They gave us a fairy tale! The illustrators who brought our favorite characters to life. A guide to books, style, techniques and life stories.
Ivan Bilibin
Master of graphics, creator of a special type of illustrated book, "the first professional book" - as he is called by experts. His example is science to others; many generations of not only illustrators, but also graphic designers have sought inspiration in Bilibin's work.
"The Frog Princess", "Vasilisa the Beautiful", "Marya Morevna", "The Tale of Tsar Saltan", "The Tale of the Golden Cockerel", "The Tale of the Fisherman and the Fish" - you should find your favorite books from childhood on the shelf to make sure - beauty!
Style. You can recognize Bilibin's work from a large format thin notebook book with large color drawings. And the artist here is not just the author of drawings, but of all decorative elements books - covers, initials, fonts and ornamental decorations.
Elena Polenova
The museum-reserve "Abramtsevo" still keeps books illustrated by Elena Polenova. The sister of the famous painter Vasily Polenov, although she was associated with the bohemian "mammoth circle" - artists, artists, architects, was always interested in folk, peasant. She was inspired by fairy tales, in her letters to friends folklore heroes are mentioned, for example: grandmother Fedosya is a master of inventing funny stories.
Style: The main thing in Polenova's landscapes is attention to "little things": herbs, flowers, mushrooms, insects. She tried to "go back to that distant childhood, when, listening to this story, I imagined miniature monasteries and cities in the forest, built, so to speak, on a mushroom scale, in which these amazing creatures live and act."
Yuri Vasnetsov
"The Stolen Sun" by Korney Chukovsky, "The Cat's House" by Samuil Marshak, "The Little Humpbacked Horse" by Pyotr Ershov - we present the heroes of all these books thanks to the drawings of Yuri Vasnetsov .
Style: The artist was inspired by elegant Dymkovo dolls and bright roosters, the traditions of popular prints and folk fantasy had a noticeable influence on the illustrator's work.
Detail: Book graphics were only a part of Vasnetsov's work. IN paintings he proved himself to be a very great master, combining folk culture and high aesthetics.
Vladimir Konashevich
Vladimir Konashevich gave us the opportunity to see Dr. Aibolit, Tyanitolkay, little Bibigon, the Little Humpbacked Horse and the wise men who sailed across the sea in a thunderstorm. Talking about how he comes up with drawings, Konashevich admitted: “There are artists who invent and think with a pencil in their hand ... I am an artist of a different warehouse. every detail..."
Style: For an artist working with children's books, one talent is not enough to draw, a second one is needed - kindness. The world of Konashevich is just such a world of kindness and dreams. The artist created a recognizable style in the design of fairy tales: bright images, ornate patterns, vignettes, a "live" composition that captivates not only children, but also adults.
Georgy Narbut
“From an early age, as far as I can remember,” Georgy Narbut admitted, “I was attracted to painting. In the absence of paints, which I had not seen until I got to the gymnasium, and pencils, I used colored paper: I cut it out with scissors and glued it with flour glue.”
Georgy Narbut, an artist, draftsman and illustrator, organizer of higher graphic education in Ukraine, studied with Mikhail Dobuzhinsky and Ivan Bilibin, the latter even said: "Narbut is a huge, truly immense talent ... I consider him the most outstanding, the largest of the Russian graphic artists."
Style. In the workshop of Narbut, brilliant ideas were born and masterpieces were created that changed the history of the book in Russia. Book graphics is not just a virtuoso technicality and refinement of taste. Narbut's style is always an expressive cover, a decoratively designed title page, initial letters and skillful illustrations.
Boris Zworykin
The artist deliberately avoided excessive publicity, which is why the facts about her biography are so scarce. It is known that he came from the Moscow merchant class and studied at the Moscow School of Painting, Sculpture and Architecture.
Zvorykin is considered the founder of the "Russian style" in book illustration and the best ornamental graphic artist of the early 20th century. Since 1898, he illustrated and designed books for the Moscow and St. Petersburg publishing houses of Ivan Sytin and Anatoly Mamontov. The first experience of the artist in the field of children's books was the book "The Tale of the Golden Cockerel" by Alexander Pushkin.
Style. Boris Zworykin looked for inspiration for his works in Russian antiquity, arts and crafts, icon painting, wooden architecture and book miniatures. No wonder he was one of the active members of the Society for the Revival of Artistic Rus'.
Boris Diodorov
Boris Diodorov "revived" for us the heroes of Russian and foreign classics. "Tuttu Karlsson the First and Only," Ludwig the Fourteenth and others", "Nils' Amazing Journey with Wild Geese", "The Case in the Hat" (on the history of headwear in Russia together with Irina Konchalovskaya) - you can't list them all: the artist illustrated about 300 books.
Diodorov worked as the chief artist of the Children's Literature publishing house, received the gold medal of G. H. Andersen from the hands of the Princess of Denmark, his works were exhibited in the USA, France, Spain, Finland, Japan, and South Korea.
Style: the beauty of thin lines. The etching technique, in which a drawing is scratched on a varnished metal plate with a steel needle, is rather complicated, but only it allows you to achieve airiness and subtlety in execution.
Snow White and the Seven Dwarfs
The Dobraya Kniga publishing house, which had been publishing “postcard books” with photographs of animals and funny captions for several years in a row, suddenly decided to switch to gift editions of children's books and offered readers several fairy tales illustrated by contemporary European artists at once.
Puss in Boots
Noteworthy is the original "Puss in Boots" by Charles Perrault with illustrations by another American artist (1939-2001), which also appeared in the edition of the Good Book. Perhaps we have never seen such an original cover: it depicts a sly cat's face in a noble outfit of the Renaissance and nothing else, there is neither the name of the author, nor the title of the fairy tale, nor other attributes and vignettes familiar to us. However, this is not surprising, because it is Marcellino who is known as an innovator in the field of cover design (beginning in 1974, he created 40 covers a year for 15 years and revolutionized this area).
Marcellino began illustrating children's books in the mid-1980s. and his first large-scale work - "Puss in Boots" - brought him in 1991 one of the most prestigious awards in the field of children's illustration . Readers note that the illustrations are filled with sunlight, as well as humorous overtones, and anticipate a new interpretation of the image of puss in boots, later presented to the cartoon audience by Pixar.
Russian readers are familiar with the work of the illustrator from the author's picture book "Menu for the Crocodile", which was published by the publishing house "Polyandria" last year (although the illustrator is presented as "Marcellino"). The fairy tale "Menu for the Crocodile" (in the original "I, crocodile") in 1999 was recognized as the best illustrated book for children according to the New York Times newspaper.
The Snow Queen
Readers continue to get acquainted with the work of the British illustrator in the new edition of The Snow Queen by G.-H. Andersen, who also appeared in " good book”(most recently, G. H. Andersen with illustrations by C. Birmingham came out in the same publishing house, and last year the Eksmo publishing house presented the fairy tale by C. S. Lewis illustrated by him “The Lion, the Witch and wardrobe"). The first book with these illustrations was published in the UK in 2008 by Candlewick.
Using chalk and pencil, Birmingham creates large-scale two-page illustrations for the most famous fairy tales. It is they who become the main event of the book, even if we are talking about a very famous text, whether it is D. Moore's A Christmas Carol (the book with Birmingham illustrations sold over a million copies) or K.S. Lewis. The hallmark of Birmingham's illustrations are very detailed, executed with photographic accuracy images of people, as well as a large-scale, very bright fairy-tale world.
Listen, I'm here!
The publishing house "Enas-kniga" published a picture book by Brigitte Endres "Listen, I'm here!", Illustrated by an artist from Germany. This is a story about how a little chameleon suffered alone in a pet store, and then ran away from there and met a little girl on the street, who became his friend and mistress.
If the illustrators mentioned above have been working on the same book for years, then Turlonyas takes less than a month to create one: in 2013, as many as 15 picture books were published in Germany, for which she drew illustrations, and in 2014 - 13. On her the drawings, obviously made with the help of a computer, are many large-headed, rather cute, although very similar to each other, children, depicted with deliberately crooked lines. There is no desire for realism in them (parents of young readers will call this style "cartoon"), but the situations and landscapes - the street, the store, the room - are very recognizable, and the pictures do not sin at all with tasteless brightness.
