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Yuri Vasnetsov. Pictures from our childhood

Yuri Vasnetsov. Pictures from our childhood

05.11.2021

MINISTRY OF EDUCATION AND YOUTH AFFAIRS OF THE RUSSIAN FEDERATION

PETROZAVODSK PEDAGOGICAL COLLEGE

Preschool department

Essay

Yuri Alekseevich Vasnetsov

Completed:

Irina Vladimirovna Bogomolova

Alena Nikolaevna Gurkova

Anna Valerievna Skrynnik

Natalya Vladimirovna Popova

students 431 groups

Checked:

Dranevich L.V.

PPC teacher

Petrozavodsk 2005

CHAPTER 1 Biography of Yu.A. Vasnetsov………………………………………..3-5

CHAPTER 2 Features of the image of Vasnetsov's illustrations……………6-7

CONCLUSION.………………………………………………………...................................8

APPENDIX…………………………………………………………………9-12

LIST OF USED LITERATURE……………………………13

CHAPTER 1 Biography of Yu.A. Vasnetsov

Yu.A. Vasnetsov was born (1900 - 1973) in Vyatka, in the family of a Vyatka priest, he was distantly related to Viktor and Apollinary Vasnetsov. Mother knitted, embroidered, wove lace. The combination of cream, marsh greens, pale blue in lace could serve as a lesson to the young painter. Paternal influence is different: character is perseverance, in any business go to the end, be faithful, true to the word. Sisters - from them kindness, sacrifice, love. All roads for Yurochka. But he also gave, loved passionately. Kolya Kostrov, Zhenya Charushin are lifelong artist friends in Vyatka and Leningrad. With Arkady Rylov, an academician (student of Kuindzhi), Yuri wrote sketches as a boy, and then studied in his workshop at the Academy.

Obsessed with the desire to become an artist, he arrived in Petrograd in 1921 and entered the painting department of the State Art Museum (later VKHUTEMAS), studied with A.E. Kareeva, M.V. Matyushkina, K.S. Malevich and N.A. Tyrsy; successfully completed his studies in 1926. Matyushin's most interesting thing is color. You write a Christmas tree in the sunset sky, so you need to find a beautiful third color and lay it between the object and the environment so that all three colors play. And although materiality, objectivity, play with form, with the texture of the picturesque, Yuri studied in graduate school with Malevich, he never forgot Matyushinsky color-cohesion. In the best children's illustrations and in painting, of course, he used the principles of the Matyushin school.

In the 1930s he was famous for illustrations for the books “Swamp”, “Humpbacked Horse” (see appendix) by P. P. Ershov, “Fifty Little Pigs”, “The Stolen Sun” by K. I. Chukovsky, “Three Bears” by L. I. Tolstoy. At the same time, he made excellent - smart and exciting - lithographic prints for children, based on the same plot motifs.

During the war years, spent first in Molotov (Perm), then in Zagorsk (Sergiev Posad), where he was the chief artist of the Toy Institute, Vasnetsov performed poetic illustrations for "English Folk Songs" by S. Ya. Marshak (1943), and then to his own book "Cat's House" (1947). A new success brought him illustrations for the folklore collections "The Miraculous Ring" (1947) and "Fables in the Faces" (1948). Vasnetsov worked extraordinarily intensively, many times varying the themes and images dear to him. The well-known collections "Ladushki" (1964) and "Rainbow-Arc" 1969 (see Appendix) became a kind of result of his many years of activity. Vasnetsov's bright, entertaining and witty drawings have found perhaps the most organic embodiment of Russian folklore, more than one generation of young readers have grown up on them, and he himself was recognized as a classic in the field of children's books during his lifetime.

Meanwhile, book graphics was only one side of his work. The main goal of Vasnetsov's life was always painting, and he went to this goal with fanatical persistence: he worked independently, studied under the guidance of K. S. Malevich in Ginkhuk, and studied postgraduate studies at the All-Russian Academy of Arts.

In 1932-34. he finally created several works ("Lady with a Mouse", "Still Life with a Chess Board" (see appendix), etc.), in which he proved himself to be a very great master who successfully combined the refined pictorial culture of his time with the tradition of folk "bazaar" art, which he appreciated and loved. But this later self-confidence coincided with the campaign against formalism that had begun at that time. Fearing ideological persecution (which had already touched his book graphics), Vasnetsov made painting a secret occupation and showed it only to close people.

CHAPTER 2 Features of the image of Vasnetsov's illustrations

Yuri Alekseevich Vasnetsov created a bright, unique miter of fairy-tale images, close and understandable to every child.

The thoughtful forest region where the artist was born and grew up, childhood impressions of the Whistlers toy fair with elegant Dymkovo lady dolls, painted bright roosters, and horses had a noticeable influence on his work. Many characters in Yu.A. Vasnetsov are similar to the images born of folk fantasy. For example, the horses in the illustrations for the nursery rhymes "Ivanushka" and "Horse" are very similar to the Dymkovo horse.

The closer you get acquainted with the works of Vasnetsov, the more you admire the richness of his creative imagination: the artist painted so many animals and they are all very different. Everyone has their own character, their own manner of behavior, their own style of dress. In the illustration for the nursery rhyme "Mice", Yuri Alekseevich depicted a round dance of nineteen mice: the mouse girls have bright skirts decorated with stripes, and the boys have multi-colored shirts with buttons.

