Portugal sunk by the Germans, but Shadr went beyond the task. Subsequently, on the basis of this idea, the project of an even more grandiose "Monument to Humanity" was born. These early and unrealized works already give an idea of the sculptor's creative face - of his penchant for literary symbolism and allegorism (the images and plastic groups of the "Monument to World Suffering" have meaningful names - "Gate of Eternity", "Lake of Tears", "Man in the Face of eternal mystery"), about the scale and temperamental scope of ideas, about the attraction to the monumental and romantically sublime.
But the final creative individuality of the artist took shape after the revolution. Lenin's plan for monumental propaganda opened before Russian sculptors an extensive prospect of activity, the application of creative forces. In the Urals, Shadr created a monument to Karl Marx, reliefs depicting Marx, Karl Liebknecht and Rosa Luxemburg, and upon his return to Moscow (1921) he executed a large order for a series of round sculptures for Goznak - "Worker", "Red Army", "Sower", with they were supposed to be depicted on banknotes, stamps, bonds, etc. The realistic authenticity and generalized poster expressiveness of these figures corresponded to the emerging principles of the new Soviet aesthetics.
This is followed by a long period of work on the Leninist theme. The first touch to it was the sculpture "Lenin in the coffin" (1924): for 46 hours in the Hall of Columns, while the farewell ceremony was going on, Shadr sculpted from nature. From this modest, only for the memorial value of the work calculated - the way to generalized solutions to the image in numerous monuments to Lenin - at the ZAGES (1925 - 1926), in Dnepropetrovsk (1930-1931, he remained in the projects), at the Izhora plant (1932), in Gorki (1934). The most significant is "Lenin at ZAGES". The successful combination of a sculptural figure with a landscape became a model for Soviet sculptors for more than a decade.
1930s - the heyday of Shadr's creativity. He works in various genres: he performs psychologically sharp portraits ("Portrait of the Artist N. A. Kasatkin", 1930), tries his hand at memorial sculpture (tombstones of E. N. Nemirovich Danchenko, 1939; V. L. Durova, 1940), in the creation of landscape gardening ("Girl with an oar", 1936) and urban sculptures (projects of monuments to A. S. Pushkin and A. M. Gorky). His best works of the turn of the 1920-1930s are "Cobblestone - the weapon of the proletariat" (1927). "Seasonal Worker" (1929), an expressive sketch of the "Worker and Collective Farm Girl" group (as you know, the project of V. I. Mukhina won the competition and her sculpture was erected over the Soviet pavilion at the Paris Exhibition of 1937) - give an idea not only about individual manner artist, but also clearly represent the characteristic tendencies of the plastics of these years. They show, by virtue of what features of talent Shadr could become one of prominent sculptors of his time.
The artist's desire for the typical and generalized was in tune with the aspirations of the era. Shadr's temperament, the romantic elation characteristic of his images, and the truly monumental scope corresponded to the time, which requires, first of all, scale and generalized heroics. However, Shadr is also paradoxically characterized by some plastic narrative: the detail of modeling, the uniformity of textures.
There is a taste of artistic ambiguity in his plasticity. But the breadth of breath inherent in him (perhaps, constituting the essence of individuality) saved the sculptor from being ordinary, and his works from losing the specifics of plastic representation.
Creativity Shadr not only belongs to its time - like any major phenomenon, it simultaneously expresses and defines this time.
G. Elshevskaya
One hundred anniversaries. Art calendar for 1987. Moscow: Soviet artist, 1986.
A characteristic feature of the work of Ivan Dmitrievich Shadr (1887-1941) was the desire for great themes, pathetic ideas. The country of his childhood is the small Ural town of Shadrinsk. And the real name of the sculptor is Ivan Ivanov, but he is better known under the pseudonym "Shadr", chosen by him in honor of his native city. The Ivanov family are hereditary carpenters. This profession has been passed down from generation to generation. Ivanov's grandfathers and great-grandfathers were carpenters. Every summer his father went to work in the surrounding villages - to cut down houses, small wooden churches, fire towers.