Interestingly, Tourlonas in most cases acts as an illustrator of someone else's text and almost never composes a book completely on his own. Russian readers are familiar with her work from Michael Engler's book "The Fantastic Elephant", which was published by the Polyandria publishing house in 2014.
Otto in the city
A huge "cardboard" for the smallest readers was prepared in the children's edition of the Mann, Ivanov and Ferber publishing house - this is a picture book by the famous Belgian illustrator "Otto in the City". At first glance, the book looks like another one, already familiar to our readers. Wimmelbuch, many details are scattered on its pages, which can be considered for a long time and look for objects and phenomena of the familiar world. But in fact, “Otto in the City” presents us with a completely innovative approach to “flickering”: a book can be read while moving around it, and also treated like a museum: from beginning to end, read from below, and from end to beginning, from above. In general, the book is drawn in the format of circular city panoramas, where there is no usual composition “from below - the earth and the city, from above - the sky and airplanes”, the reader looks at the city as if from top to bottom, from the sky, and sees roads, houses, intersections and residents conventional European city invented by the artist.
Tom Champ came up with a whole series of books about Otto the kitten. Each of them presents unusual panoramas of places familiar to the resident. Western Europe. At first glance, his drawings look like collages made of different materials, but the impression is deceptive: the artist draws all his illustrations with acrylic paint on cardboard.
hobbit
Many illustrators worked on images for the professor's books about Middle-earth, but the very first illustrator of The Hobbit was the author himself. Tolkien was not professional artist and regularly apologized to his publishers for insufficient quality drawings (however, only ten black-and-white images, as well as a map, were placed in the first edition of the tale). However, who knew better than him what Rivendell, the house of Beorn, the dragon Smaug and other characters and places actually look like? In February of this year, the publishing house "AST" published the next edition of the fairy tale "The Hobbit", in a new translation and with author's illustrations, which are located on the inserts.
Hans Christian Andersen
Some Russian illustrators are in demand all over the world, books with their work are published both in Western countries and in publishing houses in Korea and China. For example, almost half of the illustrated books were published abroad. Russian readers saw some of his illustrations much later than American ones, this also applies to the novelties of the Ripol publishing house, a book from the biographical series Great Names, which is dedicated to the storyteller: in the USA the book was published in 2003. The authors of the book told several stories from the life of a beloved storyteller (unfortunately, the text in Russian is stylistically very flawed), and Chelushkin illustrated them in his original manner, combining the real with the fantastic.
Poets of the Silver Age for children
Brand new collection "Poets Silver Age Children" by Onyx-Lit publishing house is also the debut of a young illustrator from St. Petersburg, who drew pictures for famous poems by Marina Tsvetaeva, Nikolai Gumilyov, Sasha Cherny and other poets of the beginning of the last century. Images of people, children and adults, seem a little caricatured, but the illustrations are filled with whimsical pastel-colored ornamental backgrounds that create a layered, lacy space. The Onyx-Lit publishing house announced another book with illustrations by the young artist - Anna Nikolskaya's The House That Sailed Away. And currently on the platform boomstarter Crowdfunding project "Sill" began: readers are invited to participate in the publication of a book about the girl Lidochka, who cannot walk, but knows how to go around the sills on her special wheelchair. The story was written by Anna Nikolskaya, and the illustrations for it were drawn by the same Anna Tverdokhlebova.
Tyapkin and Lyosha
Many experts and lovers of children's literature note that at the moment we are witnessing a boom in reprints: Soviet children's books of the 50-80s. of the last century, almost more are produced than modern ones, while publishers strive to reproduce the book in its entirety: from text to illustrations, from layout to fonts (which, however, does not always work out due to new sanitary and hygienic requirements for book publishing products for children) . Editors of publishing houses choose not only the most famous, "mass" and replicated artists, like, but pay attention to half-forgotten names and little-known texts.
The Rech publishing house, for example, which monthly offers its readers a good dozen old-new books, presented a reprint of Maya Ganina's not-so-famous fairy tale Tyapkin and Lyosha with illustrations. This is a fairy tale about one summer summer adventure, the friendship of a little girl Lyuba, nicknamed Tyapkin, and a forest man Volodya, whom the girl calls "Lyosha" (from the word "goblin"). Nika Goltz, who actually very rarely turned to illustrating contemporary authors, drew very delicate pictures for this book, made in just two colors - gray and emerald green. The fairy tale was published twice, in 1977 and 1988, and Nika Georgievna drew her own version of illustrations for each edition. In the reissue, which appeared in the Reading with the Bibliogide series, the publishers collected all the artist's illustrations created for both editions under one cover.
Theater opens
The illustrator of children's books, half-forgotten by the general public, who died more than 30 years ago, returns to readers thanks to the Nigma publishing house. The work of A. Brey is extremely diverse: he is considered one of the brightest representatives of Moscow book graphics of the 20-30s. of the last century, he worked as an animal painter and as an illustrator of fairy tales, he drew a lot for children's magazines and teaching aids, and in total illustrated about 200 children's books. In addition, he drew about 50 filmstrips, offering completely new technology images for them: in some of his filmstrips, the text was not placed under the picture, as usual, but inscribed in the very space of the picture, for which the artist composed interesting "author's fonts".
The publication of old filmstrips in the form of books in an enlarged album format is one of the frequent experiences of recent years. IN Once again it is repeated by Nigma, which publishes a former filmstrip of 1968 with Emma Moszkowska's poem The Theater Opens, illustrated by A. Bray. The artist drew not only illustrations, but also texts, and all polite words, which the poetess proposes to remember for young readers, placed in colored frames.
In the near future, the publishing house will release another book with illustrations by A. Brey - Alenkin's Brood by A. Balashov, though this time without any experiments with filmstrips.
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What is the use of a book, thought Alice, if there are no pictures or conversations in it? "Alice's Adventures in Wonderland" Surprisingly, the children's illustration of Russia (USSR) has an exact year of birth - 1925. In the year of literature of children's illustration, it turns 90 years old. This year, a department of children's literature was created at the Leningrad State Publishing House (GIZ). Before that, there were no books with illustrations specifically for children. Who are they - the authors of the most beloved, beautiful illustrations that have been remembered since childhood and our children like? Learn, remember, share your opinion. The article was written using the stories of the parents of today's kids and book reviews on the websites of online bookstores.
Vladimir Grigoryevich Suteev (1903-1993, Moscow) - children's writer, illustrator and animation director. His kind, funny pictures look like frames from a cartoon. Suteev's drawings have turned many fairy tales into masterpieces. So, for example, not all parents consider the works of Korney Chukovsky a necessary classic, and most of of them does not consider his works talented. But Chukovsky's fairy tales, illustrated by Vladimir Suteev, I want to hold in my hands and read to children.
Boris Alexandrovich Dekhterev (1908-1993, Kaluga, Moscow) - folk artist, Soviet graphic artist (it is believed that the Dekhterev School determined the development of the country's book graphics), illustrator. Worked primarily in engineering pencil drawing and watercolors. old kind illustrations Dekhterev is a whole era in the history of children's illustration, many illustrators call Boris Aleksandrovich their teacher. Dekhterev illustrated children's fairy tales by Alexander Sergeevich Pushkin, Vasily Zhukovsky, Charles Perrault, Hans Christian Andersen. As well as works by other Russian writers and world classics, such as Mikhail Lermontov, Ivan Turgenev, William Shakespeare.
Nikolai Alexandrovich Ustinov (born in 1937, Moscow), his teacher was Dekhterev, and many modern illustrators already consider Ustinov their teacher. Nikolai Ustinov - People's Artist, illustrator. Tales with his illustrations were published not only in Russia (USSR), but also in Japan, Germany, Korea and other countries. Almost three hundred works illustrated famous artist for publishing houses: "Children's Literature", "Kid", "Artist of the RSFSR", publishing houses of Tula, Voronezh, St. Petersburg and others. He worked in the Murzilka magazine. Ustinov's illustrations for Russian folk tales remain the most favorite for children: Three Bears, Masha and the Bear, Sister Chanterelle, Frog Princess, Geese Swans and many others.