A lot of fun fiction, games were introduced by the artist in the illustrations for the nursery rhyme "Kisonka". The Fairy Windmill is very decorative. It is decorated with arcs, dots, wavy and broken lines. The wings of the windmill are woven from old light shingles. A cute little mouse lives in the mill. He climbed onto the windowsill and looks out the window with interest. Amazing magical flowers grow around the mill, which are so beautifully lit by the sun. Kisonka put the gingerbread cookies into a large wicker basket. Gingerbread cookies are white, with beautiful patterns and very appetizing! Despite the fact that the nursery rhyme says nothing about whom Kisonka met along the way, the artist himself invented and depicted this meeting.

Yu.A. Vasnetsov color. Often, it exudes joy from him. And in the illustrations for the nursery rhymes “Hop-Hop” and “Horse”, the bright yellow background not only conveys a picture of a warm sunny day, but also enhances the perception of the images created by the artist. On a yellow background, dark brown figures of baby squirrels are clearly visible, importantly walking along the bridge. Thanks to the light background, we see their fluffy fur, admire the tassels on their ears.

Although the drawings by Yu.A. Vasnetsov's birds and animals look like toys, but at the same time they are very original and expressive. Fairy-tale images, born of the artist's imagination, are close and understandable to children, because he has found an art form that most closely matches the characteristics of children's perception.

A born artist appears to the world with his own language and theme. When Yuri Vasnetsov was asked what his favorite colors were, he answered unexpectedly: “I love black paint, it helps contrast. Ocher is like gold. I like the English red for the materiality of the color.” That's right, these are paints, in ancient Russian icons denoting divine energy. The concept of the strength and materiality of the energy flow entered the subconscious of the artist in the temple while contemplating the icons: his father served in the Cathedral of Vyatka. Yuri Vasnetsov did not like to theorize, but, taking painting seriously, thoughtfully, he intuitively and experimentally went to the concept of “color tone” (tone - tension), achieving lighting effects not plein air or impressionistic, but making the very flesh of painting, texture, material shine. - colored pencil, watercolor, gouache, oil. Its color spot is consistent with the strength of light with its neighbors and the color is born deaf, velvety, restrained, open, bright, contrasting, different, but always harmonious.

CONCLUSION.

Yu.A. Vasnetsov is a wonderful artist - a storyteller. Kindness, calmness, humor are characteristic of his work. His drawings are always a feast for the little ones and the big ones. This is a master closely and organically connected with the traditions of Russian folk art and at the same time enriched with the experience of modern fine arts. The originality of Vasnetsov is that the themes of his paintings and drawings are deeply rooted in national folklore.

In his drawings for children Yu.A. Vasnetsov skillfully combined fairy tale and reality. And no matter what happens in these illustrations, it is always something good and bright, which neither children nor adults want to part with. In Vasnetsov's illustrations, as in the soul of a child, there lives an ingenuous perception of the world, brightness and spontaneity, so for children they are as if taken for granted, their own, familiar. For an adult, these drawings are a long-forgotten happiness to plunge into a joyful, naive, benevolent world, where the round-eyed hare dances so selflessly, the lights in the huts burn so comfortably, the magpie hosts homely, where the mice are not afraid of the cat, and the cat is not going to eat them, where such a round and elegant sun, such a blue sky, clouds that look like fluffy pancakes.

In his landscapes and still lifes, emphatically unpretentious in their motives and extremely sophisticated in terms of pictorial form, he achieved impressive results, reviving the traditions of Russian primitivism in a peculiar way. But these works were practically unknown to anyone. Only a few years after the death of the artist, his paintings were shown to the audience at an exhibition in the State Russian Museum (1979), and it became clear that Vasnetsov was not only an excellent book graphic artist, but also one of the outstanding Russian painters of the 20th century. Everything in the illustrations and paintings by Vasnetsov is chosen and taken from life. Life is a fairy tale. When Vasnetsov was asked about the most expensive gift he had received, he answered: "Life, life given to me." Yuri Alekseevich Vasnetsov died in 1973 in Leningrad.

APPLICATION:

Illustration for the fairy tale by P. P. Ershov "The Little Humpbacked Horse". 1935

Illustration for the book "Rainbow-arc. Russian folk songs, nursery rhymes, jokes". 1969

Still life with a chessboard. 1926-28. Oil

Mouse lady. 1932-34. Oil

Teremok. 1947. F., m

Illustration for "The Stolen Sun" by K. Chukovsky. 1958

Illustration for "Rainbow-Arc", a collection of Russian folk songs, nursery rhymes, jokes. 1969

LIST OF USED LITERATURE:

1. Doronova T.N. preschoolers about the artists of the children's book. M.: Education, 1991. - 126 p.

2. Kurochkina N.A. Children about book graphics. St. Petersburg: Accident, 1997. - 190 p.

"As a child, my mother read all the books, fairy tales. And the nanny too. The fairy tale entered me ...
The publisher gives me the text. I take the one I like. And it happens that there is no fairy tale in it. It happens that it is only four or even two lines, and you can’t make a fairy tale out of them. And I'm looking for a fairy tale ... I always remember for whom the book will be. " Yu. Vasnetsov

One example of a combination of a book of remarkable quality + competent popularization of creativity and preservation of heritage is the books about Yuri Alekseevich Vasnetsov, which are published by his daughter Elizaveta Yuryevna Vasnetsova.

A long time ago, I showed the first book from the Vasnetsov series "Unknown Yuri Vasnetsov". She came out in 2011. A year later, a sequel was released: "The Famous Yuri Vasnetsov"!