The family was having a hard time. The boy had to start working life from the age of seven. He helped his grandfather cut the corners of the new log cabins. And at the age of 11, as soon as he graduated from the parish school, he was sent "to the people" to the cotton-wool factory of the Panfilov merchants in Yekaterinburg. The boy was prepared to be a clerk. But he never learned to trade, and for some offense he was mercilessly thrown out into the street.
And only a happy accident, and even the everlasting ardent dream of becoming an artist, save Ivan. He passed the exam for the only vacant place in the Yekaterinburg School of Industrial Art.
Ivanov's "other life" was not too easy either. It was filled to the brim with successes and failures, travels and adventures, meetings with wonderful, bright people. First, years of enthusiastic studies at school under the guidance of teachers M.F. Kamensky and T.E. Zalkalna. Then "on foot for fame" in St. Petersburg - to take exams at the Academy of Arts. He went through the Volga region, the Caucasus, Ukraine, Moscow. But Petersburg met the young man unfriendly. He did not get into the Academy of Arts.
The days of hunger and vagrancy began. In order to somehow feed himself, he walked with the old organ grinder through the streets of St. Petersburg and sang to the rattling hurdy-gurdy. And again happiness smiles at him, or rather, his richly gifted artistic nature again rescues him - the director heard his voice Alexandrinsky Theater Mikhail Egorovich Darsky and brought the young man straight from the street to the exam at the theater school. The exam passed brilliantly. Ivanov can become an actor. He sings beautifully, recites well, plays expressively. But, despite all the successes in the theater, he continues to dream of fine arts.
Of all the arts, this multi-talented man chooses sculpture. Forever this time. He wants to be the one who brings stones to life, who creates bronze legends. The great Repin himself, having seen the drawings of Shadr, blessed him on this path. In 1908, the Shadrinsk city government received many positive feedback and recommendations from artists and artists - Ivanov's friends. Friends ask to support the young sculptor's talent, not to let it die out, as "many folk talents are dying." The poor town finally agrees to give him money for a trip to Paris, the capital of the arts.
Paris, then Rome. Frescoes by Raphael. Sculpture by Michelangelo. Lessons from the famous masters of sculpture Rodin and Bourdelle.
The sculptor returns to Russia full of bold ideas. Returns under the name Shadr. He wants to glorify hometown. He is interested in people and their work. He strives to embody his ideas in large monumental sculptures. But it's blazing World War. More and more widows and orphans, more and more wounded and killed. And Shadr conceives the "Monument to World Suffering". But he failed to carry out this project.
Revolution of 1917. Shadr is a cultural worker at the units of the Red Army. He created portraits of Karl Marx, Karl Liebknecht, Rosa Luxemburg.
The passionate purposefulness of the proletariat in its just struggle is vividly expressed by him in the composition “Cobblestone is the weapon of the proletariat”. The concreteness of the image in this composition is combined with the symbolism of the content that reveals crucial moment in the fate of the whole class.
It was 1922. young Soviet republic tormented civil war and foreign military intervention, proceeded to restore National economy. There is an exchange of money. On banknotes, bonds and stamps there should be images of a worker, a peasant and a Red Army soldier.
The young, then still little-known sculptor Shadr was taken on to fulfill this responsible order of Goznak. He proposes to create a series of circular sculptures that can be photographed from all sides in different lighting conditions. The most successful turn will serve as a model for graphic artists who will reproduce the sculpture on money.
Shadr goes to the Urals, to the country of his childhood, to sculpt "money men". Weeks and months of hard work followed. The sculptor visits factories, travels to military units. Looks closely, makes preliminary sketches.
This path was difficult and long. The railroads were still being restored. Endless transfers. Weeks of waiting at stations. Crowded wagons. So, where by train, and where by cart, Shadr gets to the Ural village of Prygovaya.
