Famous illustrators of fairy tales. Children's book illustrators

students of 5 "B" class

The project was completed in 2015 - 2016 academic year

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COLLECTIVE PROJECT

students of 5 "B" class

"Artists - illustrators

Russian folk tales"

Objective of the project:

• expand knowledge about the work of artists - illustrators.

Tasks:

• get acquainted with the work of illustrators V.M. Vasnetsov, Yu.A. Vasnetsov, E.M. Rachev, T.A. Mavrina, I.Ya. Bilibin.V. V. Lebedev;
• see interesting techniques and ways of depicting animals and people;

• show positive emotions to the artistic word
• develop an aesthetic attitude to works of folk art, the ability to compare the expressive means of artists
• make your own illustrations for read fairy tales, arrange an exhibition of your work.

Fundamental question:

• Why did illustrators not just draw explanations for the text of fairy tales, but create beautiful independent works that enriched Russian and world art?

Problem questions:

1. What is an illustration?
2. Who are illustrators?

Subject areas:literature, fine arts, Russian language.

Project participants - students of 5 "B" class

We got acquainted with the facts of the biography and features of the work of some artists - illustrators of Russian folk tales and found outwhy did the authors not just draw explanations for the text of fairy tales, but create beautiful independent works that enriched Russian and world art?

Illustration - this is not just an addition to the text, but a work of art of its time.

Illustrators - these are artists who paint illustrations for books, helping to understand the content of the work, to better imagine the characters, their appearance, characters, actions, the environment in which they live.

“A fairy tale is a great spiritual culture of the people, which we collect bit by bit, and through a fairy tale, a thousand-year history of the people is revealed to us.”

Viktor Vasnetsov was born in the Vyatka region on May 15 (according to the new style), 1848, in the family of a village priest.

Father, Mikhail Vasilievich, himself a well-educated person, tried to give children a versatile education, to develop inquisitiveness and observation in them. The family read scientific journals, drew, painted with watercolors. Here the early artistic inclinations of the future painter received their first recognition. The motives of his first full-scale sketches were rural landscapes, scenes from village life.

The village of Ryabovo, where the Vasnetsovs lived, stood on the picturesque Ryabovka River, bordered by dense coniferous forests, from the hilly banks of which horizons stretched for tens of miles to the Ural Mountains. The Vyatka region with its harsh and picturesque nature, a peculiar way of life that preserves the foundations of the distant past, with ancient folk beliefs, old songs, fairy tales and epics became the basis for the formation of Vasnetsov's early life impressions.

Victor spent nine years in Vyatka, but did not feel the need to serve the church. He devotes more and more time to drawing. On Sundays he goes to the city, to the market, draws "types", studies characters. His seminar notebooks are full of sketches from memory.

In August 1867, with the blessing of his father, Viktor Vasnetsov left the seminary a year and a half before graduating and, with the money raised from the lottery, went to St. Petersburg to enter the Academy of Arts.

Viktor Mikhailovich Vasnetsov lived a long, beautiful and difficult life. One of the most famous Russian artists of the 19th century, he knew enthusiastic admiration and coldly restrained, to the point of complete rejection, attitude towards his work, huge success and sharp, bordering on blasphemy, criticism of his work.

He was called "a true hero of Russian painting." This definition was born not only due to the figurative connection with the "heroic" theme of his painting, but due to the awareness by contemporaries of the significance of the artist's personality, understanding of his role as the founder of a new, "national" trend in Russian art. The significance of Vasnetsov's work is not only that he was the first among painters to turn to epic-fairy stories. Although it was this Vasnetsov - the author of Alyonushka, Bogatyrs, Ivan Tsarevich on the Gray Wolf, widely reproduced for many years in huge editions in school textbooks, on calendars, rugs, candy and cigarette boxes - entered the mass consciousness , obscuring the true face of the artist.

Ivan Alexandrovich Kuznetsov (1908 - 1987)

Ivan Aleksandrovich Kuznetsov was born on May 23, 1908 in the village of Monetovo, Vokhomsky District.Kostroma region . He was the twelfth child in the family. The boy passionately loved the spruce forests of his region, watched with interest every forest animal. And on any piece of paper he found, on any wall, he tried to depict what lived in his memory and imagination. Once he painted a dull fence in front of his hut with soldiers. For this, his father beat him hard and forced him to paint over all the drawings with thick gray paint.

After graduating from the school of peasant youth in the village of Vokhma, Ivan decided to fulfill his most cherished dream - to leave to study further. He is hired as a timekeeper at a timber rafting along the Vetluga and the Volga. The money earned made it possible to get to Leningrad, but there it was not possible to enter anywhere. Then he came to Moscow. In the capital he wandered, painted "from life" in beer houses and doss houses. A journalist from Krestyanskaya Gazeta, whom he accidentally met, saw his drawings and decided to attach the guy to his newspaper. At first, Ivan only pasted stamps and wrote the addresses of subscribers in the forwarding department of the newspaper on parcels. He accompanies some notes with his drawings. They like the editors, and she will identify a capable young man in an art school.

After graduating from art school, Ivan Kuznetsov studied at the Polygraphic Institute from 1930 to 1935.