"Famous Yuri Vasnetsov". Materials for the biography of the great artist. 106 lifetime editions: description, official press, feedback from readers and colleagues. Pskov regional printing house, 2012. 480 p. Under the general editorship of E.Yu. Vasnetsova.

The publisher's preface is so good that I feel sorry for quoting it. Let it be in full:

"This book is nostalgia. For all forty- and other-year-olds who carefully keep their children's books, books of their parents, grandparents; for collectors, in search of Detgiz masterpieces, spend hours on the Internet and spend time in second-hand bookshops. Children's thin book - a perishable product. It has multi-million copies, a penny price. Getting into children's hands, the book deteriorates, is torn, dirty, read out and rarely survives to children's children. In the "dashing" seventies and eighties of the XX century, books of our childhood, along with the magazines "Murzilka" and "Funny Pictures", tied with twine, are weighed on a scale and go for processing for the so-called waste publications. Masterpieces survived. Who among us did not have "The boat floats and floats" with drawings by Konashevich, "The Stolen Sun" with drawings by Vasnetsov, " Luggage" with illustrations by Lebedev! And who kept them? Do you remember the series "Kindergarten Library"? How many good, beautifully designed books there were! What a wonderful format, what colors, what paper!

And what great artists! People related to printing understand that what was printed on captured post-war equipment cannot be repeated on ultra-modern Japanese-German machines. The colors have changed, the paper has changed, the attitude towards the book has changed. All in the past. This book is dedicated to the work of one of the best children's book illustrators of the 20th century, Yuri Vasnetsov. We were prompted to work by a recently published book - materials for the biography of the great artist "Unknown Yuri Vasnetsov". Since the title of the book was somewhat provocative, since the name of the artist is widely known, we had no choice but to name ours - "Famous Yuri Vasnetsov", especially since this is a book about books, the first attempt in domestic book science to systematize the work of Yuri Vasnetsov as an illustrator of children's books. (A story about Yuri Vasnetsov, a painter, creator of a series of magnificent prints and author of drawings in the children's magazines Murzilka, Funny Pictures, Bonfire, is in the future.) This publication, as we see it, is the first attempt to systematize all the work of one artist - from the first edition, the book "Karabash" in 1929, to the last lifetime edition, "What are we doing" in 1973. The publishers conscientiously collected all that they could find, but they rightly believe that there may be editions of the period of the Great Patriotic War, editions of the 20-30s that we did not take into account. We will be grateful for the help of bibliographers and collectors - for additions, corrections and any information about unknown facts and lifetime editions of Yuri Vasnetsov. The appearance of such masterpieces of illustration as "The Stolen Sun", "Three Bears", "Cat's House" and so on and so forth could not have taken place without a brilliant environment - his artist friends and teachers in creating a children's illustrated book: V. Lebedev , V. Konashevich, V. Tambi, V. Kurdov, A. Pakhomov, E. Charushin, N. Tyrsa. I would like to think that we will set an example for our colleagues to issue publications of this kind about the work of artists of the golden age of children's illustrated books. The history of the children's book of the XX century is waiting for its Karamzin. We publish materials for the biography of only one of the artists. The principle of publication is as follows:

A scientific description is given, the cover is reproduced, the back (as a rule, if it contains a drawing element);
- the best, in our opinion, illustrations are given, as well as
- sketches, sketches, drawings;
- the most striking critical articles are published, including abusive articles of the 30s and 40s;
- in addition, photographs are published;
- letters, memoirs, business documents related to the publishing process. Mostly previously unpublished materials were selected. In order not to complicate the reading process, not all illustrations are provided with captions. In the Lifetime Editions section, which contains obligatory elements - cover, back, title page, illustrations from a particular book, these elements are given without signatures. For the rest of the illustrations - photographs, sketches, letters, objects of applied art and others - signatures are given. A bibliographic list of sources used with an extended description is presented in chronological order at the end of the publication. Intratext and subscript references to sources are given in abbreviated form.

The publishers express their gratitude to the keepers of the family archive - daughters Elizaveta Yuryevna and Natalya Yuryevna Vasnetsov, the library of the publishing house "Young Guard" and personally E.I. Ivanova and L.V. Petrov, as well as S.G. Kosyanov for help in publishing this book.

Let's look at the book first. Horizontal layout, fabric binding, lace. The cover is fully consistent with the style of the series.

Vasnetsov's relief drawing on fabric: The Little Humpbacked Horse

And the endpapers are very entertaining: they show a fragment of a tapestry from an unidentified factory based on illustrations by Yu. Vasnetsov. Counterfeit product of the early 21st century!

From the publisher
Erast Kuznetsov "About the book graphics of Yuri Vasnetsov"
Elizaveta Vasnetsova "How dad worked on the book"
Lifetime editions (main part of the book from pp. 49-419)
Key dates of life and creativity
List of lifetime publications
Valentin Kurbatov "Knocking, strumming down the street..."