Yuri Alekseevich Vasnetsov (1900-1973, Vyatka, Leningrad) - People's Artist and Illustrator. All kids like his pictures for folk songs, nursery rhymes and jokes (Ladushki, Rainbow-arc). He illustrated folk tales, tales of Leo Tolstoy, Pyotr Ershov, Samuil Marshak, Vitaly Bianchi and other classics of Russian literature. When buying children's books with illustrations by Yuri Vasnetsov, make sure that the drawings are clear and moderately bright. Using the name famous artist, V Lately often publish books with fuzzy scans of drawings or with increased unnatural brightness and contrast, and this is not very good for children's eyes.
Leonid Viktorovich Vladimirsky (born 1920, Moscow) is a Russian graphic artist and the most popular illustrator of books about A. N. Tolstoy's Pinocchio and A. M. Volkov's Emerald City, thanks to which he became widely known in Russia and the countries of the former USSR. I painted with watercolors. It is Vladimirsky's illustrations that many recognize as classic for Volkov's works. Well, Pinocchio in the form in which he has been known and loved by several generations of children is undoubtedly his merit.
Victor Alexandrovich Chizhikov (born 1935, Moscow) - People's Artist of Russia, author of the image of the bear cub Mishka, the talisman of summer Olympic Games 1980 in Moscow. The illustrator of the magazine "Crocodile", "Funny Pictures", "Murzilka", for many years he drew for the magazine "Around the World". Chizhikov illustrated the works of Sergei Mikhalkov, Nikolai Nosov (Vitya Maleev at school and at home), Irina Tokmakova (Alya, Klyaksich and the letter "A"), Alexander Volkov (The Wizard of Oz), poems by Andrey Usachev, Korney Chukovsky and Agnia Barto and other books . In fairness, it should be noted that Chizhikov's illustrations are rather specific and cartoonish. Therefore, not all parents prefer to buy books with his illustrations, if there is an alternative. For example, the books "The Wizard of the Emerald City" are preferred by many with illustrations by Leonid Vladimirsky.
Nikolai Ernestovich Radlov (1889-1942, St. Petersburg) - Russian artist, art critic, teacher. Illustrator of children's books: Agniya Barto, Samuil Marshak, Sergei Mikhalkov, Alexander Volkov. Radlov painted for kids with great pleasure. The most his famous book- comics for kids "Stories in pictures". This is a book-album with funny stories about animals and birds. Years have passed, but the collection is still very popular. Stories in pictures were repeatedly reprinted not only in Russia, but also in other countries. On international competition children's book in America in 1938, the book won the second prize.
Ivan Yakovlevich Bilibin (1876-1942, Leningrad) - Russian artist, book illustrator and theater designer. Bilibin illustrated a large number of fairy tales, including Alexander Sergeevich Pushkin. He developed his own style - "Bilibino" - a graphic representation, taking into account the traditions of ancient Russian and folk art, a carefully traced and detailed patterned contour drawing, colored with watercolors. Bilibin's style became popular and began to be imitated. Tales, epics, images ancient Rus' for many, it has long been inextricably linked with Bilibin's illustrations.
Anatoly Mikhailovich Savchenko (1924-2011, Novocherkassk, Moscow) - cartoonist and illustrator of children's books. Anatoly Savchenko was the production designer for the cartoons "Kid and Carlson" and "Carlson is back" and the author of illustrations for books by Lindgren Astrid. The most famous cartoon works with his direct participation: Moidodyr, the adventures of Murzilka, Petya and Little Red Riding Hood, Vovka distant kingdom, Nutcracker, Tsokotuha Fly, Kesha parrot and others. Children are familiar with Savchenko's illustrations from the books: "Piggy is offended" by Vladimir Orlov, "Kuzya Brownie" by Tatyana Alexandrova, "Tales for the smallest" by Gennady Tsyferov, "Little Baba Yaga" by Preysler Otfried, as well as books with works similar to cartoons.
Oleg Vladimirovich Vasiliev (born in 1931, Moscow). His works are in the collections of many art museums in Russia and the USA, incl. at the State Tretyakov Gallery in Moscow. Since the 1960s, for more than thirty years he has been designing children's books in collaboration with Erik Vladimirovich Bulatov (born in 1933, Sverdlovsk, Moscow). The most famous are the artists' illustrations for fairy tales by Charles Perrault and Hans Andersen, poems by Valentin Berestov and fairy tales by Gennady Tsyferov.
The artistic heritage of the master is not limited to book graphics. A. F. Pakhomov - the author of monumental paintings, paintings, easel graphics: drawings, watercolors, numerous prints, including exciting sheets of the series "Leningrad in the days of the blockade". However, it so happened that in the literature about the artist there was an inaccurate idea of the true scale and time of his activity. Sometimes the coverage of his work began only with the works of the mid-30s, and sometimes even later - with a series of lithographs of the war years. Such a limited approach not only narrowed and curtailed the idea of the original and vibrant heritage of A.F. Pakhomov, created over the course of half a century, but also impoverished Soviet art as a whole.
The need to study the work of A.F. Pakhomov is long overdue. The first monograph about him appeared in the mid-1930s. Naturally, only a part of the works was considered in it. Despite this and some limitations in understanding the traditions inherent in that time, the work of the first biographer V.P. Anikieva retained its value from the factual side, and also (with necessary adjustments) conceptually. In the essays about the artist published in the 1950s, the scope of material from the 1920s and 1930s turned out to be narrower, and the coverage of the work of subsequent periods was more selective. Today, the descriptive and evaluative side of the works about A.F. Pakhomov, two decades distant from us, seem to have lost their credibility in many ways.
In the 60s, A.F. Pakhomov wrote the original book "About his work." The book clearly showed the fallacy of a number of common ideas about his work. The artist's thoughts about time and art expressed in this work, as well as the extensive material of the recordings of conversations with Alexei Fedorovich Pakhomov, made by the author of these lines, helped to create the monograph offered to readers.
A.F. Pakhomov owns an extremely large number of paintings and drawings. Without claiming to cover them exhaustively, the author of the monograph considered it his task to give an idea of the main aspects of the master's creative activity, its richness and originality, teachers and colleagues who contributed to the formation of the art of A.F. Pakhomov. Citizenship, deep vitality, realism, characteristic of the artist's works, made it possible to show the development of his work in constant and close connection with the life of the Soviet people.
Being one of the greatest masters of Soviet art, A.F. Pakhomov carried his ardent love for the Motherland, for its people throughout his long life and career. High humanism, truthfulness, figurative richness make his works so soulful, sincere, full of warmth and optimism.
In the Vologda region, near the city of Kadnikova, on the banks of the Kubena River, the village of Varlamov is located. There, on September 19 (October 2), 1900, a boy was born to a peasant woman, Efimiya Petrovna Pakhomova, who was named Alexei. His father, Fyodor Dmitrievich, came from "specific" farmers who did not know the horrors of serfdom in the past. This circumstance did not last role in the way of life and the prevailing character traits, she developed the ability to keep herself simple, calm, and with dignity. The traits of special optimism, breadth of views, spiritual directness, and responsiveness were also rooted here. Alexei was brought up in a working environment. They lived poorly. As in the whole village, there was not enough of their own bread until spring, they had to buy it. Additional income was required, which was done by adult family members. One of the brothers was a stonemason. Many of the villagers were carpenters. And yet the early time of life was remembered by young Alexei as the most joyful. After a two-year study at a parochial school, and then two more years at a zemstvo school in a neighboring village, he was sent "at state expense and on state food" to a higher primary school in the city of Kadnikov. The time of classes there remained in the memory of A.F. Pakhomov as very difficult and hungry. “Since then, my carefree childhood in my father’s house,” he said, “forever began to seem to me the happiest and most poetic time, and this poeticization of childhood later became the main motive in my work.” Artistic ability Alexei appeared early, although where he lived, there were no conditions for their development. But even in the absence of teachers, the boy achieved certain results. The neighboring landowner V. Zubov drew attention to his talent and presented Alyosha with pencils, paper and reproductions from paintings by Russian artists. Pakhomov's early drawings, which have survived to this day, reveal what later, being enriched by professional skill, will become characteristic of his work. The little artist was fascinated by the image of a person and, above all, a child. He draws brothers, sister, neighborhood kids. It is interesting that the rhythm of the lines of these artless pencil portraits echoes the drawings of his mature pores.