It would seem easy to find a sitter. But the men do not succumb to any persuasion. They are afraid of "sin". They refuse to pose for anything. Finally, Kiprian Avdeev agreed to pose. He agreed with the condition that no one spit on money with his image.
were hot summer days, and had to work right under the scorching sun. The sculptor sculpted quickly and confidently. Clay under his fingers as if alive. He peers attentively into the lean, energetic face of Cyprian. Notes to himself his high and convex forehead, open look wide-set eyes, prominent cheekbones, naughty thick hair, a large, firmly defined mouth. All this must be accurately transferred to the future sculpture. On the money should appear new emblem- the image of the "Sower", energetic, strong-willed person, confident in tomorrow, the owner of his land and his life, who finds joy and happiness in work.
The sculptor is also eyeing the movements of Cyprian. It is important to embody in the sculpture his measured, calm step, the palpable heaviness of the basket with seeds. Confident, clear modeling conveys an energetic turn of the head, a beautiful, proud posture, a wide wave of the hand scattering seeds. We feel the powerful muscles of the Sower bulge and roll under the skin.
Cyprian, who was sweating like a hail, had to either stand still, holding his hand out of the way, or move along the fence, scattering sand, specially poured into a basket. And then there are fellow villagers with their ridicule and advice. But Cyprian was steadfast and in the depths of his soul was proud that his portrait would appear on the new money.
The work dragged on until late autumn. It was also necessary to sculpt the figure of the "Peasant". After much persuasion, Porfiry Petrovich Kalganov posed for him. He sat solemnly, not moving, diligently following all the instructions of the sculptor. This sculpture bribes with its strength, elemental power and simplicity of design: the peasant spread his mighty shoulders wide and, for a moment, looking up from his work, thought deeply about something. But behind the seeming simplicity is a huge work of the master. The sculptor thought long and carefully about the turn of the head, the movement of the shoulders, the position of the torso. Lepya Kalganova Shadr more than once turned his thoughts to his father, whom he passionately loved. A carpenter and wood carver, a master of his craft, a dreamer and dreamer, his father was the first to instill in the boy a love for beauty, for native Russian nature, for everything beautiful on earth. For Shadr, his father embodied all the best that the Russian people are endowed with - diligence and honesty, courage and a bright attitude to life.
And one more work that complements this series of sculptures is a portrait of the mother. Shadr embellishes nothing in this portrait. A handkerchief wrapped tightly around his gray head. Wrinkles cut deep into the neck and cheeks, furrowed the forehead. The stern, piercing gaze of faded eyes. Tired and courageous face. The face of a peasant woman who lived a long working life, full of adversity and deprivation, who managed to raise 12 children in difficult years. The face of a woman on whom the house was supported by one and who nevertheless found the strength in herself in the evenings to teach children to read and write and arithmetic, patiently whitewashing the stove every morning, which served as a blackboard in the evening.
Nervous, impulsive modeling creates a play of light and shadow on the mother's face, sharpening and revealing his features. The portrait is imbued with a feeling of ardent love and respect, a feeling of admiration for the courage and dedication of this inconspicuous worker, who, with her energy and authority, is able to unite a large working family into a single whole.
The sculptures were transported to Moscow, to the Goznak factory. Engravers A.P. Troitsky and P.S. Xidias cut engravings for banknotes. The first banknotes depicting "Red Army" and "Peasant", "Sower" and "Worker" appeared in 1923-1924. They are printed on bonds of peasant grain loans, on stamps that have sold all over the world, on posters, covers of books and textbooks, on cigarette boxes; they are known everywhere, the whole country knows, and those who cannot read know Shadrovsky's "The Sower".
Years have passed. These sculptures took their place in the Tretyakov Gallery. And now it is not so important how, on what roads, with what difficulties, Shadr traveled on a cart loaded with clay and plaster, in search of his heroes. And perhaps the names of those who served the sculptor in kind for his Goznak busts will be erased in the memory of people. But the “Worker”, “Peasant”, “Red Army Man” and “Sower” created by him will forever remain, which have become a symbol of the people who made the revolution and took power into their own hands.