First, about what is around. Around lifetime publications - a lot of interesting things! Photos published for the first time, and not ceremonial portraits, which are easy to insert into any publication, even in an article in a magazine, even in a book. And these are momentary, random, which, it seems, are not suitable as a "title photo", but for those who cherish any grain of information and memory about the artist, these photographs will bring joy, they fit perfectly here in the accompanying materials - that's how this picture of 1960- X

or a photo from a small home feast (not noisy Vasnetsov festivities, but together with Vladimir Vasilyevich, modestly. And then a masterpiece artistic telegram to the hero of the day from the Lebedevs:

Elizaveta Vasnetsova's articles are richly illustrated with archival materials: photographs, documents, sketches, sketches. For example, here are sketches for S. Marshak's book "English Folk Songs", 1943

and here is a sketch for it - and an excerpt from such a warm and sincere article by Elizabeth Yuryevna "How dad worked on a book"

Or a "storyboard" of the illustration "A ship runs across the blue sea" for the book "Rainbow-arc" 1965-1968: first, a sketch of the illustration (glass, watercolor, whitewash)

then a drawing (paper, graphite pencil)

and then the illustration itself (paper, watercolor, whitewash, ink)

Well, now the main part of the book is a reproduction of 106 lifetime editions, accompanied by press clippings, responses from readers and colleagues, as well as numerous additional materials. From the very first book "Karabash" to the last lifetime. The career path of the artist from 1929 to 1973, almost half a century!

Finally, there is an opportunity to look at the fantastic book "Swamp", which Erast Davydovich Kuznetsov spoke about so temptingly in "The Bear is flying, wagging its tail":

"... The book" Swamp "was published in 1931 - the third, but I want to consider it the first, because Vasnetsov, of course, did not begin with" Karabash "and not with" How Dad Shot My Ferret ", namely with" Swamp " .<...>

In fact, this book is strange, some kind of monster, if you look at it with an open mind. Do not compare with either the first or the second - all of it is awkward and awkward. It is not clear what she is talking about and why. Doesn't fit into any genre. The language does not dare to rank it among the "informative books from the life of nature": the pictures are not very clear, mixed, confused.<...>

Many wrote with admiration about the originality of the "Bolot". This admiration can be understood by anyone who was lucky enough to see Vasnetsov's drawings at one of his exhibitions or in the funds of the Russian Museum, where they are stored, and appreciate their rare pictorial wealth - the richness of color, the richness of texture.

Each book has a cover, back

Sometimes - inside pages, sometimes - additional materials - sketches

toys and objects that Yuri Alekseevich held in his hands

the artist's work is very interesting: for example, on the illustration page for the book "Shah-Rooster"

there are sketches of the artist: it is known that when Vasnetsov illustrated folk tales, he worked very carefully in museums and libraries, studied ethnographic sources

The imprint and description are very complete: even information is included where the book was printed

In conclusion, I would like to draw your attention to the very important words from the publishers' preface: "I would like to think that we will set an example for our colleagues to publish publications of this kind about the work of artists of the golden age of children's illustrated books. The history of children's books of the 20th century is waiting for its Karamzin. We publish materials to the biography of only one of the artists". I liked that the publishers are so welcoming to share their thoughts and invite everyone to follow them and start releasing similar books about other masters of the book. It's great that they don't put a bold sign of a patent and copyright on their idea of systematizing the artist's publications.

A wonderful book, thanks to Elizaveta Yurievna Vasnetsova!

January 3, 2016, 07:09

Yuri Alekseevich Vasnetsov (1900-1973) - Russian Soviet artist; painter, graphic artist, theater artist, illustrator. Laureate of the State Prize of the USSR (1971).

Born March 22 (April 4), 1900 (old style) in the family of a priest in Vyatka (now the Kirov region). His father served in the cathedral in Vyatka. A distant relative of the artists A. M. Vasnetsov and V. M. Vasnetsov and the folklorist A. M. Vasnetsov. From his youth, and throughout his life, he was friendly with artists born in Vyatka and later living in St. Petersburg, Evgeny Charushin.

In 1919 he graduated from the Unified School of the second stage (the former Vyatka First Men's Gymnasium).

In 1921 he moved to Petrograd. He entered the painting faculty of Vkhutein, then - PGSHUM, where he studied for five years, with teachers A. E. Karev, A. I. Savinov. Vasnetsov wanted to be a painter, and sought to acquire all the skills necessary to work in painting. From the experience of his teachers, Vasnetsov did not adopt anything that would have influenced him as a painter - with the exception of the influence of M. V. Matyushin, from whom he did not directly study, but was familiar with him through his artist friends N. I. Kostrov , V. I. Kurdova, O. P. Vaulin. Through them, he got an idea of Matyushin's theory, and got acquainted with the "organic" trend in Russian art, the closest to his natural talent.

In 1926, at VKhUTEIN, the course the artist studied at was released without defending a diploma. In 1926-27. for some time he taught fine arts at the Leningrad school number 33.

In 1926-1927. together with the artist V. I. Kurdov, he continued his studies in painting at GINKhUK under K. S. Malevich. He was admitted to the Department of Painting Culture, led by Malevich. He studied the plasticity of cubism, the properties of various pictorial textures, created "material selections" - "counter-reliefs". The artist spoke about the time of his work in GINHUK: “All the time the development of the eye, form, construction. I liked to achieve materiality, the texture of objects, colors. See color! The work and study of Vasnetsov with K. S. Malevich in GINKHUK lasted about two years; during this time, the artist studied the significance of pictorial textures, the role of contrast in the construction of form, the laws of plastic space.

Paintings made by Vasnetsov during this period: counter-relief "Still life with a chessboard", 1926-1927; "Cubist composition", 1926-28, "Composition with a pipe" 1926-1928; "Still life. In the workshop of Malevich" 1927-1928; "Composition with Violin" 1929, and others.