In 1915, by the time he graduated from the school of the city of Kadnikov, at the suggestion of the district marshal of the nobility Yu. Zubov, local art lovers announced a subscription and sent Pakhomov to Petrograd to the school of A. L. Stieglitz with the money raised. With the revolution, changes also came to the life of Alexei Pakhomov. Under the influence of new teachers who appeared at the school - N. A. Tyrsa, M. V. Dobuzhinsky, S. V. Chekhonin, V. I. Shukhaev - he strives to better understand the tasks of art. Short-term supervised training great master Shukhaev's drawing gave him a lot of value. These classes laid the foundations for understanding the structure of the human body. He strove for a deep study of anatomy. Pakhomov was convinced of the need not to copy the environment, but to represent it meaningfully. When drawing, he got used not to be dependent on the light and shade conditions, but, as it were, to “illuminate” nature with his own eye, leaving light close parts of the volume and darkening those that are more distant. “True,” the artist remarked at the same time, “I did not become a faithful Shukhaevite, that is, I did not begin to draw with sanguine, smearing it with an elastic band so that the human body looked spectacular.” Pakhomov admitted that the lessons of the most prominent book artists, Dobuzhinsky and Chekhonin, were useful. He especially remembered the advice of the latter: to achieve the ability to write fonts on a book cover immediately with a brush, without preparatory basting with a pencil, "like an address on an envelope." According to the artist, such a development of the necessary eye subsequently helped in sketches from nature, where he could, starting with some detail, place everything depicted on the sheet.
In 1918, when living in cold and hungry Petrograd without permanent income became impossible, Pakhomov left for his homeland, enrolling as an art teacher at a school in Kadnikovo. These months were of great benefit to the completion of his education. After lessons in the classes of the first and second stage, he read voraciously, as long as the lighting allowed and his eyes did not get tired. “All the time I was in an excited state, I was seized by a fever of knowledge. The whole world opened before me, which, it turns out, I hardly knew, - Pakhomov recalled this time. - February and October revolution I accepted with joy, as did most of the people around me, but only now, reading books on sociology, political economy, historical materialism, history, I began to truly understand the essence of the events that took place.
The treasures of science and literature opened up before the young man; quite natural was his intention to continue his interrupted studies in Petrograd. In a familiar building in Salt Lane, he began to study with N. A. Tyrsa, who was then the commissioner of the former Stieglitz school. “We, the students of Nikolai Andreevich, were very surprised by his costume,” Pakhomov said. - The commissars of those years wore leather caps and jackets with a belt and a revolver in a holster, and Tyrsa walked with a cane and in a bowler hat. But his talks about art were listened to with bated breath. The head of the workshop wittily refuted outdated views on painting, acquainted students with the achievements of the Impressionists, with the experience of post-impressionism, unobtrusively drew attention to the searches that are visible in the works of Van Gogh and especially Cezanne. Tyrsa did not put forward a clear program for the future of art; he demanded spontaneity from those who worked in his workshop: write as you feel. In 1919, Pakhomov was drafted into the Red Army. He closely recognized the previously unfamiliar military environment, understood the truly popular character of the army of the Land of Soviets, which later affected the interpretation of this topic in his work. In the spring of the following year, Pakhomov, demobilized after an illness, arrived in Petrograd, moved from the workshop of N. A. Tyrsa to V. V. Lebedev, deciding to get an idea of the principles of cubism, which were reflected in a number of works by Lebedev and his students. Of the works of Pakhomov, made at this time, little has survived. Such, for example, is "Still Life" (1921), which is distinguished by a subtle sense of texture. In it, one can see the desire learned from Lebedev to achieve “madeness” in the works, to look not for superficial completeness, but for a constructive pictorial organization of the canvas, not forgetting the plastic qualities of the depicted.
The idea of a new great job Pakhomov - paintings "Haymaking" - originated in his native village of Varlamov. There, material was collected for it. The artist depicted not an ordinary everyday scene at the mowing, but the help of young peasants to their neighbors. Although the transition to collective, collective-farm labor was then a matter of the future, the event itself, showing the enthusiasm of youth and enthusiasm for work, was already in some ways akin to new trends. Etudes and sketches of figures of mowers, fragments of the landscape: grasses, bushes, stubble testify to the amazing consistency and seriousness of the artistic concept, where bold textural searches are combined with the solution of plastic problems. Pakhomov's ability to catch the rhythm of movements contributed to the dynamism of the composition. For this picture, the artist went for several years and completed many preparatory works. In a number of them, he developed plots close to or accompanying the main theme.
The drawing “Killing the Scythes” (1924) shows two young peasants at work. They were sketched by Pakhomov from nature. Then he went through this sheet with a brush, generalizing the image without observing his models. Good plastic qualities, combined with the transmission of strong movement and the general picturesqueness of the use of ink, are visible in the earlier work of 1923 "Two Mowers". With a deep truthfulness, and one might say, the severity of the drawing, here the artist was interested in the alternation of plane and volume. The sheet has skillfully used ink wash. Landscape surroundings are hinted at. The texture of cut and standing grass is palpable, which brings rhythmic diversity to the drawing.
Among the considerable number of developments in the color of the "Haymaking" plot, the watercolor "Mower in a pink shirt" should be mentioned. In it, in addition to pictorial washes with a brush, scratching on a wet paint layer was used, which gave a special sharpness to the image and was introduced into the picture in a different technique (in oil painting). Colorful large leaf "Haymaking", painted in watercolor. In it, the scene seems to be seen from a high point of view. This made it possible to show all the figures of the mowers going in a row and to achieve a special dynamics in the transmission of their movements, which is facilitated by the arrangement of the figures diagonally. Having appreciated this technique, the artist built the picture in the same way, and then did not forget it in the future. Pakhomov achieved the picturesqueness of the general range and conveyed the impression of a morning haze pierced by sunlight. The same theme is solved differently in the oil painting “On the Mowing”, depicting working mowers and a horse grazing near the cart to the side. The landscape here is different than in other sketches, variants and in the picture itself. Instead of a field, there is a bank of a fast river, which is emphasized by the jets of the current and a boat with a rower. The color of the landscape is expressive, built on various cold green tones, only warmer shades are introduced in the foreground. A certain decorative effect was found in the combination of figures with the environment, which enhanced the overall color sound.
One of Pakhomov's paintings on sports in the 1920s is Boys Skating. The artist built the composition on the image of the longest moment of movement and therefore the most fruitful, giving an idea of what has passed and what will be. In contrast, another figure is shown in the distance, introducing rhythmic diversity and completing the compositional idea. In this picture, along with an interest in sports, one can see Pakhomov's appeal to the most important topic for his work - the lives of children. Previously, this trend was reflected in the graphics of the artist. Starting from the mid-1920s, Pakhomov's deep understanding and creation of images of the children of the Land of the Soviets was Pakhomov's outstanding contribution to art. Studying great pictorial and plastic problems, the artist also solved them in works on this new important topic. At the exhibition of 1927, the canvas "Peasant Girl" was shown, which, although it had something in common with the portraits discussed above, was also of independent interest. The artist's attention was focused on the image of the girl's head and hands, painted with great plastic feeling. The type of a young face is captured in an original way. Close to this canvas in terms of immediacy of sensation is “Girl Behind Her Hair”, exhibited for the first time in 1929. It differed from the chest image of 1927 in a new, more detailed composition, including almost the entire figure in full growth, transmitted in a more complex movement. The artist showed the relaxed pose of a girl fixing her hair and looking into a small mirror lying on her knee. Sound combinations a golden face and hands, a blue dress and a red bench, a scarlet sweater and ocher-greenish log walls of the hut contribute to the emotionality of the image. Pakhomov subtly captured the ingenuous expression baby face, touching posture. Bright, unusual images stopped the audience. Both works were part of foreign exhibitions of Soviet art.
Throughout his half-century creative activity, A.F. Pakhomov was in close contact with the life of the Soviet country, and this saturated his works with inspired conviction and the power of vital truth. His artistic personality developed early. Acquaintance with his work shows that already in the 20s it was distinguished by depth and thoroughness, enriched by the experience of studying world culture. In its formation, the role of the art of Giotto and the Proto-Renaissance is obvious, but the influence of ancient Russian painting was no less profound. A.F. Pakhomov belonged to the number of masters who innovatively approached the rich classical heritage. His works are characterized by a modern feeling in solving both pictorial and graphic tasks.