In the thirties, the first books appeared, designed by Ivan Kuznetsov. As a rule, these are modestly published books for children. Among them are “My friend and I”, “What about you?” S. Mikhalkov, "Dog and Cat" O. Tumanyan. These and other editions were issued by Detgiz. Kuznetsov came to this publishing house at the time of its formation. It was Detgiz (now the publishing house "Children's Literature") that published most of the books with his illustrations.

During the war years, I. Kuznetsov, dismissed from the army due to illness, was sent to tank factories in Chelyabinsk and Nizhny Tagil, where he worked as an artist-designer on assignment from the Ministry of Tank Industry.

And then his painstaking work on book illustration continued. The greatest love of the artist Ivan Kuznetsov, one might say, his fate, was the wonderful world of a fairy tale. The appeal to the fairy tale was largely facilitated by a close acquaintance while working at Cricket with his older namesake Konstantin Vasilyevich Kuznetsov.

In books with drawings by Ivan Kuznetsov there are fairy tales of different peoples. Preparing for work, he collects a huge ethnographic material, carefully studies the nature, life, and national characteristics of the heroes of the fairy tale. And, of course, the Russian fairy tale was especially close to him. Here, images of nature and signs of everyday life, well known to him from an early age, came to life. Thin books with his drawings, such as Geese-Swans, Sister Alyonushka and Brother Ivanushka, Goat - glass eyes, golden horns, are remembered by many people of the older generation from childhood.

Since the fifties, collections of fairy tales illustrated by the artist have been published - "Mountain of Gems", "Russian Folk Tales", "Magic Ring", "Wonderful Mill", "Our Tales". Later, his famous "Swan" appears, where the heroine of each fairy tale is a kind, hardworking and quick-witted Russian woman.

Among the books designed by Ivan Kuznetsov there are both poetry and prose. With his drawings came the works of such authors as E. Blaginina and S. Shchipachev, K. Paustovsky and A. Platonov, L. Tolstoy and M. Gorky. He turned to the fairy-tale theme, especially beloved by the artist, in his many well-known engravings on linoleum. These are Alyonushka, Wonderful Carpet, Flying Ship, Firebird, Thin Mind. Throughout the post-war years, the artist traveled a lot around Russia. He visited the Kama, the Oka, Baikal, in his homeland in Vokhma. He rented a room in Saltykovka near Moscow and lived and worked there for a long time. In the spring of 1966 he managed to visit Italy. From everywhere he brought his wonderful drawings and watercolors, mainly landscapes.

The original works of Ivan Kuznetsov are in various art museums, including the museum in his homeland in Vokhma, in the Shushenskaya art gallery, in the museum of fine arts in the city of Irbit. Many original works and books illustrated by him are kept in the family of the artist, his daughter. In the last years of his life, Ivan Alexandrovich was seriously ill. May 1, 1987 he died. Everything said by this artist, be it book graphics, watercolors, drawings and linocuts, is imbued with warmth and kindness. His work is close and understandable to everyone - both children and adults.

Ivan Yakovlevich Bilibin (1876 - 1942)

Ivan Yakovlevich Bilibin was born in the village of Tarkhovka, St. Petersburg province. It was his illustrations that helped to create a children's book elegant and accessible.

Focusing on the traditions of ancient Russian and folk art, Bilibin developed a logically consistent system of graphic techniques, which remained at the core throughout his entire work. This graphic system, as well as the originality of the interpretation of epic and fairy-tale images inherent in Bilibin, made it possible to speak of a special Bilibin style.

It all started with an exhibition of Moscow artists in 1899 in St. Petersburg, where I. Bilibin saw a painting by V. Vasnetsov "Bogatyrs". Brought up in a St. Petersburg environment, far from hobbies for the national past, the artist unexpectedly showed interest in Russian antiquity, fairy tales, and folk art. In the summer of the same year, Bilibin leaves for the village of Yegny, Tver province, in order to see the dense forests, transparent rivers, wooden huts, hear fairy tales and songs. Pictures from the exhibition of Viktor Vasnetsov come to life in the imagination. Artist Ivan Bilibin begins illustrating Russian folk tales from Afanasiev's collection. And in the autumn of the same year, the Expedition for the Procurement of State Papers (Goznak) began to publish a series of fairy tales with Bilibino drawings.

For 4 years, Bilibin illustrated seven fairy tales: "Sister Alyonushka and Brother Ivanushka", "White Duck", "The Frog Princess", "Maria Morevna", "The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf" , "Feather of Finist Yasna-Falcon", "Vasilisa the Beautiful". Editions of fairy tales belong to the type of small large-format books-notebooks. From the very beginning, Bilibin's books were distinguished by patterned drawings and bright decorativeness. The artist did not create individual illustrations, he strove for an ensemble: he drew a cover, illustrations, ornamental decorations, a font - he stylized everything like an old manuscript.

Bilibin showed himself to be an artist of the book, he did not limit himself to performing individual illustrations, but strove for integrity.

(1893-1976)

Vladimir Alekseevich Milashevsky was born in 1893. He spent his childhood and youth on the banks of the great Russian river Volga, in Saratov, a city rich in artistic traditions.

Milashevsky's love for drawing manifested itself very early, almost from childhood. Being a realist, he attended the Bogolyubov Drawing School in the evenings. In 1913 he entered the architectural department of the Higher Art School at the Academy of Arts. Arriving to study in St. Petersburg, Milashevsky plunged headlong into the artistic life of the capital.