In 1928, the art editor of the Detgiz publishing house, V. V. Lebedev, attracted Vasnetsov to work on a children's book. The first books illustrated by Vasnetsov are "Karabash" (1929) and "Swamp" by V. V. Bianki (1930)

In the design of Vasnetsov, many books for children were repeatedly published in mass editions - "Confusion" (1934) and "The Stolen Sun" (1958) by K. I. Chukovsky, "Three Bears" by L. N. Tolstoy (1935), "Teremok" (1941) and “Cat’s House” (1947) by S. Ya. Marshak, “English Folk Songs” translated by S. Ya. Marshak (1945), “Cat, Rooster and Fox. Russian Fairy Tale (1947) and many others. He illustrated The Little Humpbacked Horse by P. P. Ershov, books for children by D. N. Mamin-Sibiryak, A. A. Prokofiev and other publications. Vasnetsov's children's books have become classics of Soviet book art.

In the summer of 1931, together with his Vyatka relative, artist N. I. Kostrov, he made a creative trip to the White Sea, to the village of Soroki. Created a cycle of paintings and graphic works "Karelia".

In 1932 he became a member of the Leningrad branch of the Union of Soviet Artists.

In 1934 he married the artist Galina Mikhailovna Pinaeva, in 1937 and 1939 his two daughters, Elizaveta and Natalya, were born.

In 1932 he entered graduate school at the painting department of the All-Russian Academy of Arts, where he studied for three years. In the thirties, Vasnetsov's painting reaches a high level of skill, acquires an original, unique character, not similar to the work of artists close to him. His painting of this time is compared with the works of V. M. Ermolaeva and P. I. Sokolov - in terms of the strength and quality of painting, in terms of the organic element of color: "Vasnetsov preserved and increased the achievements of the original national pictorial culture."

In 1932-1935. Vasnetsov painted the canvases “Still Life with a Hat and a Bottle”, “Miracle Yudo Fish Kit” and other works. In some of these works - "Lady with a Mouse", "Church Warden" - there is an image of merchant-petty-bourgeois Russia, well known to the artist, comparable to the images of merchants in A. Ostrovsky and B. Kustodiev. Some researchers (E. D. Kuznetsov, E. F. Kovtun) attribute these works to the top achievements in the artist's work

In 1936, he designed for the Bolshoi Drama Theater in Leningrad costumes and scenery for the play based on M. Gorky's play "The Petty Bourgeois". In 1938-40. worked in the experimental lithographic workshop at the Leningrad Union of Artists. Author of greeting cards (1941-1945).

Vasnetsov's pre-war and post-war style in book graphics was created under the pressure of ideological circumstances.

"Having survived the stubborn pressure of socialist realism, Vasnetsov replaced it with a style associated with Russian folk art, in any case, it was thought so, although it had a lot from the market sample. Some stylization turned out to be acceptable. Understandable and not related to formalism, it was not perceived conditionally .. Folk, market embroidery All this, together with the real landscape, gradually relieved him of the nickname of a formalist.

In 1941 he was a member of the "Combat Pencil" group of artists and poets. At the end of 1941 he was evacuated to Perm (Molotov). In 1943 he moved from Perm to Zagorsk. He worked as the chief artist of the Toy Research Institute. Created a series of landscapes of Zagorsk. At the end of 1945 he returned to Leningrad.

In 1946 he received the title of Honored Artist of the RSFSR.

In 1946, in the summer, he created a number of landscapes of Sosnovo, in 1947-1948. - Mill Creek, in 1949-1950. Siverskaya, in 1955 - Mereva (near Luga), in 1952 he painted a number of Crimean landscapes, in 1953-54. paints Estonian landscapes. Since 1959, he has been annually going to the dacha in Roschino and painting views of the surroundings.

From 1961 until the end of his life he lived in house number 16 on Pesochnaya Embankment in St. Petersburg.

In 1966 he received the title of People's Artist of the RSFSR.

In 1971, Vasnetsov was awarded the State Prize of the USSR for two collections of Russian folk tales, songs, riddles "Ladushki" and "Rainbow-Arc". In the same year, the cartoon "Terem-Teremok" was filmed based on his drawings.

Paintings of the 1960s and 70s - mainly landscapes and still lifes ("Still Life with Willow", "Flowering Meadow", "Roshchino. Cinema" Change "). Throughout his life, Vasnetsov worked in painting, but due to accusations of formalism, he did not exhibit his works. They were presented at exhibitions only after his death.

Vasnetsov Yuri Alekseevich (1900-1973)- graphic artist, painter, People's Artist of the RSFSR (1966). Studied at the Academy of Arts (1921-26) under A.E. Kareva, K.S. Petrova-Vodkina, N.A. Tyrsy.

Vasnetsov's work is inspired by the poetics of Russian folklore. The most famous were illustrations for Russian fairy tales, songs, riddles (“Three Bears” by L. N. Tolstoy, 1930; collection “The Miracle Ring”, 1947; “Fables in the Faces”, 1948; “Ladushki”, 1964; arc”, 1969, State Project of the USSR, 1971). Created separate color lithographs ("Teremok", 1943; "Zaikin's hut", 1948).

After the death of Vasnetsov, his exquisite pictorial stylizations in the spirit of the primitive became known (“Lady with a Mouse”, “Still Life with a Hat and a Bottle”, 1932-1934)

Word to the artist Vasnetsov Yu.A.