Pakhomov’s mastering of new themes in the canvases “1905 in the Village”, “Riders”, “Spartakovka”, in a cycle of paintings about children is important for the development of Soviet art. The artist played a prominent role in creating the image of a contemporary, his series of portraits is a clear evidence of this. For the first time, he introduced such vivid and vital images of young citizens of the Land of Soviets into art. This side of his talent is exceptionally valuable. His works enrich and expand ideas about the history of Russian painting. Since the 20s major museums countries acquired Pakhomov's canvases. His works have received international fame at large exhibitions in Europe, America, Asia.
A.F. Pakhomov was inspired by socialist reality. His attention was attracted by the testing of turbines, the work of weaving factories and the new in the life of agriculture. His works reveal topics related to collectivization, and with the introduction of equipment into the fields, and with the use of combines, and with the work of tractors at night, and with the life of the army and navy. We emphasize special value these achievements of Pakhomov, because all this was displayed by the artist back in the 20s and early 30s. His painting “Pioneers at the Sovereign Farmer”, a series about the commune “The Sower” and portraits from “Beautiful Swords” are among the most deep works of our artists about changes in the countryside, about collectivization.
The works of A.F. Pakhomov are notable for their monumental solutions. In the early Soviet wall painting, the artist's works are among the most striking and interesting. In the Red Oath cardboards, paintings and sketches of the Round Dance of Children of All Nations, paintings about reapers, as well as in the best creations of Pakhomov’s painting in general, there is a tangible connection with the great traditions of the ancient national heritage, which is part of the treasury of world art. The coloristic, figurative side of his murals, paintings, portraits, as well as easel and book graphics is deeply original. The brilliant successes of plein air painting are demonstrated by the series "In the Sun" - a kind of hymn to the youth of the Land of the Soviets. Here, in the depiction of the naked body, the artist acted as one of the great masters who contributed to the development of this genre in Soviet painting. Pakhomov's color searches were combined with the solution of serious plastic problems.
It must be said that in the person of A.F. Pakhomov, art had one of the largest draftsmen of our time. The master masterfully mastered various materials. Works in ink and watercolor, pen and brush side by side with brilliant drawings graphite pencil. His accomplishments go beyond domestic art and become one of the outstanding creations of world graphics. It is not difficult to find examples of this in a series of drawings made at home in the 1920s, and among sheets made in the next decade on trips around the country, and in cycles about pioneer camps.
The contribution of A.F. Pakhomov to graphics is enormous. His easel and book works dedicated to children are among the outstanding successes in this area. One of the founders of Soviet illustrated literature, he introduced a deep and individualized image of the child into it. His drawings captivated readers with vitality and expressiveness. Without teachings, vividly and clearly, the artist conveyed thoughts to children, aroused their feelings. And important topics of education and school life! None of the artists solved them as deeply and truthfully as Pakhomov. For the first time in such a figurative and realistic way he illustrated the poems of V. V. Mayakovsky. An artistic discovery was his drawings for the works of Leo Tolstoy for children. The considered graphic material clearly showed that the work of Pakhomov, an illustrator of modern and classical literature, it is wrong to limit it to only the area of a children's book. The artist's excellent drawings for the works of Pushkin, Nekrasov, Zoshchenko testify to the great success of Russian graphics in the 1930s. His works contributed to the establishment of the method of socialist realism.
The art of A.F. Pakhomov is distinguished by citizenship, modernity, and relevance. During the most difficult trials of the Leningrad blockade, the artist did not interrupt his work. Together with the masters of art of the city on the Neva, he, as once in his youth in the civil war, worked on assignments from the front. Pakhomov's series of lithographs "Leningrad in the days of the siege", one of the most significant works of art of the war years, reveals the unparalleled valor and courage of the Soviet people.
The author of hundreds of lithographs, A.F. Pakhomov should be named among those enthusiastic artists who contributed to the development and dissemination of this type of printed graphics. The possibility of appealing to a wide range of viewers, the mass nature of the address of the circulation print attracted his attention.
His work is characterized by classical clarity and conciseness. visual means. The image of a person is his main goal. An extremely important side of the artist's work, which makes him related to classical traditions, is the desire for plastic expressiveness, which is clearly visible in his paintings, drawings, illustrations, prints, right up to his most recent works. He did this constantly and consistently.
A.F. Pakhomov is “a deeply original, great Russian artist who is completely immersed in the reflection of the life of his people, but at the same time he has absorbed the achievements of world art. The work of A. F. Pakhomov, a painter and graphic artist, is a significant contribution to the development of Soviet artistic culture. /V.S. Matafonov/
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VLADIMIR VASILIEVICH LEBEDEV
14 (26). 05.1891, St. Petersburg - 11.21.1967, Leningrad
People's Artist of the RSFSR. Corresponding Member of the Academy of Arts of the USSR
He worked in St. Petersburg in the workshop of F. A. Roubaud and attended the school of drawing, painting and sculpture of M. D. Bernstein and L. V. Sherwood (1910-1914), studied in St. Petersburg at the Academy of Arts (1912-1914). Member of the Four Arts Society. Collaborated in the magazines "Satyricon", "New Satyricon". One of the organizers Windows ROSTA" in Petrograd.
In 1928 in the Russian Museum in Leningrad a personal exhibition Vladimir Vasilyevich Lebedev - one of the brilliant graphic artists of the 1920s. He was then photographed against the backdrop of his works. An impeccable white collar and tie, a hat pulled down over his eyebrows, a serious and slightly arrogant expression on his face, a correct and not letting close look, and, at the same time, his jacket is thrown off, and the sleeves of his shirt, rolled up above the elbows, reveal muscular big hands with brushes "smart" and "nervous". All together leaves the impression of composure, readiness for work, and most importantly - corresponds to the nature of the graphics shown at the exhibition, internally tense, almost gambling, sometimes ironic and as if clad in armor of a slightly cooling graphic technique. The artist entered the post-revolutionary era with posters for the ROSTA Windows. As in the "Ironers" created at the same time (1920), they imitated the style of a colored collage. However, in the posters, this technique, coming from cubism, acquired a completely new meaning, expressing with the lapidarity of the sign and the pathos of defending the revolution (" On Guard for October ", 1920) and the will to dynamic work ("Demonstration", 1920). One of the posters ("You have to work - a rifle is nearby", 1921) depicts a worker with a saw and at the same time he himself is perceived as a kind of firmly knocked together object. The orange, yellow and blue stripes that make up the figure are extremely strongly connected with block letters, which, unlike cubist inscriptions, have a specific semantic meaning. how expressively the diagonal formed by the word "work", the saw blade and the word "must", and the sharp arc of the words "rifle nearby" and the lines of the worker's shoulders intersect each other! for children's books. In Leningrad, a whole trend in illustrating children's books was formed in the 1920s. Together with Lebedev, V. Ermolaeva, N. Tyrsa , N. Lapshin, and the literary part was headed by S. Marshak, who was then close to the group of Leningrad poets - E. Schwartz, N. Zabolotsky, D. Kharms, A. Vvedensky. In those years, a very special image of the book was affirmed, different from the one cultivated in those years by the Moscow illustration headed by V. Favorsky. While an almost romantic perception of the book reigned in the group of Moscow woodcutters or bibliophiles, and the very work on it contained something “severely ascetic”, the Leningrad illustrators created a kind of “toy book”, gave it directly into the hands of the child, for which it was intended. The movement of the imagination “into the depths of culture” was replaced here by cheerful effectiveness, when a colored book could be turned in hands or at least crawled around it, lying on the floor surrounded by toy elephants and cubes. Finally, Favorsky's "holy of holies" woodcuts of Favorsky - the gravitation of black and white elements of the image into the depth or from the depth of the sheet - gave way here to frankly flat fingering, when the drawing arose as if "under the hands of a child" from pieces of paper trimmed with scissors. The famous cover for "The Baby Elephant" by R. Kipling (1926) is formed as if from a pile of patches randomly scattered over the paper surface. It seems that the artist (and perhaps the child himself!) until then moved these pieces over the paper, until a complete composition was obtained, in which everything "goes by the wheel" and where, meanwhile, you can’t move anything even a millimeter: in in the center - a baby elephant with a curved long nose, around it - pyramids and palm trees, on top - a large inscription "Elephant", and below a crocodile that suffered a complete defeat.