Milashevsky did a lot in the field of artistic design of an adult book, and his illustrations for the works of classics and modern Soviet writers occupy an honorable place in the history of Soviet graphics and books. But even more significant is his contribution to illustrating books for children and youth.

He was one of the first and very few illustrators of these books, one might say - he stood at the cradle of Soviet books for teenagers and youth.

Literature faced the great and responsible task of giving this reader a good new Soviet book. No less difficult tasks were faced by the artists who had to illustrate these books. I had to re-develop the principles of artistic design of books for schoolchildren, starting essentially from scratch. In those years, Soviet teenagers needed not a gift book, but a mass book. It was supposed to be cheap, the drawings in it - understandable and intelligible and at the same time easily reproduced, given the large circulation and modest printing capabilities of the first post-revolutionary years. This required a drawing not in tone, but “on a stroke”; it had to be expressive, clear and simple in execution.

The first illustrations for fairy tales were made by Milashevsky in 1948. He made about 25 page and half-page illustrations for Pushkin's fairy tales, headpieces and endings.

People usually look at pictures, but this word does not fit Milashevsky's illustrations: they are not looked at, but examined, and they can be examined many times, each time revealing more and more new details. His creativity is amazing! No matter how much he draws, everything seems small to him, he wants to add some more interesting detail.

Milashevsky's illustrations are rooted in the very depths of folk life. That is why they are so believable, so convincing. It seems that the characters depicted by him have a portrait resemblance, that all of them - even the merman or the devil - were exactly the same and only the same as the artist painted them. These are not abstract fabulous faces, not masks, like some artists - no! - these are the exact ethnic types of heroes of fairy tales, Russians and people of other nationalities, in all their diversity.

Milashevsky's illustrations are a whole encyclopedia from which you can get absolutely accurate information. about the old architecture of various regions of Russia and other peoples in every detail, up to the patterns of wooden carvings and paintings on window frames, about folk clothes, about household items and furnishings, about toys and utensils, about a thousand of the most diverse things.

Depicting high examples of folk art, the artist, by his own admission, had in mind not only to make his drawings more interesting, but also to instill in the reader, especially the little one, artistic taste and love for real art. Now much is said about the importance of the aesthetic education of young people - Milashevsky's illustrations are a practical step in this direction.

Milashevsky's illustrations are characterized by some kind of inner warmth and gentle humor inherent in a folk tale. Milashevsky's works were shown at almost all major graphic exhibitions here and abroad, they are in the State Tretyakov Gallery, in the Russian Museum in Leningrad, the State Museum of Fine Arts. Pushkin, in the museums of A. S. Pushkin in Moscow and Leningrad and many other Soviet and foreign museums.

Artists - illustrators

Russian folk tales

Viktor Mikhailovich Vasnetsov

Yuri Alekseevich Vasnetsov

Evgeny Mikhailovich Rachev

Tatyana Alekseevna Mavrina

Ivan Aleksandrovich Kuznetsov

Ivan Yakovlevich Bilibin

Vladimir Alekseevich Milashevsky

Our illustrations

to read stories

Carried to grandchildren "Flint" with illustrations Yerko and brought it back. It seems that children's illustrators are engaged in real art, but "artists" are jerks whom society has found an occupation where they would bring the least harm.

In True Art, that is, children's illustration, a major event has taken place. In the late 1980s, Gennady Spirin left for the USA, and became Best of the Best there. He still lives in Princeton, with his family, without learning a word of English. It's happiness not to understand what they are talking about.

Well, in the late 1980s, we had perestroika. There was even football.

But the time has come for Ukraine - and now football is there, and Number One. Vladislav Yerko. That is, the king has changed.

Why didn't I break up with Flint? Take a closer look:

(clickable)

It's basically the back of the cover. There are a dozen cats, dogs, horses, birds and fifty people in the picture, but take an interest in the houses. At the top in the right corner is a tower with a figured roof, with a vase at the top. There is only 1 similar in the world, but this is not a repetition, but the development of that architectural concept.

Still I would not be interested in Yerko. Here is a snippet of my drawing:

The façade ends with a "trumpeting newt" with two serpent legs. A similar detail on Yerko's "Flint" under the word "Yerko" is St. Michael slaying Satan.

Someone will say: what kind of artist Yerko? This is an architect. No! He is an artist in the sense of art that existed before Mannerism. Those artists were interested in the world itself, and it was rude, "how" - and the current Picassos are only interested in the shadow that they cast on this world.

This is the 5th page of the book, the soldier is walking along the road. Under Brueghel? No. Neither Brueghel, nor de Momper, nor Leytens knew such rocks, branches. This is further. Yerko picked up where they left off. In fact, today Brueghel would have to call himself a children's illustrator. But the kids are not here. Just art.

And now let's see how the figures of "true" art also "paint" Flint:

Joel Stewart

How I hated such drawings in my books as a child! I remember it very well.

Spirin soon 70.

Olga and Andrey Dugin still teach in Munich. I hope that nothing happened to them, and someday Dugin will still finish Hamlet.

In general, the celebrity workshop has noticeably aged. Robert Ingpen ...

(to "Tom Sawyer", essno)

(to "Mowgli")

It is interesting to compare Ingpenovsky's "Pinocchio" with Yerko. Ingpen is a realist, everything he found, copied, unlike Vladislav, who seeks to discover something new in the world. Yerko is interesting to me, Ingpen is not. The illustrations for Tom Sawyer are too natural, I would say. Too heavy for Mark Twain's easy language.