“I am so grateful to Vyatka - my homeland, childhood - I saw beauty!” (Vasnetsov Yu.A.)
“I remember spring in Vyatka. Streams flow, as stormy as waterfalls, and we, guys, let the boats go ... In the spring, a fun fair was opened - Whistler. At the fair, elegant, fun. And what is there! Clay dishes, pots, krinki, jugs. Homespun tablecloths with all sorts of patterns ... I was very fond of Vyatka toys made of clay, wood, plaster horses, cockerels - everything is interesting in color. Carousels at the fair are all in beads, all in sparkles - geese, horses, carriages, and the accordion is sure to play ”(Vasnetsov Yu.A.)
“Draw, write what you like. Look around more ... You can’t say everything terribly, draw it. When a lot of something is done, drawn, then naturalism arises. Let's say a flower. Take it, but recycle it - let it be a flower, but different. Chamomile is not a chamomile. I like forget-me-nots for their blueness, a yellow spot in the middle. Lilies of the valley ... When I smell them, it seems to me that I am a king ... ”(Vasnetsov Yu.V. From advice to young artists)
(Vasnetsov Yu.A.)
“In my drawings, I try to show a corner of the beautiful world of my native Russian fairy tale, which brings up in children a deep love for the people, for our Motherland and its generous nature” (Yu.A. Vasnetsov)
When asked what was the most expensive gift he received, the artist replied: “Life. Life given to me"

Yuri Vasnetsov was born on April 4, 1900 in the ancient city of Vyatka, in the family of a priest. Both his grandfather and his father's brothers belonged to the clergy. Yu.A. Vasnetsov was distantly related to Viktor and Apollinary Vasnetsov. The large family of Father Alexy Vasnetsov lived in a two-story house at the cathedral, where the priest served. Yura was very fond of this temple - the cast-iron tiles of its floor, rough so that the foot would not slip, a huge bell, an oak staircase that led to the top of the bell tower ...

The artist absorbed his love for the flowery folk culture in his native old Vyatka: “I still live by what I saw and remembered in childhood.”
The entire Vyatka province was famous for handicrafts: furniture, chest, lace, toys. Yes, and mother Maria Nikolaevna herself was a noble lace embroiderer, well-known in the city. In the memory of little Yura, towels embroidered with roosters, and painted boxes, multi-colored clay and wooden horses, lambs in bright pants, lady dolls - "painted from the heart, from the soul" will remain in the memory of little Yura for the rest of his life.

As a boy, he himself painted the walls of his room, shutters and stoves in the houses of his neighbors with bright patterns, flowers, horses and fantastic animals and birds. He knew and loved Russian folk art, and this later helped him to draw his amazing illustrations for fairy tales. And the costumes that were worn in his native northern regions, and the festive attire of horses, and the wooden carvings on the windows and porches of the huts, and the painted spinning wheels and embroideries - everything that he saw from an early age was useful to him for fabulous drawings. As a child, he liked all kinds of manual labor. He sewed boots and bound books, loved to skate and fly a kite. Vasnetsov's favorite word was "interesting."

After the revolution, all the families of priests, including the Vasnetsov family (mother, father and six children), were literally evicted to the streets. “... Father no longer served in the cathedral, which was closed ... and he didn’t serve anywhere at all ... He would have to cheat, lay down his dignity, but then a meek firmness of spirit was revealed: he continued to walk in a cassock, with a pectoral cross and with long hair, ”recalled Yuri Alekseevich. The Vasnetsovs wandered around strange corners, and soon bought a small house. Then I had to sell it, they lived in a former bathhouse ...
Yuri went to seek his fortune in Petrograd in 1921. He dreamed of becoming an artist. Miraculously, he entered the painting department of the State Art Museum (later Vkhutemas); successfully completed his studies in 1926.

His teachers were the noisy metropolitan Petrograd itself with its European palaces and the Hermitage full of world treasures. They were followed by a long line of many and varied teachers who opened the world of painting to the young provincial. Among them were the academically trained Osip Braz, Alexander Savinov, the leaders of the Russian avant-garde Mikhail Matyushin, the Suprematist Kazimir Malevich. And in the "formalist" works of the 1920s, the individual characteristics of Vasnetsov's pictorial language testified to the extraordinary talent of the novice artist.

In search of a job, the young artist began to collaborate with the department of children's and youth literature of the State Publishing House, where, under the artistic direction of V.V. Lebedev happily found himself in the interpretation of the themes and images of Russian folklore - fairy tales, in which his natural craving for humor, grotesque and good irony was best satisfied.
In the 1930s he was brought fame by illustrations for the books "Swamp", "Humpbacked Horse", "Fifty Pigs" by K.I. Chukovsky, "Three Bears" L.I. Tolstoy. At the same time, he made excellent - smart and exciting - lithographic prints for children, based on the same plot motifs.

The artist made amazing illustrations for Leo Tolstoy's fairy tale "Three Bears". A big, scary, like an enchanted forest, and a bear's hut are too big for a little lost girl. And the shadows in the house are also dark, creepy. But then the girl ran away from the bears, and the forest immediately brightened in the picture. So the artist conveyed the major mood with paints. It is interesting to watch how Vasnetsov dresses his heroes. Elegant and festive - the nurse mother goat, mother cat. He will definitely give them colored skirts in frills and lace. And he will regret the offended Fox Bunny, put on a warm jacket. Wolves, bears, foxes, which prevent good animals from living, the artist tried not to dress up: they did not deserve beautiful clothes.