But even more recklessly filled with a book"Circus"(1925) and "How the plane made the plane", in which Lebedev's drawings were accompanied by S. Marshak's poems. On spreads depicting clowns shaking hands or a fat clown on a donkey, the work of cutting and pasting green, red or black pieces is literally "boiling". Here everything is "separate" - black shoes or red noses of clowns, green trousers or a yellow guitar of a fat man with crucian carp - but with what incomparable brilliance all this is connected and "glued", permeated with the spirit of lively and cheerful initiative.All these Lebedev pictures, addressed to ordinary child readers, among which such masterpieces as lithographs for the book "The Hunt" (1925), were, on the one hand, the product of a refined graphic culture capable of satisfying the most demanding eye, and on the other, art, revealed in living reality. The pre-revolutionary graphics not only of Lebedev, but also of many other artists, did not yet know such an open contact with life (despite even the fact that Lebedev painted for the Satyricon magazine in the 1910s) - those “vitamins” or, rather, those "yeasts of vitality" on which Russian reality itself "wandered" in the 1920s. Lebedev's everyday drawings revealed this contact with unusual clarity, not so much invading life as illustrations or posters, but absorbing it into their figurative sphere. At the heart of this is a keenly greedy interest in all the new social types that constantly arose around. The drawings of 1922-1927 could be combined with the name "Panel of the Revolution", with which Lebedev titled only one series of 1922, which depicted a string of figures of a post-revolutionary street, and the word "panel" indicated that this was most likely the foam whipped up by those rolling along these streets by the flow of events. The artist draws sailors with girls at Petrograd crossroads, traders with stalls or dandies dressed up in the fashion of those years, and especially NEPmen - these comical and at the same time grotesque representatives of the new "street fauna", whom he painted with enthusiasm in those same years and V. Konashevich and a number of other masters. Two NEPmen in the picture "Pair" from the series " New way of life"(1924) could have passed for the same clowns that Lebedev soon depicted on the pages of The Circus, if not for the sharper attitude of the artist himself towards them. Lebedev's attitude towards such characters cannot be called either "stigmatizing", much less " It was no coincidence that before these Lebedev drawings, P. Fedotov was remembered with his no less characteristic sketches of street types of the 19th century. This meant that living inseparability of the ironic and poetic principles, which marked both artists and which made both of them especially attractive images. recall Lebedev's contemporaries, the writers M. Zoshchenko and Yu. Olesha. They have the same inseparability of irony and smiles, ridicule and admiration. Lebedev, apparently, was also impressed by the cheap chic of a real sailor's walk ("Girl and "), and the defiant dashing girl, with a boot approved on the cleaner's box ("The Girl and the Bootstrapper"), he was even somehow attracted by that zoological or purely vegetative innocence with which, like burdocks under a fence, all these new characters demonstrating miracles of adaptability, such as, for example, conversing ladies in furs at a shop window (People of Society, 1926) or a bunch of Nepmen on an evening street (Nepmen, 1926). In particular, the poetic beginning in the most famous Lebedev series "Love of the punks" (1926-1927) is striking. What a fascinating life force breathing in the drawing "On the skating rink" are the figures of a guy with a sheepskin coat open on his chest and a girl in a bonnet with a bow and bottle-shaped legs tucked into high boots crouched on a bench. If in the series "New Life", perhaps, one can also talk about satire, then here it is almost imperceptible. In the picture "Rash, Semyonovna, sprinkle, Semyonovna!" - the height of the spree. In the center of the sheet there is a hot and young dancing couple, and the viewer seems to hear how the palms of his hands splash or the guy's boots snap off to the beat, he feels the serpentine flexibility of his bare back, the ease of movement of his partner. From the series "Panel of Revolution" to the drawings "Love of the punks", Lebedev's style itself has undergone a noticeable evolution. The figures of the sailor and the girl in the drawing of 1922 are still made up of independent spots - spots of carcass of various textures, similar to those in The Ironers, but more generalized and catchy. In "New Life" stickers were added here, turning the drawing no longer into an imitation of a collage, but into a real collage. The image was completely dominated by the plane, especially since, according to Lebedev himself, nice drawing should be above all "well-fitting in the paper". However, in the sheets of 1926-1927, the paper plane was increasingly replaced by the depicted space with its chiaroscuro and subject background. Before us are no longer spots, but gradual gradations of light and shadow. At the same time, the movement of the drawing did not consist in "cutting and pasting", as was the case in "Nep" and "Circus", but in the sliding of a soft brush or in the flowing of black watercolor. By the mid-1920s, many other draftsmen were also advancing along the path towards increasingly free, or pictorial, as it is commonly called, drawing. Here were N. Kupreyanov with his village "herds", and L. Bruni, and N. Tyrsa. The drawing was no longer limited to the "taken" effect, the pointed grasp "on the tip of the pen" of all new characteristic types, but as if he himself was involved in the living stream of reality with all its changes and emotionality. In the mid-1920s, this refreshing flow swept over the sphere of not only "street", but also "home" themes, and even such traditional layers of drawing as drawing in a studio from a naked human figure. And what a new drawing it was in its entire atmosphere, especially if we compare it with the ascetically strict drawing of the pre-revolutionary decade. If we compare, for example, the excellent drawings from the nude model of N. Tyrsa in 1915 and Lebedev's drawings of 1926-1927, one will be struck by the immediacy of Lebedev's sheets, the strength of their feelings.
This immediacy of Lebedev's sketches from the model made other art historians recall the techniques of impressionism. Lebedev himself was deeply interested in the Impressionists. In one of his the best drawings in the series "Acrobat" (1926), a brush saturated with black watercolor, as if by itself, creates the energetic movement of the model. A confident brushstroke is enough for an artist to put aside left hand, or one sliding touch to push forward the direction of the elbow. In the series "Dancer" (1927), where light contrasts are weakened, the elements of moving light also evoke associations with impressionism. “From the space permeated with light,” writes V. Petrov, “like a vision, the outlines of a dancing figure appear,” she “is barely outlined by light blurring spots of black watercolor,” when “the form turns into a picturesque mass and inconspicuously merges with the light-air environment.”
It goes without saying that this Lebedev impressionism is no longer equal to classical impressionism. Behind him you always feel the "learning of constructiveness" recently completed by the master. Both Lebedev and the Leningrad direction of drawing itself remained themselves, not for a moment forgetting either the constructed plane or the pictorial texture. In fact, when creating a composition of drawings, the artist did not reproduce space with a figure, as Degas did, but rather this one figure, as if merging its form with the format of the drawing. It barely noticeably cuts off the top of the head and the very tip of the foot, due to which the figure does not rest on the floor, but rather is "hooked" on the lower and upper edges of the sheet. The artist strives to bring the "figure plan" and the image plane as close as possible. The pearl stroke of his wet brush therefore belongs equally to the figure and the plane. These disappearing light strokes, which convey both the figure itself and, as it were, the warmth of the air warmed around the body, are simultaneously perceived as a uniform texture of the drawing, being associated with strokes of Chinese ink drawings and appearing to the eye as the most delicate "petals", finely smoothed to the surface of the sheet. Moreover, in Lebedev's "Acrobats" or "Dancers" there is, after all, the same chill of a confidently artistic and slightly detached approach to the model, which was noted by the characters of the series "New Life" and "Nep". In all these drawings, a generalized classical basis is strong, which so sharply distinguishes them from Degas's sketches with their poetry of characteristic or everyday life. So, in one of the brilliant sheets, where the ballerina is turned back to the viewer, with right foot, put on the toe behind the left (1927), her figure resembles a porcelain figurine with penumbra and light sliding over the surface. According to N. Lunin, the artist found in the ballerina "a perfect and developed expression of the human body." "Here it is - this thin and plastic organism - it is developed, perhaps a little artificially, but it is verified and accurate in movement, capable of "saying about life" more than any other, because it has the least formless, unmade, unsteady chance." The artist was really interested not in the ballet itself, but in the most expressive way of "telling life." After all, each of these SHEETS is, as it were, a lyrical poem dedicated to a poetically valuable movement. The ballerina N. Nadezhdina, who posed for the master for both series, obviously helped him a lot, stopping in those "positions" well studied by her, in which the vital plasticity of the body was revealed most impressively.