The desire for a broad generalization, romantic elation of the image leads Shadr to monumental sculpture, to the use of synthetic means of expression.
In the project of the monument to Gorky for Moscow, Shadr, while maintaining the romantic elation of the image, sets himself other tasks: he achieves the expression of the versatility of feelings in a calm, restrained movement, in energetic, but at the same time smooth modeling. Great spirituality permeated the image of A.S. Pushkin in the project of a monument to the poet for St. Petersburg.
All of Shadr's work is marked by features of a romantic upsurge, elation. His method has nothing to do with soulless copying of reality. Shadr is a master of a bright, holistic image based on generalization.
Crimson flames, impenetrable darkness underworld, fantastic figures of ugly devils - all
Despite the presence of a signature, it remains unclear who was the author of the Hermitage banner. There were several
This intimate household plot, not claiming any philosophical or psychological significance,
His mighty realism, alien here to external effects, captures us with a penetrating
Young, beardless Sebastian, with thick curly hair, naked, covered only by the loins, tied
The ebullient temperament of the great Flemish master forced him to be very free
The real fame of "Venus with a Mirror" began with an exhibition of Spanish painting, hosted by the Royal Academy
The variety of forms and colors, lively rhythm, a special major tone and bright decorativeness are inherent in each of these paintings,
In 2012 celebrate 125th anniversary of the sculptor's birth.
Childhood of the future Soviet sculptor took place in the village of Taktashinskoye, Shadrinsk district, Perm province. The son of a hereditary carpenter, he went to work from childhood - the family was large, and his father, although he had golden hands, could not give his son an education. For five years, from eleven to sixteen, Ivan passed his "universities" at the factory of the Panfilov merchants. He stoked stoves, ran for goods, traveled with carts, guarded, received kicks, beaters, cracks ... The gifted boy was fond of reading and drawing. But only occasionally did he manage to draw, only in fits and starts to take up a book. And yet, studying at night, he managed to prepare and enter the Yekaterinburg Industrial and Art School (class of T.E. Zalkaln and M.F. Kamensky).
When Shadr was 19 years old, he ended up in St. Petersburg. He was not admitted to the Academy of Arts. “I had to starve, get cold and sleep on the streets. Spending the night on the banks of the Neva, under an old barge, surrounded by homeless vagrants, wrote Shadr, I met an organ grinder. Half-starving, with a monkey on our shoulders, half-dead from exhaustion, the carrier of someone else's happiness in a cage, we walked along the roads of the capital, and I sang to the Golden Mountains. However, in 1907 - 1908 Shadr was still studying in St. Petersburg at the Drawing School of the Society for the Encouragement of Arts. Once, at performances, Shadr was met by the artist M. E. Darsky, who helped him enter the Higher Theater Courses. Shadr successfully completed them and was even accepted by K.S. Stanislavsky to the troupe Art Theater. Isn't it from here that the sculptor has such knowledge of the plasticity and anatomy of the human body? But most of all, Shadr was attracted by sculpture. He studied sculpture for several years in Moscow. And with the help of the artists Repin and Roerich, he was able to go abroad to continue studying the art of sculpture, where he studied in Paris with O. Rodin and E. A. Bourdelle (1910), in Rome and at the English Academy.
People and their life, their work - that's what interested Shadr. He dreamed of creating monumental images, of significant art, of art that would serve the cause of progress. The sculptor was not interested in art detached from the people, but in art associated with modern life reflecting, as Shadr wrote, contemporary social complexity. A member of the combat squad during the revolution of 1905, an artist who appeared with sharp political cartoons in the satirical magazine Gnome published in 1906-1907 and closed by the government, Shadr puts his art at the service October revolution. “Understand how much beauty,” he said, “when people throw off their shackles, when dungeons open and the gates of the fortress fall down” ...