A good drawing, but again, the children have nothing to do with it.

Aged illustrator Sandy Nightingale , whose interpretation by Terry Pratchett is even immortalized in the stamp:

I note that I never liked Pratchett's illustrations for their colorfulness. Here she is just a "childish" artist, only Pratchett is not quite a childish reader.

Yvonne Gilbert is old...

Yvonne Gilbert

If the last picture is The Pea Princess, This is an exceptionally brave princess. I would definitely not fall asleep here because of the altitude.

And what about the youth?

John Vernon Lord . Kill yourself up the desk if the book isn't from the 1930s! But no, a subtle fake - 2013. And what, children appreciate this subtlety?

Illustrations Levy Pinfold definitely have a metaphysical-gloomy connotation. Unfriendly world:

(clickable)

Vrochem, up to Juan Wijngaard he is far away. Here's who to scare children:

To cheer up, I brought a random picture of the Viking gods from Devianart.

Rhineville

It would seem that there is a sea of ​​children's artists, and it is impossible to embrace the immensity. But the vast majority of them are bright, colorful, and... empty. Uninformative. Let's take some other Alice ...

Justin Todd

What would I have learned from her at the age of 10? That there are panties on a girl, and they look like gears? But in my 60-year-old Justin Todd, I am attracted much more, especially by drawing what is more decent for her:

Similarly, work Lisbeth Zwerger beautiful purity and freshness of color...

But at 10 years old, I wouldn't even look at them.

An excellent series of books ("The Biggest Mucks of the Sea") was released by Kellie Strom . A person knows what a modern child needs. None other than the "o" in the surname crossed out obliquely:

His drawings are really what you need. They are bright and informative, and at the same time simplified.

Fortunately, I am spared the need to mention a thousand more artists here. It is in children's illustration that everyone is terribly concerned about copyright, and everyone (for example - Maggie Kneen) with dire warnings I omitted. Let's move on to joy. To those who draw so well that there is no right to stand. Still, no one can.

These are two girly artists. Inga Moore :

You know, for a long time I was looking for a big picture on the wall. The second Inga Moore is just that.

She achieved special heights in girlhood. IMHO, Angela Barrett :

And in order to round off the period, as Cyrano de Bergerac put it, j, I will turn to the new rising star - Bagram Ibatoulline , who studied, as you might guess, in Moscow, but lives, as you understand, in Pennsylvania:

(Snow Queen, there was such a moment!)

And Bulgarian artist Jan (Jassen) Ghiuselev, widely known for his gothic "Alice".

But they say his best illustrations are for The Queen of Spades:

In my opinion, there is no better illustrator of fairy tales than V. M. Vasnetsov, well, except perhaps I. Bilibin. About him on the next page.

Viktor Mikhailovich Vasnetsov (1848-1926) is one of the first Russian artists who pushed the boundaries of the usual genres and showed the fairy-tale world, illuminated by the poetic imagination of the people. Vasnetsov, one of the first Russian artists, turned to recreating the images of folk tales and epics in painting. His fate turned out as if he was destined in advance to be a singer of a Russian fairy tale. His childhood passed in the harsh picturesque Vyatka region. The talkative cook, who tells fairy tales to children, the stories of wandering people who have seen a lot in their lifetime, according to the artist himself, "made me love the past and present of my people for life, largely determined my path." Already at the beginning of his work, he created a number of illustrations for The Little Humpbacked Horse and The Firebird. In addition to fairy tales, he has works dedicated to the heroic images of epics. "The Knight at the Crossroads", "Three Heroes". The famous canvas "Ivan Tsarevich on a gray wolf" is written on the plot of one of the most famous and widespread fairy tales reproduced in popular prints of the 18th century.

"Princess-Nesmeyana"

In the royal chambers, in the prince's palaces, in a high tower, Nesmeyana the princess flaunted. What a life she had, what freedom, what luxury! There is a lot of everything, everything is what the soul wants; but she never smiled, never laughed, as if her heart did not rejoice at anything.

Here are merchants, and boyars, and foreign guests, storytellers, musicians, dancers, jesters and buffoons. They sing, clown, laugh, strum on the harp, whoever is in what much. And at the foot of the high tower - ordinary people, also crowding, laughing, shouting. And all this buffoonery is for the princess, the only royal daughter. She sits sadly on a carved white throne by the window. “There is a lot of everything, there is everything that the soul wants; but she never smiled, never laughed, as if her heart did not rejoice at anything. And what is there, to tell the truth, to rejoice if no one ever talks heart to heart with her, no one comes up with a pure heart?! Everyone around is just making noise, they are aiming for suitors, they are trying to present themselves in the best light, and no one cares about the princess herself. That is why she is Nesmeyana, until the only, long-awaited one comes, who will give her a smile instead of buffoonery, warmth instead of indifference. And he will come, of course, because that's what the fairy tale affects.

"Koschei the Immortal and Beloved Beauty"

As soon as he managed to leave the yard, and Koschey into the yard: “Ah! - speaks. - Russian scythe smells; know you had Ivan Tsarevich. - “What are you, Koschey the Immortal! Where can I see Ivan Tsarevich? He remained in the dense forests, in the viscous mud, until now the animals have eaten! They began to have supper; at dinner, Beloved Beauty asks: “Tell me, Koschey the Immortal: where is your death?” - “What do you want, stupid woman? My death is tied in a broom."