The artist's excitement seems to break through the artistic correctness of confident craftsmanship, and then involuntarily transmitted to the viewer. In the same magnificent sketch of a ballerina from the back, the viewer watches with enthusiasm how a virtuoso brush not only depicts, but creates a figure instantly frozen on her toes. Her legs, drawn with two "petals of strokes", easily rise above the fulcrum, higher - like a disappearing penumbra - a wary expansion of a snow-white pack, even higher - after several gaps, giving the picture an aphoristic brevity - an unusually sensitive, or "very hearing", back dancer and no less "hearing" turn of her small head over the wide span of her shoulders.
When Lebedev was photographed at the 1928 exhibition, he seemed to have a promising road ahead of him. Several years of hard work seem to have raised him to the very heights of graphic art. At the same time, both in the children's books of the 1920s and in The Dancers, such a degree of complete perfection was perhaps reached that from these points there was, perhaps, no way of development. And indeed, Lebedev's drawing and, moreover, Lebedev's art reached their absolute pinnacle here. In subsequent years, the artist was very actively engaged in painting, a lot and for many years he illustrated children's books. And at the same time, everything he did in the 1930-1950s could no longer be compared with the masterpieces of 1922-1927, and, of course, the master did not try to repeat his finds left behind. Particularly out of reach not only for the artist himself, but also for all the art of subsequent years, Lebedev's drawings of a female figure remained. If the subsequent era could not be attributed to the decline in drawing from the nude model, it was only because she was not interested in these topics at all. It is only in recent years that a turning point in relation to this most poetic and most creatively noble sphere of drawing seems to be outlined, and if this is so, then V. Lebedev among the draftsmen of the new generation, perhaps, is destined for yet another glory.
Writers illustrating their books (lesson 2)
Target: to give students an idea about book graphics, its features. To acquaint with the work of writers illustrating their works, and with their books, to achieve recognition of their creative manner. To introduce students to the world of lines and colors created by artists, to teach them to see beauty, to increase the level of artistic perception, to enrich their creative imagination and fantasy. Instill a love of reading.
Material and equipment: books with illustrations, TCO - presentation.
During the classes
Slide 1. Epigraph.
"Reading is a second life"
Guys, do you know the writers who illustrated their books?
Students' responses.
Today you will learn a lot of interesting things about the work of these wonderful writers and artists.
Slide 2. Surely, all of you are familiar from early childhood. Evgeny Ivanovich Charushin . He devoted all his work to nature. in the ancient northern city of Vyatka.
The boy grew up near the taiga, and, of course, the house was always full of different animals. Zhenya carried his love for them through his whole life. He grew up, became an artist, and his drawings were inhabited by a variety of animals and birds.
Slide 3. Guys, what is the name of the artist who draws animals? (Animal painter)
That's right, animalist, from the Latin word animal - animal. And Charushin depicted animals in a way that, perhaps, no one before him. He observed animals, often visited the zoo and made many drawings from nature. After all, in order to truly portray an animal, you need to study it well, know not only the appearance of the animal, but also the movements, habits and even character.
Soon, in the children's books of S. Marshak and V. Bianchi, his fluffy little animals appeared - mobile, flexible, wary or trusting and immediately fell in love with the children. Charushin especially liked to draw cubs of various animals - wolf cubs, fox cubs, bear cubs, lion cubs, chickens, kittens.
slide 4. Here are illustrations for the book by S. Marshak "Children in a Cage". These drawings are some of the best works of Charushin (1935). Look at the giraffe, which, funny spreading its thin legs and stretching out its long neck, is trying to reach the flower, exactly like in the poem by S. Marshak:
Picking flowers is easy and simple
Children of small stature.
But to one who is so high
It's not easy to pick a flower!
There is no child!
He ate this morning
Only two such buckets.
Slide 5. Here, look at the amazingly touching teddy bear. He is still so small that many things in nature are unfamiliar to him. But he liked raspberries.
slide 6. And here is the surprised kitten Tyup. He lived at Charushin's house, and he was nicknamed Tyupa because he ridiculously smacked his lips, as if he were talking. Guys, let's read this story. (Reading the story). Look at the illustrations for this story. How accurately the artist depicted a fluffy kitten - Tyupa hid, watching a butterfly, his ears were upright, his eyes were wide open. How much curiosity in his eyes! You can't help but smile when you look at him.
Slide 7. And who do you see in this illustration for the story "Forest Kitten"? (Rysenka)
Now the little lynx is very busy, what do you think he is going to do? (Jump)
That's right, Charushin depicted the pose of the animal in such a way that we immediately understood that the lynx was preparing to jump. And to find out what happened next, you need to read the story.
slide 8. Do you recognize this baby? (It's a wolf cub)
This illustration is for the story "Volchishko". If you carefully consider the drawing, but you can see his frightened eyes, it seems that he is whimpering softly. No, he's not mean at all. He's just small. His wolf mother went hunting, and he was left alone, and he became scared. After reading the story, you can find out what happened to him later.
slide 9. In the book "Big and Small" Yevgeny Ivanovich tells you guys about how animals and birds teach their children to get food, to save themselves (reading the stories "Hares" and "Woodpeckers with chicks").
Slide Get acquainted! This dog's name is Tomka. Do you think he is evil or good? (Students' answers)
The owner loves Tomka very much, because he is an intelligent dog. One hot summer day, Tomka was taken hunting. It was very beautiful and fun on the small lawn: butterflies and dragonflies were flying, grasshoppers were jumping. I wonder if the dog Tomka will be able to catch someone during the hunt or not? And you can find out this, and about other adventures of this cute dog, by reading the stories “About Tomka”.
slide 12. Evgeny Ivanovich Charushin worked a lot with children - he taught them to draw. His son Nikita Charushin, having become an artist, also illustrates children's books. His granddaughter Natasha also became an illustrator.
slide 13. Charushin wrote, as if addressing his young readers: “Enter the world of nature! Enter attentive and inquisitive, kind and courageous. Learn more, learn more. For this we exist, so that nature turns into a great Motherland for you ...
But the Motherland is the smell of pine and spruce, and the aroma of the fields, and the creaking of snow under skis, and the blue frosty sky ... And if all this cannot be expressed in the words of a writer, an artist's brush comes to the rescue.
slide 14. So happily in one person two skills, two talents were combined - a storyteller and a draftsman. And both of them are given to you - children. No wonder the books of Evgeny Ivanovich Charushin have been translated into many foreign languages. And this is a symbol of well-deserved recognition in the world of children's literature. His drawings were exhibited in many cities around the world - London, Copenhagen, Athens, Sofia, Beijing, Paris, etc. For outstanding services in the development of the Soviet visual arts In 1945 he was awarded the title of Honored Artist of the Russian Federation.
After graduating from school, he entered the Civil Engineering Institute, where he managed to complete three courses before the war. In 1941, after completing military engineering courses, he was sent to the front.
slide 38. He graduated from the war with the rank of lieutenant.
After the war, he entered the first year of the art department of the Institute of Cinematographers in the department of animation, from which he graduated with honors.
slide 39. He was sent to the Filmstrip Studio, where he drew 10 filmstrips for children, including The Adventures of Pinocchio (1953) based on a fairy tale.
The hand-drawn image of this wooden man with a sly smile has long won the love of children and has become a classic. It is used in cinema, in the theater, it serves as a model in the manufacture of dolls. The image of Pinocchio has firmly entered the popular consciousness, that few people think about who painted it ...
slide 40. In 1956, the book "The Golden Key or the Adventures of Pinocchio" was published with illustrations by Vladimirsky. And since that time, the artist began to deal only with illustrating books for children.
Slide 41. Do you know that the striped cap and red jacket of Pinocchio were invented by Leonid Vladimirsky? After all, Tolstoy on Pinocchio has a brown jacket, and a cap is completely white. Leonid Viktorovich says that Pinocchio came to him in a dream and asked him to draw a red cap and a red jacket. In order not to “offend” either the writer or the hero, the artist had to make a cap in stripes. Entire generations have become accustomed to this type of Pinocchio.