The cutter of Ivan Dmitrievich Shadr owns the bas-reliefs of Karl Marx, Karl Liebknecht, Rosa Luxemburg, he creates a number of monument projects Soviet Russia, the Paris Commune, the October Revolution. He takes on the embodiment of realistic and at the same time symbolically generalized images of people of a new era in such sculptures as "Worker", "Peasant", "Red Army Man", "Sower". He was especially successful "Sower". A free peasant on free land, slightly turning his shoulders, leaning back a little, goes, throwing seeds into the plowed land, as if sowing the seeds of a new life. These sculptures of Shadr were reproduced on money, postage stamps, bonds. The sculptor created a number of monuments to V. I. Lenin in the cities of the country, of which he is best known at the ZAGES in Georgia.
The most notable work Shadra - "Cobblestone is the weapon of the proletariat", created in 1925 - 1927, completed for the All-Russian exhibition dedicated to the tenth anniversary of the October Revolution. This is one of the best Soviet sculptural works devoted to the historical and revolutionary theme. The statue of Shadr should be regarded as a continuation of the traditions of plot, characteristic of Russian sculpture of the late 1111-19th centuries (for example, the work of Kozlovsky and Martos). Creating this work, Shadr, of course, also repelled from the traditions of C. Meunier - outstanding master Western European sculpture of the new time, which showed in his works the image of the proletarian, the greatness and beauty of his character. First of all, Shadr saw a rebel proletarian, a revolutionary proletarian who, in his struggle for liberation, for the elimination of all oppression and exploitation, went through two revolutions.
From here deep national character the image of a worker created by Shadr, and hence the natural, organic connection of this image with the image of a working man in the art of Russian artists - realists of the 19th century. This was done because the master refused to create an abstract figure personifying the working class. He portrayed, as it were, a real-life personality, carrying everything typical features characteristic of Russian workers during the years of the rise revolutionary movement. Such a solution to the artistic problem provided creative success Shadra. The half-bent figure of a worker, breaking a cobblestone out of the pavement, is ready to quickly straighten up and turn around, like a tightly compressed spring. The tense knotted muscles of his arms, the tense play of the muscles of the torso create a full of anxiety and sharp contrasts, a struggle of highlights of light and shadow, which is distinguished by tremendous dynamics and emotional expressiveness.
The very characteristic of the proportions of the human body is devoid of any ideal abstraction. The face of the worker is striking, where from under the matted hair, hanging in disorder over a frowning, wrinkled forehead, from under the shifted eyebrows, deep-seated and widely spaced eyes full of concentrated hatred look. The individual, almost portrait expression of the worker's face is combined with a sharp social characteristic his. Magnificent mastery of the silhouette gives even greater vitality and monumentality to the image. The figure is expressive from any point of view, so the viewer, bypassing the statue, connecting individual points of view with each other, gets the opportunity to see all the richness of the life of the image.
Many representatives of the older generation of Russian realist artists highly appreciated the work of Shadr. The attitude of the remarkable Russian artist M. V. Nesterov towards this work is extremely characteristic. In a letter to Shadr, Nesterov wrote: “Recently I was in the Tretyakov Gallery, I saw F.I. Chaliapin, a sculpture I had never seen before. A worker, a young worker, in a fit of struggle that has seized him for a cause dear to him, the cause of the revolution, picks up stones from the pavement with which to break the skull of a hated enemy. In this magnificent sculpture, the talent of the master so closely connects the beauty of the spirit with the eternal beauty of the form - everything that the great masters lived, breathed by Michelangelo, Donatello, and we have “old people”. I stand enchanted, go around - great! I ask: whose? They say - Ivan Mitrich ... ".
I.D. The tombstones of N.S. Alliluyeva in 1933, E.N. Nemirovich-Danchenko in 1939, V.L. Durov in 1940. In 1952 he became a laureate state prize, posthumously. Yekaterinburg Art College, since 1987, bears the name of I. D. Shadr. The works of Ivan Dmitrievich are in the Tretyakov Gallery and other museums in Russia.