So, continuing the search for his path, the artist entered the world of children's books. Purely formal searches gradually gave way to folk culture. The artist increasingly looked back at his "Vyatka" world.
A trip to the North in 1931 finally convinced him of the correctness of the chosen path. He turned to folk sources, already experienced in the intricacies of the modern pictorial language, which gave rise to the phenomenon that we can now call the phenomenon of painting by Yuri Vasnetsov. The still life with a large fish fully testifies to the new bright trends in the works of Vasnetsov.

On a small red tray, crossing it diagonally, lies a large fish sparkling with silver scales. The peculiar composition of the picture is akin to a heraldic sign and at the same time a folk rug on the wall of a peasant hut. With a dense viscous colorful mass, the artist achieves an amazing credibility and authenticity of the image. The external oppositions of the planes of red, ocher, black and silver-gray are tonally balanced and give the work a feeling of monumental painting.

So, book illustrations were only one side of his work. The main goal of Vasnetsov's life has always been painting, and he went to this goal with fanatical persistence: he worked independently, studied under the guidance of K.S. Malevich in Ginkhuk, studied in graduate school at the All-Russian Academy of Arts.

In 1932-34 he finally created several works (“Lady with a Mouse”, “Still Life with a Hat and a Bottle”, etc.), in which he proved himself to be a very great master who successfully combined the refined pictorial culture of his time with the tradition of folk “bazaar” art, which he appreciated and loved. But this later self-confidence coincided with the campaign against formalism that had begun at that time. Fearing ideological persecution (which had already touched his book graphics), Vasnetsov made painting a secret occupation and showed it only to close people. In his landscapes and still lifes, emphatically unpretentious in their motives and extremely sophisticated in terms of pictorial form, he achieved impressive results, reviving the traditions of Russian primitivism in a peculiar way. But these works were practically unknown to anyone.

Vasnetsov's bright, entertaining and witty drawings have found perhaps the most organic embodiment of Russian folklore, more than one generation of young readers have grown up on them, and he himself was recognized as a classic in the field of children's books during his lifetime. In a Russian folk tale, everything is unexpected, unknown, incredible. If it's scary, then it's trembling, if joy is a feast for the whole world. So the artist makes his drawings for the book "Rainbow-Arc" bright, festive - either a blue page with a bright rooster, or a red one, and on it a brown bear with a birch staff.

The difficult life of the artist left an indelible mark on his relationship with people. Usually gullible and gentle in character, already being married, he became unsociable. He did not exhibit anywhere as an artist, he did not perform anywhere, referring to the upbringing of two daughters, one of whom, the eldest, Elizaveta Yurievna, would later become a famous artist.
Leaving home, relatives, even for a short time, was a tragedy for him. Any parting with the family was unbearable, and the day when they had to set off was a ruined day.
Before leaving the house, Yuri Alekseevich even let out a tear from chagrin and anguish, but he did not forget to put some gift or a cute trinket under the pillow for everyone. Even friends waved their hand at this homebody - a man for great art was gone!

Fairy tales remained a favorite reading of Yuri Alekseevich until old age. And my favorite pastimes are painting still lifes, landscapes with oil paints, illustrating fairy tales, and in the summer fishing on the river, always with a bait.
Only a few years after the death of the artist, his paintings were shown to the audience at an exhibition in the State Russian Museum (1979), and it became clear that Vasnetsov was not only an excellent book graphic artist, but also one of the outstanding Russian painters of the 20th century.

Vasnetsov Yuri Alekseevich (1900-1973)- graphic artist, painter, People's Artist of the RSFSR (1966). Studied at the Academy of Arts (1921-26) under A.E. Kareva, K.S. Petrova-Vodkina, N.A. Tyrsy.

Vasnetsov's work is inspired by the poetics of Russian folklore. The most famous were illustrations for Russian fairy tales, songs, riddles ("Three Bears" by L. N. Tolstoy, 1930; collection "The Miracle Ring", 1947; "Fables in the Faces", 1948; "Ladushki", 1964; arc", 1969, State Project of the USSR, 1971). He created separate color lithographs ("Teremok", 1943; "Zaikin's hut", 1948).

After the death of Vasnetsov, his exquisite pictorial stylizations in the spirit of the primitive became known ("Lady with a Mouse", "Still Life with a Hat and a Bottle", 1932-1934)

Word to the artist Vasnetsov Yu.A.

“I am so grateful to Vyatka - my homeland, childhood - I saw beauty!” (Vasnetsov Yu.A.)
“I remember spring in Vyatka. Streams flow, as stormy as waterfalls, and we, guys, let the boats go ... In the spring, a fun fair opened - Whistleblower. At the fair, elegant, fun. And what is there! Clay dishes, pots, krinki, jugs. Homespun tablecloths with all sorts of patterns... I was very fond of Vyatka toys made of clay, wood, plaster horses, cockerels - everything is interesting in color. Carousels at the fair are all in beads, all in sparkles - geese, horses, carriages, and the accordion is sure to play ”(Yu.A. Vasnetsov)
“Draw, write what you like. Look around more ... You can’t say everything terribly, draw it. When a lot of something is done, drawn, then naturalism arises. Let's say a flower. Take it, but recycle it - let it be a flower, but different. Chamomile is not a chamomile. I like forget-me-nots for their blueness, a yellow spot in the middle. Lilies of the valley ... When I smell them, it seems to me that I am a king ... ”(Vasnetsov Yu.V. From advice to young artists)
(Vasnetsov Yu.A.)
“In my drawings, I try to show a corner of the beautiful world of my native Russian fairy tale, which brings up in children a deep love for the people, for our Motherland and its generous nature” (Yu.A. Vasnetsov)
When asked what was the most expensive gift he received, the artist replied: “Life. Life given to me"

Yuri Vasnetsov was born on April 4, 1900 in the ancient city of Vyatka, in the family of a priest. Both his grandfather and his father's brothers belonged to the clergy. Yu.A. Vasnetsov was distantly related to and. The large family of Father Alexy Vasnetsov lived in a two-story house at the cathedral, where the priest served. Yura was very fond of this temple - the cast-iron tiles of its floor, rough so that the foot would not slip, a huge bell, an oak staircase that led to the top of the bell tower ...