Slide 42-44. L. Vladimirsky says about his drawings that it is something between a book and a movie. This is a filmstrip on paper. All illustrations are linked. He is first and foremost an animator. Therefore, looking at the pictures, you can easily tell the plot of the book. Let's try…
Slide 45. The second famous work of the artist, which brought him national recognition - illustrations for six fairy tales A. Volkova.
Slide 46. The first book, The Wizard of Oz, was published in 1959. Since then, with drawings by Vladimirsky, it has been reprinted more than 110 times.
And it all started like this ... After Pinocchio, the artist wanted to illustrate some good children's book and he went to the library and asked for something interesting. So Vladimirsky received a small green book, The Wizard of the Emerald City, printed on bad paper and with black-and-white illustrations. Leonid Viktorovich liked the book very much, and he decided to find the writer A. Volkov. It turned out that he lived in the next entrance. With A. Volkov, Vladimirsky created a color book, which was a huge success. The book was simply unobtainable. People stood in queues at night to subscribe to it. The guys took from friends, and copied by hand, copied pictures. Vladimirsky has several such handwritten copies. And then there were letters from children with a request to write a sequel. And so this series was born. For twenty years the writer and artist have worked in perfect harmony.
Slide 47. Here is how the writer A. Volkov assessed the work of the artist: “I can admit that I was lucky: the fairy-tale characters drawn by L. Vladimirsky for my books have become close to millions of young readers. The Straw Man Scarecrow, the Tin Woodman, Ellie and other heroes of my fairy tales, I now imagine exactly as the artist created them.
slide 48. How the images of the Scarecrow and the Tin Woodman were born, the artist himself will tell us: “I came up with hair with a sheaf - this is a good find. At American artists Baum's fairy tales "The Wise Man of Oz" The scarecrow is terrible. They go from his destination. And I - from character. My Scarecrow is kind and cute. It was very difficult to "pick up" his and the Tin Woodman's noses. The American Scarecrow has a hole instead of a nose. Of course, I was indignant and put a patch on this place for him. My scarecrow is small and fat, the Tin Woodman is tall and thin. By contrast. And if one has a patch, then the other should have a long nose. I draw the Lumberjack a long sharp nose - it turns out iron Pinocchio! It was very difficult to find the little round chip that you see on the tip of his nose.”
Slide 49. The artist also suffered with Arachne, the evil sorceress from the Yellow Mist. After all, according to the book, this is a rude, primitive giantess, who let a yellow fog over the Fairyland. Everything that the artist brought and showed, the writer did not like. He said that this is not a sorceress, but Baba Yaga. Trying to “see” this heroine, Leonid Viktorovich traveled all day in the subway, making sketches, sat for hours at train stations ... nothing worked, all the wrong images! And somehow Leonid Viktorovich was going up the stairs in his entrance, and a neighbor was walking towards him. And he understood - here she is Arachne! He immediately took up a pencil, drew and went to the "trial" to Volkov. He liked it and the children saw new book and a new heroine.
Slide 50-51. And for a long time and painfully, Vladimirsky was looking for the image of Lyudmila from the poem "Ruslan and Lyudmila". He painted it for 40 years. And all the time I didn’t like something, I couldn’t find the final version. As a result, I decided that, first of all, Pushkin himself should have liked Lyudmila. The artist put a portrait of Natalie Goncharova, wife of Alexander Sergeevich, in front of him, and, looking at her, he finally painted the same Lyudmila.
Leonid Vladimirsky illustrated many fairy tales.
Slide 52. This is "Three Fat Men" by Y. Olesha,
Slide 53."The Adventures of Petrushka" by M. Fadeeva and A. Smirnov,
Slide 54."Defeated Karabas" E. Danko,
Slide 55. Journey of the Blue Arrow by G. Rodari,
Slide 56."Russian Tales" and many other books.
Until now, we have talked about L. Vladimirsky only as an artist, but he also wanted to become a writer. The mischievous wooden boy Pinocchio is very dear to Vladimirsky and he depicted him many, many times, as soon as a piece of paper falls under his hand, the hand again and again brings out a long nose, a mouth to the ears, a striped cap with a brush ... These drawings have accumulated a whole folder. The restless boy became bored in it. I wanted to get into a beautiful book, and as the artist himself says, he asked Pinocchio to compose a fairy tale for him about his new, very amazing adventures.
Slide 57. So the book "Pinocchio is looking for treasure" was born - a real children's thriller. And then the artist and writer Vladimirsky came up with the idea to introduce Pinocchio to his other favorite hero, the Scarecrow. And how to do it? That's how.
Slide 58. a fairy tale in which he sent dad Carlo, dolls and Artemon to the Magic Land in the Emerald City. When all the characters met there, it turned out that they had a lot in common. IN new fairy tale many miracles happened, which you will learn about by reading this book and looking at the magnificent illustrations.
Slide 59. Leonid Viktorovich is 87 years old, but he is full of energy and creative ideas. He dreams that a cartoon will be made based on his book Pinocchio is looking for a treasure. He is one of the organizers of the All-Russian family club"Friends of the Emerald City", which is now successfully expanding its activities. Vladimirsky has his own website on the Internet.
slide 60. Leonid Viktorovich Vladimirsky - Honored Artist of the Russian Federation, laureate of the All-Russian competition of children's reader's sympathy "Golden Key". In 2006, the artist was awarded the Order of Pinocchio: “For courage and presence of mind shown on the fronts of the Great Patriotic War, for loyalty to the ideals of childhood, for creating the classic image of Pinocchio and works of art educating children with purity of thoughts, inner freedom and self-confidence.
slide 61. The story about this talented person can be ended with his own poems, in which he claims - "Kindness will win."
The final part of the lesson
slide 62. Guys, let's remember what kind of writers who illustrate their books did you meet today at the lesson?
- Which of them can be attributed to animal artists and why?
- Which of the writers-artists you already know is called "Russian Disney" and why?
- What artist came up with the image of Pinocchio in the very form to which we are all so accustomed that we consider it classic?
- Which of them became the founder of the dynasty of illustrators of children's books?
- Name the artist who loved the characters of the two (what?) fairy tales he illustrated so much that he decided to become a writer as well in order to come up with a sequel in which all these characters would meet and make friends (what is the name of this new fairy tale?).
slide 63. Who came up with and drew the comic book about Pif?
slide 64. For a long time, E. Charushin chose his “hunting assistant”. Who did he choose?
slide 65. There are text cards in front of you. These are excerpts from famous work(what and who is the author?). And on the screen are illustrations for these passages. After reading the text, match it with the heroine. What can you tell about each of them? In what order do the witches appear in the book?
Gingema - the rules of the Munchkins in the Blue Country, an evil sorceress.
Villina is a kind sorceress, the ruler of the Yellow Country.
Bastinda - the evil ruler of the Purple Country of Migunov, was afraid of water.
Stella is an eternally young kind sorceress of the Pink Chatterbox Country.
Bibliography
1. Vladimirsky L. Kindness will win!: poems // Chitaika. - 2007. - No. 2. - p. 21
2. Where does Papa Carlo live?: Photo report from the opening of the exhibition // Chitaika. - 2006. - No. 11. - p. 4–5.
3. How the Scarecrow appeared // Chitaika. - 2006. - No. 8. - p. 36–37.
4. Bredikhina E. Book creators: extracurricular reading, fine arts.
6. How old is Pinocchio? The artist is 85 years old. // Murzilka. - 2005. - No. 10. - p. 6–7.
7. Kurochkina about book graphics / . - St. Petersburg: CHILDHOOD-PRESS, 2004. - p. 181–184.
8. Doronova about art: a teaching and visual aid for middle school children preschool age/ . – M.: Enlightenment, 2003.
9. Vladimirsky L. Pinocchio is looking for a treasure / L. Vladimirsky, drawings by the author. - Nazran: "Astrel", 1996. - 120 p.
10. Vladimirsky L. Pinocchio in the Emerald City / L. Vladimirsky, drawings by the author. - Nazran: "Astrel", 1996. - 120 p.
11. Lifesaver for extracurricular reading: Textbook for the second grade of a three-year elementary school / Comp. . Issue. 5. - M.: New school, 1995. - p. 20–22.
12. Valkova house /,. – M.: book chamber, 1990. - p. 64.
13. Animals and birds of Evgeny Charushin: a set of postcards / Auth. text
G. P. Grodnensky. – M.: Soviet artist, 1989.
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