Material taken from books:
1. "Ural historical encyclopedia”, Ur. Dep. Institute of History and Archeology, Yekaterinburg Publishing House, Yekaterinburg, 1998
2.B. Brodsky, A. Warsaw "Centuries. Sculptures. Monuments. ”, Moscow, Publishing House “Soviet Artist”, 1962.
3. "From bronze and marble", Leningrad, Publishing House "Artist of the RSFSR", 1965.
Illustration:
"Sower",
"The cobblestone is the weapon of the proletariat."
Russian Soviet artist, monumental sculptor
Ivan Dmitrievich was born on January 30, 1887, graduated from a parish school, and was good at drawing. At the age of 11, he was sent to work at the Yekaterinburg factory Panfilov and Sons. In 1904 he studied at the industrial school in Yekaterinburg under Teodor Eduardovich Zalkaln (a student of Rodin), then at the drawing school of the Society for the Encouragement of Arts in St. Petersburg, later in Paris (Academy of Arts) and Rome (Institute of Fine Arts).
Already famous sculptor I. D. Shadr came to native home from Moscow. In 1918 he delivered the first public lecture on art in Shadrinsk. In this house, he created a portrait of Maria Yegorovna's mother from nature. In 1922, in the village of Prygovaya (Kalganova) in the Shadrinsk region, he worked on famous series sculptures: "Worker", "Peasant", "Red Army", "Sower" to reproduce them on the first Soviet money and stamps. Ivan Dmitrievich works as the chief artist of the 2nd State Sign Factory under the People's Commissariat of Finance and is responsible for the design of all monetary products.
Ivan Dmitrievich lived in the era of revolutionary upheavals, so his work is closely connected with these events. After the death of the leader of the proletariat, the Leninist theme became central to creative biography many Soviet artists. Commission for perpetuating the memory of V.I. Lenin invited painters and sculptors to Hall of Columns Houses of the Unions, which were painted and sculpted by V.I. Lenin from nature. Back in Gorki on January 22, 1924, the sculptor S.D. Merkurov removed his mask. IN mourning days farewell to the leader in the Hall of Columns, 25 craftsmen worked visual arts, among them N.P. Ulyanov, S.D. Merkurov, D.S. Moore, K.S. Petrov-Vodkin, I.D. Shadr and others. On mourning January days in the Hall of Columns I.D. Shadr worked continuously for 46 hours. The sculptor first sculpted V.I. Lenin. He was crushed by immeasurable grief, but he was supported by a sense of great responsibility to the people for his work. In those hours when Shadr was at the tomb of Lenin, he gave his word to create a monument that would immortalize Ilyich in all the greatness of his genius. “Standing in the distance, I was numb,” the artist later wrote, “I was attacked in the first minute panic fear. I vaguely remember that they carried my clay past me, a bucket of water, a modeling machine, and placed it next to the coffin. Sculpt at a time when the preservation of the body was not yet known. Sculpting before history, when my work appears, may be the only document for studying the portrait of Lenin. To sculpt surrounded by millions of critical eyes, inquisitively and jealously comparing my cast with the original ... I started working, sculpted in full size. Clay, caressed by hands, easily and obediently obeyed my will. Shadr's work was a document of great historical and artistic value.
02/15/1924 Commission of the Central Executive Committee of the USSR (Chairman - F.E. Dzerzhinsky, members: M.I. Kalinin, L.B. Krasin, A.V. Lunacharsky, A.S. Yenukidze, K.E. Voroshilov), fulfilling the decision of the II Congress of Soviets of the USSR of 01/26/1924 on perpetuating the memory of Lenin, announced a competition for the best works of art. More than 500 entries were received in a month. 03/25/1924 The commission reviewed the works received: 55 sculptures, 23 paintings and drawings. Of the sculptural works, the following were recognized as good and recommended for mass production and distribution: a bas-relief and a sculptural bust made by V.A. Andreev; mask and bas-relief (plaster of bronze) made by I.D. Shadr, of the remaining works received, 12 were found to be satisfactory, and the rest were rejected. It was big success our countryman.