Early in the morning Koschei leaves for the war. Ivan Tsarevich came to the Beloved Beauty, took that broom and brightly gilded it with pure gold. The tsarevich had just managed to leave, and Koschei went into the yard: “Ah! - speaks. - Russian scythe smells; know you had Ivan Tsarevich. - “What are you, Koschey the Immortal! He himself flew around Rus', picked up the Russian spirit - you smell of the Russian spirit. And where can I see Ivan Tsarevich? He remained in the dense forests, in the viscous mud, until now the animals have eaten! It's supper time; Beloved Beauty herself sat down on a chair, and she put him on a bench; he looked under the threshold - there is a gilded broom. "What's this?" - “Ah, Koschey the Immortal! You yourself see how I honor you; if you are dear to me, so is your death.” - "Stupid woman! Then I joked, my death is sealed up in an oak tynu.

"Princess Frog"

Consider a reproduction of the painting by V. Vasnetsov "Feast" (p. 19 of the textbook).
If possible, it would be interesting to compare this picture with the illustration made for this episode of the fairy tale by I. Bilibin.
Bilibin's illustrations framed by floral ornaments very accurately reflect the content of the tale. We can see the details of the costumes of the heroes, the expression on the faces of the surprised boyars, and even the pattern on the kokoshniks of the daughters-in-law. Vasnetsov in his picture does not linger on the details, but perfectly conveys the movement of Vasilisa, the enthusiasm of the musicians, who, as it were, stamp their feet to the beat of a dance song. We can guess that the music Vasilisa dances to is cheerful, mischievous. When you look at this picture, you feel the nature of a fairy tale.
- Why do people call Vasilisa the Wise? What qualities does the people glorify in the image of Vasilisa?

The painting by V. Vasnetsov creates a generalized image of a beautiful princess: next to her are harpists, people. The illustration by I. Bilibin specifically depicts an episode of the feast: in the center is Vasilisa the Wise, at the wave of her hand miracles happen; around people amazed by what is happening. There are different types of work available here:

1. Describe verbally what you see in each of the pictures (characters, setting, appearance of the people around, their mood, prevailing colors).

2. Compare the image of Vasilisa the Wise by Vasnetsov and Bilibin. Is this how you imagine the main character of the fairy tale?

"Carpet plane"

The fantasy of the people created a fairy tale about a flying carpet. You see two paintings by Vasnetsov with this name - early and late. On the first of them, a proud young man from a flying carpet looks at the expanses of Russian land spreading below. The discreet northern nature served as a backdrop for the painting by the artist. Rivers and lakes sparkle, a forest stands like a dark wall, huge birds accompany the carpet. The Firebird caught by the hero burns with bright fire in the cage. This canvas tells about the wisdom, strength, dexterity of the people. The second picture is lighter, more colorful. The bright rays of the sunset, cutting through the veil of clouds, have become a successful background for the picture. Nature through the clouds is seen bright, juicy greenery, perhaps because the heroes descended closer to it. And a girl with a young man in sparkling clothes embroidered with gold do not seem to be outsiders on the canvas. Their young faces are beautiful, they gently bowed to each other, personifying fidelity and love.

Alyonushka, Snegurochka, Elena the Beautiful - these fictitious images and portraits of women close to Vasnetsov "in spirit" - Elena Prakhova, Vera and Elizaveta Grigorievna Mamontovs, portraits of his wife, daughter, niece from different sides highlight what is called the Russian female soul, which becomes for Vasnetsov personification of the Motherland, Russia.

Alkonost. In Byzantine and Russian medieval legends, a wonderful bird, a resident of Iria, a Slavic paradise. Her face is feminine, her body is birdlike, her voice is sweet, like love itself. Hearing the singing of Alkonost, with delight, he can forget everything in the world, but there is no evil from her, unlike Sirin.

Alkonost carries eggs on the edge of the sea, but does not incubate them, but plunges them into the depths of the sea. At this time, the weather is calm for seven days. According to the ancient Greek myth, Alcyone, the wife of Keik, having learned about the death of her husband, threw herself into the sea and was turned into a bird, named after her Alcyone (kingfisher).

It is depicted in popular prints as a half-woman, half-bird with large multi-colored feathers and a girl's head, overshadowed by a crown and a halo, in which a brief inscription is sometimes placed. In addition to wings, Alkonos has hands in which she holds heavenly flowers or a bundle with an explanatory inscription. She lives on a tree of paradise, on the island of Buyan, together with the bird Sirin, has a sweet voice, like love itself. When she sings, she does not feel herself. Whoever heard her wonderful singing will forget everything in the world. With her songs she consoles and uplifts future joy. This is a bird of joy.

But Sirin, a dark bird, a dark force, a messenger of the ruler of the underworld. From the head to the waist, Sirin is a woman of incomparable beauty, from the waist - a bird. Whoever listens to her voice forgets about everything in the world and dies, and there is no strength to force him not to listen to the voice of Sirin, and death for him at this moment is true bliss. Dahl in the famous dictionary explained as follows: "... mythical and church birds of an owl, or an eagle owl, a scarecrow; there are popular prints depicting birds of paradise with female faces and breasts”(V. Dal "Explanatory Dictionary of the Living Great Russian Language"). In Russian spiritual verses, the Sirin, descending from paradise to earth, enchants people with her singing. In Western European legends, Sirin is the embodiment of an unfortunate soul. This is the bird of sorrow.