The artist absorbed his love for the flowery folk culture in his native old Vyatka: “I still live by what I saw and remembered in childhood.”

The entire Vyatka province was famous for handicrafts: furniture, chest, lace, toys. Yes, and mother Maria Nikolaevna herself was a noble lace embroiderer, well-known in the city. In the memory of little Yura, towels embroidered with roosters, and painted boxes, multi-colored clay and wooden horses, lambs in bright pants, lady dolls - "painted from the heart, from the soul" will remain in the memory of little Yura for the rest of his life.

After the revolution, all the families of priests, including the Vasnetsov family (mother, father and six children), were literally evicted to the streets. “... Father no longer served in the cathedral, which was closed ... and he didn’t serve anywhere at all ... He would have to cheat, lay down his dignity, but then a meek firmness of spirit was revealed: he continued to walk in a cassock , with a pectoral cross and with long hair, ”Yuri Alekseevich recalled. The Vasnetsovs wandered around strange corners, and soon bought a small house. Then I had to sell it, they lived in a former bathhouse ...

Yuri went to seek his fortune in Petrograd in 1921. He dreamed of becoming an artist. Miraculously, he entered the painting department of the State Art Museum (later Vkhutemas); successfully completed his studies in 1926.

His teachers were the noisy metropolitan Petrograd itself with its European palaces and the Hermitage full of world treasures. They were followed by a long line of many and varied teachers who opened the world of painting to the young provincial. Among them were the academically well-trained Osip Braz, Alexander Savinov, the leaders of the Russian avant-garde - the “flower painter” Mikhail Matyushin, the suprematist Kazimir Malevich. And in the "formalist" works of the 1920s, the individual characteristics of Vasnetsov's pictorial language testified to the extraordinary talent of the novice artist.

In the 1930s he was famous for illustrations for the books "Swamp", "Humpbacked Horse", "Fifty Pigs" by K.I. Chukovsky, "Three Bears" L.I. Tolstoy. At the same time, he made excellent - smart and exciting - lithographic prints for children, based on the same plot motifs.

The artist made amazing illustrations for Leo Tolstoy's fairy tale "Three Bears". A big, scary, like an enchanted forest, and a bear's hut are too big for a little lost girl. And the shadows in the house are also dark, creepy. But then the girl ran away from the bears, and the forest immediately brightened in the picture. So the artist conveyed the major mood with paints. It is interesting to watch how Vasnetsov dresses his heroes. Elegant and festive - the nurse mother-Goat, mother-Cat. He will definitely give them colored skirts in frills and lace. And he will regret the offended Fox Bunny, put on a warm jacket. Wolves, bears, foxes, which prevent good animals from living, the artist tried not to dress up: they did not deserve beautiful clothes.

A trip to the North in 1931 finally convinced him of the correctness of the chosen path. He turned to folk sources, already experienced in the intricacies of the modern pictorial language, which gave rise to the phenomenon that we can now call the phenomenon of painting by Yuri Vasnetsov. The still life with a large fish fully testifies to the new bright trends in the works of Vasnetsov.

In 1932-34 he finally created several works ("Lady with a Mouse", "Still Life with a Hat and a Bottle", etc.), in which he proved himself to be a very great master who successfully combined the refined pictorial culture of his time with the tradition of folk "bazaar" art, which he appreciated and loved. But this later self-confidence coincided with the campaign against formalism that had begun at that time. Fearing ideological persecution (which had already touched his book graphics), Vasnetsov made painting a secret occupation and showed it only to close people. In his landscapes and still lifes, emphatically unpretentious in their motives and extremely sophisticated in terms of pictorial form, he achieved impressive results, reviving the traditions of Russian primitivism in a peculiar way. But these works were practically unknown to anyone.

Vasnetsov's bright, entertaining and witty drawings have found perhaps the most organic embodiment of Russian folklore, more than one generation of young readers have grown up on them, and he himself was recognized as a classic in the field of children's books during his lifetime. In a Russian folk tale, everything is unexpected, unknown, unbelievable. If it's scary, then it's trembling, if joy is a feast for the whole world. So the artist makes his drawings for the book "Rainbow-Arc" bright, festive - now the page is blue with a bright rooster, then red, and on it is a brown bear with a birch staff.

Leaving home, relatives, even for a short time, was a tragedy for him. Any parting with the family was unbearable, and the day when they had to set off was a ruined day.

Before leaving the house, Yuri Alekseevich even let out a tear from chagrin and anguish, but he did not forget to put some gift or a cute trinket under the pillow for everyone. Even friends waved their hand at this homebody - a man for great art is gone!

Only a few years after the death of the artist, his paintings were shown to the audience at an exhibition in the State Russian Museum (1979), and it became clear that Vasnetsov was not only an excellent book graphic artist, but also one of the outstanding Russian painters of the 20th century.

Vasnetsov Yury Alekseevich