Since 1924, Ivan Dmitrievich has been actively working on the Leninist theme. Speaking at a meeting of the Moscow Architectural Society on March 1, 1924, I.D. Shadr said: "The question of a 'large' monument is very complicated, and it is difficult to say anything definite in this respect now." At this time, the artist received an order for a monument to V.I. Lenin from the Gosznak administration, where his earlier sculptures were located: “Worker”, “Peasant”, “Red Army Man”, “Sower” (all 1922), “Cobblestone - the weapon of the proletariat” (1927), which marked the beginning of the creation of a portrait of a working man.
In 1926, monuments to V.I. Lenin in many cities of the country. The most significant achievement of monumental art was the work of I.D. Shadra - a monument to V.I. Lenin (1925-1927) in Georgia at the Zemo-Avchal hydroelectric power station. The monument was erected at the confluence of the Aragva and Kura and organically fit into surrounding landscape. The beautifully executed bas-relief in the January days of 1924 was used by the author when working on a portrait of V.I. Lenin for the monument. The result of the master's creative searches was a sculptural composition, which is distinguished by expressiveness and dynamism, and also has a great portrait resemblance. The proposal to install the figure of V.I. Lenin at the Zemo-Avchalskaya hydroelectric power station in Transcaucasia impressed the author and helped him finally establish himself in the correctness compositional solution monument. The new monument became one of the best works of 1920-1930. and most major monument IN AND. Lenin (16 meters high). M. Gorky's words about this work by Shadr are known: "For the first time, a man in a jacket, cast in bronze, is truly monumental and makes you forget about the classical tradition of sculpture." A.V. Lunacharsky noted: “To describe a real great proletarian leader is a gigantic task, which requires very high level worldview and great talent. Not every talented artist could successfully cope with such a difficult task.
In 1934, a monument to Lenin was erected at the main entrance to the museum. Lenin in Gorki. For 13 years after the death of Lenin, Shadr completed 16 sculptural images of Vladimir Ilyich.
04/06/1930 The Presidium of the Central Executive Committee of the USSR approved the highest state award- The order of Lenin. Leading artists of the country - I.D. Shadr, I.I. Dubasov, V.K. Kupriyanov. In 1934, the appearance of the order was somewhat changed, in the creation final version participated N.A. Sokolov and A.F. Vasyutinskiy.
In 1935 I.D. Shadr created sculptural compositions for the hall Supreme Council USSR in the Grand Kremlin Palace.
The Museum of the Revolution (Moscow) collected most of Shadr's works: "Worker", "Peasant", "Red Army", "Rest", "Storm of the Earth", "Leader" (intended for the Mausoleum), a bust of Krasin and his mother, a head Lenin, made from nature, etc. Director of the museum S.I. Mickiewicz said: "The Museum of the Revolution is the Museum of Shadr." In Shadrinsky local history museum exhibited 16 sculptures of our countryman.
In Moscow, on Krasnaya Presnya, a sculpture “Cobblestone is a weapon of the proletariat” was installed, on the square named after. Lermontov - "Seasonal". For the Novodevichy cemetery, he created sculptural tombstones: E.N. Nemirovich-Danchenko, V.L. Durov, N.S. Alliluyeva (1939) and others. After the death of Mayakovsky, Shadr worked on the project of his monument. Sculpture G.K. Ordzhonikidze, made by him for an exhibition in 1940, was smashed at night by someone, which greatly upset the already ill Shadr. Ivan Dmitrievich knew A.M. closely. Gorky and worked on a monument to the writer, completed by V. Mukhina and installed on the square of the Belorussky railway station in 1951.
Ivan Dmitrievich Shadr, after a serious illness, died on 04/03/1941 and was buried on April 6 at the Novodevichy cemetery in Moscow.
In the city of Shadrinsk there is Ivan Shadr street. In Yekaterinburg, the Yekaterinburg Art College bears the name of Shadr (since 1987).
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