• #1
• #2

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• #3

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• #4

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• #5

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• #13

  Inessa Nikolaevna, kind person! Thank you so much for helping teachers! Yes, God bless you!

• #14

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• #15

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• #17

  Dear Inessa Nikolaevna, I don’t need to prepare lessons :), but reading the site is very interesting, thank you for taking care of children.

Have you ever been in a hut on chicken legs? Among many Russian painters who sought inspiration in folk history, culture and poetry, V. Vasnetsov occupies a special place. The artist admitted: “I have always been convinced that ... in a fairy tale, in a song, an epic, the whole whole image of the people, internal and external, with the past and present, and maybe the future, is reflected ...” (8, p. 476). In his painting "Guslars" - singers-narrators. In their epic songs, the images of their favorite heroes come to life, becoming a kind of chronicle of folk history.

The name of Viktor Mikhailovich Vasnetsov is one of the most famous and beloved among the names of Russian artists of the 19th century (37). His creative heritage is interesting and multifaceted. He was called "a true hero of Russian painting." He was the first among painters to turn to epic fairy tales. “I lived only in Russia” - these words of the artist characterize the meaning and significance of his work. Paintings of the everyday genre and poetic canvases on the plots of Russian folk tales, legends, epics; illustrations for the works of Russian writers and sketches of theatrical scenery; portraiture and ornamental art; murals on historical subjects and architectural projects - such is the creative range of the artist.

But the main thing that the artist enriched Russian art is the works written on the basis of folk art. What paintings by Viktor Vasnetsov can be considered the most famous? Anyone will answer that these are the famous fairy-tale works of the master: “Heroes”, which some will call “Three heroes”, gentle, thoughtful “Alyonushka” and, perhaps, no less famous creation - “Ivan Tsarevich on the Gray Wolf”. Why are these works so clearly imprinted in the memory of most people? Perhaps this is due to primordially Russian images or heartfelt fairy tale motifs that are passed on to new generations, already at the level of people's memory and have become in some ways even a reflection of the history of Ancient Rus'.

"Heroes"(1881-98), which we admire, took about thirty years of the life of the master. It was for so long that he was looking for that single idea of ​​three images that personify the soul of the Russian people. Ilya Muromets is the strength of the people, Dobrynya Nikitich is his wisdom, Alyosha Popovich is the connection of the present and the past with the spiritual aspirations of the people.

Viktor Vasnetsov himself admitted that the fabulous Alyonushka (1881) is his favorite work, for the creation of which he traveled from Moscow to his native places. And to convey greater penetration to the image, he visited many concerts of classical music. Each twig, flower and blade of grass sing a laudatory song to Russian nature, sing of beauty, freshness and at the same time the sad thoughtfulness of the main character.

No less famous work - "Ivan Tsarevich on the Gray Wolf" (1889) reveals the author to us as a deep connoisseur of everything that is called "the soul of the Russian people." The fairy-tale characters of the beauty and the prince tell about the time when people knew how to listen and hear nature.

The works of the great master of Russian painting became the world image of everything Russian and folk in the painting of the late 19th century.

Another great illustrator - Bilibin Ivan Yakovlevich(1876-1942). He expressed his impressions not only in images, but also in a number of articles (4, 5). Since 1899, creating design cycles for publishing fairy tales (Vasilisa the Beautiful, Sister Alyonushka and brother Ivanushka, Finist the Clear Falcon, the Frog Princess, etc., including Pushkin's fairy tales about Tsar Saltan and the Golden Cockerel), he developed - in the technique of ink drawing, highlighted watercolor, - a special "Bilibino style" of book design, continuing the traditions of ancient Russian ornament (4).

In the summer of 1899, Bilibin left for the village of Yegny, Tver province, in order to see the dense forests, transparent rivers, wooden huts, hear fairy tales and songs, and began to illustrate Russian folk tales from Afanasyev's collection. For 4 years, Bilibin illustrated seven fairy tales: “Sister Alyonushka and Brother Ivanushka”, “White Duck”, “The Frog Princess”, “Marya Morevna”, “The Tale of Ivan Tsarevich, the Firebird and the Gray wolf”, “Feather of Finist Yasna-Falcon”, “Vasilisa the Beautiful”. Bilibin did not create individual illustrations, he strove for an ensemble: he drew a cover, illustrations, ornamental decorations, a font - he stylized everything like an old manuscript.

For all seven books, Bilibin draws the same cover, on which he has Russian fairy-tale characters: three heroes, the bird Sirin, the Serpent Gorynych, the hut of Baba Yaga. All page illustrations are surrounded by ornamental frames, like rustic ones.

Bilibin. Red rider window with carved platbands. They are not only decorative, but also have content that continues the main illustration. In the fairy tale “Vasilisa the Beautiful”, the illustration with the Red Horseman (sun) is surrounded by flowers, and the Black Horseman (night) is surrounded by mythical birds with human heads. The illustration with Baba Yaga's hut is surrounded by a frame with grebes (and what else can be next to Baba Yaga?). But the most important thing for Bilibin was the atmosphere of Russian antiquity, epic, fairy tales. From genuine ornaments, details, he created a semi-real, semi-fantastic world.

The peasant needed a horse to grow bread, just like the sun itself. The images of the sun and the horse in folk art merge into one. In the poetic notions of the people, a rider on a horse freed spring from winter captivity, unlocked the sun, opened the way for spring waters, after which spring came into its own. This motif in folklore was embodied in the image of Egor the Brave.

Baba Yaga is a fairy tale character living in a dense forest. “On the stove, on the ninth brick, lies a Baba Yaga, a bone leg, her nose has grown into the ceiling, snot hangs over the threshold, her tits are wrapped around a hook, she sharpens her teeth” (2); “Baba Yaga gave them a drink, fed them, took them to the bath”, “Baba Yaga, a bone leg, rides in a mortar, rests with a pestle, sweeps the trail with a broom.” V. Dal writes that Yaga is “a kind of witch or an evil spirit under the guise of V. Bilibin Baba-Yaga.

Ornamental lines clearly limit the colors, set the volume and perspective in the plane of the sheet. Filling black and white graphic drawing with watercolors only emphasizes the given lines. To frame the drawings by I.Ya. Bilibin generously uses ornament (33).

In our 21st century, the century of narrow specialization, the figure Nicholas Konstantinovich Roerich is a unique phenomenon. A great artist, archaeologist and explorer, Nicholas Roerich is world renowned as a painter and scientist. Less familiar to us is his literary legacy. For example, few people know that Nikolai Konstantinovich also wrote ... fairy tales. With beautiful allegorical images, with the alluring beauty of mysterious worlds. The heroes of his fairy tales are carriers of lofty feelings and thoughts that have eternal human value (39). They dispose to deep meditation, tune in to high feelings, aspire to spiritual perfection.

S.K. Makovsky about N.K. Roerich: “... There are artists who recognize in man the secret of lonely spirituality. They look intently into the faces of people, and each human face is a world separate from the world of all. And there are others: they are attracted by the secret of the soul of the blind, close, common for entire eras and Nicholas Roerich. Gallery of paintings by the artist - Zmievna, 1906 peoples, penetrating the whole element of life , in which an individual person drowns, like a weak stream in the dark depths of an underground lake” (30, pp. 33-35).

The faces of the people on Roerich's canvases are almost invisible. They are the faceless ghosts of centuries. Like trees and animals, like quiet stones of dead villages, like monsters of antiquity, they are merged with the elements of life in the mists of the past. They are without a name. And they don't think, they don't feel lonely. They do not exist separately and as if they never existed: as if before, long ago, in a clear life, they lived by a common thought and a common feeling, together with the trees and stones and monsters of antiquity.

The artist, whom you involuntarily want to compare with Roerich, - M.A. Vrubel. I'm not talking about similarities. Roerich does not resemble Vrubel either by the nature of the painting or by the suggestions of his ideas. And yet, at a certain depth of mystical comprehension, they are brothers. Temperaments are different, forms and themes of creativity are different; the spirit of incarnations is one. Vrubel's demons and Roerich's angels were born in the same moral depths. From the same twilight of unconsciousness their beauty arose. But Vrubel's demonism is active. It is more frank, brighter, more magical. Prouder.

“In the picture “Pan”, the Greek god turns into a Russian goblin. Old, wrinkled, with bottomless blue eyes, knobby fingers like twigs, he seems to emerge from a mossy stump.

The characteristic Russian landscape takes on a fantastic magical coloring - boundless wet meadows, a winding rivulet, thin birch trees, frozen in the silence of twilight descending to the ground, illuminated by the crimson of the horned month (64).

The swan princess is a character in Russian folk tales. In one of them, in the retelling of A.N. Afanasyev tells about the transformation of twelve birds - swans into beautiful girls, in another - about the appearance of a wonderful Swan-bird on the shore of the blue sea (2).

Sadko (Wealthy Guest) is the hero of the epics of the Novgorod cycle. Sadko was at first a poor harpist who amused the Novgorod merchants and boyars by playing the harp on the shores of Lake Ilmen. With his game, he received the location of the tsar of the Water. The king demanded that the hero marry his daughter, who was to be chosen. In gratitude for the salvation, Sadko built churches in honor of the Most Holy Theotokos and Nikola Mozhaisky in Novgorod.

Fairy tales were illustrated by many wonderful artists: Tatyana Alekseevna Mavrina, Elena Dmitrievna Polenova, Gleb Georgievich Bedarev, each of their works is an amazing image that immerses us in a mysterious magical world.

1.3 Famous illustrators

An illustration is not just an addition to the text, but a work of art of its time. Children's book illustration serves many purposes. It embodies fantasies, revives memories, helps to participate in adventures, develops the mind, heart and soul of a child. A great responsibility in this noble cause falls on the shoulders of the illustrator. I would like to recall famous domestic and foreign illustrators who have made a significant contribution to the art of children's book illustration.

The illustrator of the Russian fairy tale was the remarkable artist Ivan Yakovlevich Bilibin (1876-1942). He gained fame as one of the most original and original masters of graphics, the creator of a special type of illustrated book. This is a large format thin book-notebook, equipped with large color drawings. The artist here was not only the author of the drawings, but also of all the decorative elements of the book - the cover, initials, a special type of font and ornamental decorations. In 1901-1903, Bilibin created illustrations for the fairy tales "The Frog Princess", "Vasilisa the Beautiful", "Maria Morevna", "White Duck", etc. His works are known for the fairy tales of A. S. Pushkin "The Tale of Tsar Saltan" , "The Tale of the Golden Cockerel", "The Tale of the Fisherman and the Fish". One of the features of Bilibin's illustrations is humor and that merciless and sharp irony that is so characteristic of Russian folk tales. Bilibin is enthusiastically working on sketches for the first production of Rimsky-Korsakov's The Golden Cockerel. Fairy tale characters - good and evil, beautiful and ugly - have excited us since childhood, taught us to love goodness and beauty, to hate evil, cowardice, injustice.

Viktor Mikhailovich Vasnetsov (1848-1926) is one of the first Russian artists who pushed the boundaries of the usual genres and showed the fairy-tale world, illuminated by the poetic imagination of the people. Vasnetsov, one of the first Russian artists, turned to recreating the images of folk tales and epics in painting. His fate turned out as if he was destined in advance to be a singer of a Russian fairy tale. His childhood passed in the harsh picturesque Vyatka region. A talkative cook who tells fairy tales to children, the stories of wandering people who have seen a lot in their lifetime, according to the artist himself, "made me love the past and present of my people for life, largely determined my path." Already at the beginning of his work, he created a number of illustrations for the Little Humpbacked Horse and The Fire Bird. In addition to fairy tales, he has works dedicated to the heroic images of epics. "The Knight at the Crossroads", "Three Heroes". The famous canvas "Ivan Tsarevich on a gray wolf" is written on the plot of one of the most famous and widespread fairy tales reproduced in popular prints of the 18th century.

Yuri Alekseevich Vasnetsov (1900-1973) - illustrated and designed Russian folk tales, songs, nursery rhymes, as well as books by famous children's authors: V. Bianki, K. Chukovsky, S. Marshak, etc. He is rightfully called the artist of Russian fairy tales. "Three Bears", "Humpbacked Horse", "Teremok" and many others. Fantastic, fabulous landscapes are based on the impressions of real Russian nature. The artist's birds and animals acquire the habits that he noticed in reality. In addition to domestic masters, there are wonderful foreign artists who have created many amazing and beautiful illustrations of fairy tales.

Moritz von Schwyz (1804-1871) famous German painter and illustrator. He created the so-called "monumental illustrations" based on fairy tales. These are large art canvases that can be seen in the halls of the Munich Alte Pinakothek. Schwitz's eleven watercolors are widely known, these are the cycles "Cinderella", "Seven Crows and a Faithful Sister", "Beautiful Melusina". He created the famous, repeatedly reproduced graphic sheets for the fairy tales "Seven Swabians", "Puss in Boots", for the collection "Old and New Children's Songs, Riddles and Fables", "Fables" by La Fontaine. Unusually emotionally expressive are his illustrations for the fairy tale "The Juniper", the legend of Ryubetsal and the good-natured patriarchal "The Story of the Beautiful Mermaid" by E. Mörik.

The graphic style of the famous French artist and sculptor Gustave Dore (1833-1883), combining the lightness of a stroke with a tense line, the ability to enrich the essence of an illustrated work with countless original finds, found an enthusiastic response from the French public. Dore is one of the most famous and prolific illustrators of the second half of the 19th century. True fame brought him book illustrations for literary works: "Illustrated Rabelais" (1854), "Don Quixote" by Cervantes (1862), "The Divine Comedy" by Dante (1861-1868), as well as illustrations for Balzac, Milton. Doré's illustrations for the fairy tales of Charles Perrault are considered classic.

Jon Bauer (1882-1917) became widely known for his illustrations for the book Among Dwarves and Trolls (Swedish: Bland tomtar och troll), published annually in Sweden at Christmas. It was he who created the tradition in depicting the fairy forest and the magical characters inhabiting it. Bauer specialized in illustrations for Scandinavian legends.

A whole gallery of fabulous images of humanized animals was created by Granville (his real name is Gerard Jean-Iñas Isidore) (1803-1847) - a French artist, graphic artist, cartoonist and illustrator. He had a great influence on the style of children's picture books. He illustrated the fables of Lafontaine (1837), "The Adventures of Gulliver" by J. Swift (1839-1843).

At the turn of the century, new talented authors appeared in Great Britain. At the beginning of the 20th century, some of the best books of F.Kh. Burnett, E. Nesbit and R. Kipling. The outstanding poet and prose writer Joseph Rudyard Kipling stands alone in the English literature of this period. He is a combination of a deeply conservative outlook and a bright original talent. In his fairy tales for children, good humor and rich imagination triumph. For some fairy tales, Kipling made illustrations as an artist.

Kate Greenaway (1846-1901) was an English artist who became famous for her illustrations of books for children, including fairy tales. Greenway's first book, Under the Window, was a great success. One of the most famous works of the artist was illustrations for "The Tales of Mother Goose" and the legend of the Pied Piper of Hamelin.

A significant mark in the history of children's illustration was left by Disney, Jonaitis, Kittelsen, Tuvi Janson (who illustrated her own fairy tales about Mummy Trolls), O. Balovintseva, who became widely known thanks to her wonderful illustrations for Arabic fairy tales.

Chapter II. Computer graphics in book illustration

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