All my life I have been working for children. Each person has his own “age of soul”. Some people’s souls age early and they are disappointed. Others, despite their age, have remained young in their souls. I, it seems to me, have generally remained in childhood. I am fascinated something that is interesting to children 8-10 years old. For example, I love fairy tales. Children are joyful and curious people. Working is pleasant and interesting for them. And, as I know, they “like” my work. (c) Leonid Vladimirsky
From an interview with Leonid Vladimirsky:
Leonid Vladimirsky is 82 years old. But he is waiting for us at his workplace, in the workshop. The door opens, and on the threshold we are greeted... Well, have you seen wizards? Do you know what they are? So, we were met by a real wizard. Slender and strict, very tall - two meters tall, no less, with a lush mane of white hair, a long gray beard and a magic wand. Yes, of course, it was a brush, but who said it couldn’t work wonders?
Ellie, Toto, Tin Woodman, Lion and Scarecrow. In the 1963 edition (Soviet Russia publishing house, Moscow) this picture was used on the cover.
I have made three books in my life. Why are you surprised? These are “The Adventures of Buratino”, “The Wizard of the Emerald City” and also “Ruslan and Lyudmila”. And the rest is the same. And I continue to work on these three books to this day, all my life. because I don't like something all the time. You can do Pushkin all your life. And I’m still fighting with Pinocchio, I’m still trying to make him younger. Here, look: how old is he (shows the cover of the old edition)? 10-12 years old. But how much is here? Already 6-7 years. And I want him to become even younger, about five years old. This is very difficult to achieve.
“It was scary in the Gingema cave. There, hanging from the ceiling was a stuffed huge crocodile. Large eagle owls sat on high poles, and bundles of dried mice hung from the ceiling... ...A long, thick snake coiled around a pole...
...Gingema was brewing a magic potion in a large smoky cauldron. She threw mice into the cauldron, tearing one by one from the bunch.”
“Gingema grabbed the cauldron by the “ears” and with effort pulled it out of the cave. She put a large broom into the cauldron and began to splash her brew around.
- Break out, hurricane! Fly around the world like a rabid animal!”
“...the book began to grow and grow and turned into a huge volume. It was so heavy that the old woman laid it on a large stone.
Villina looked at the pages of the book, and they themselves turned over under her gaze.”
Together with Alexander Volkov you made six books about the Emerald City. How did you start?
- I read his book with good black and white drawings by Radlov, I really liked it, and I found him. Volkov was thirty years older than me and lived in a neighboring house, as it turned out when we met. We made a color book, and they started buying it even better than the first one. And then letters from children came in batches asking me to write a sequel, and we began to work together. For twenty years we worked soul to soul.
“Near the fence there was a long pole, with a straw effigy sticking out on it - to drive away the birds... ...the figure nodded its head with the most friendly look.
Ellie was frightened, and the brave Toto, barking, attacked the fence, behind which there was a pole with a scarecrow.”
“Near a chopped tree, with an ax held high in his hands, stood a man made entirely of iron. His head, arms and legs were attached to the iron body on hinges; there was a copper funnel on his head instead of a hat, and an iron tie around his neck. The man stood motionless, with his eyes wide open.”
“The Ogre's castle stood on a hill. He was surrounded by a high wall that not even a cat could climb. In front of the wall there was a ditch filled with water. ...
...The Tin Woodman and the Scarecrow stood in bewilderment in front of the ditch...”
“Tell me, please, do you ever fight with other lions?” asked Totoshka.
“Where can I... I run from them like the plague,” Lev admitted.
“Ugh!” the dog snorted mockingly. “Where are you good for after this?”
-Have you given him plots for new books?
- No, but sometimes I asked him to remake the text for himself. For example, the manuscript “The Twelve Underground Kings” was ready. I tell him: “Kings live underground, everything is gray and gloomy there, how can I single them out? Let’s make seven kings, according to the colors of the rainbow, and then everything will be bright.” “You understand,” he says, “in order to remove the five kings and their retinue, I will have to redo the entire book!” He grunted, sat down, and redid everything. There was another case: in the first edition I drew a Fish that was sitting on a throne in Goodwin's castle. My daughter looked and said: “Dad, is it possible to draw a little mermaid?” We agreed with Volkov, and I drew a little mermaid - the Sea Maiden. By the way, my daughter posed for me for Ellie.
“The Tin Woodman and the Scarecrow crossed their arms and placed Ellie on them. They thrust Toto into the sleepy girl’s arms, and she unconsciously clung to the soft fur. The Scarecrow and the Tin Woodman walked among the poppy fields along the wide, crushed trail left by the Lion, and it seemed to them that there would be no end to the field.”
“It was not easy for two friends to load the heavy Lion onto a cart. But they still picked it up, and the mice, with the help of the Scarecrow and the Tin Woodman, took the cart out of the poppy field.”
“There was a bell hanging above the gate, and next to it, above the gate, another, smaller one... The gate opened, and the travelers entered a vaulted room, on the walls of which many emeralds glittered.
The travelers were met by a small man dressed in green from head to toe; He had a green bag hanging on his side.”
“The evil Bastinda turned green with fear, seeing that the travelers were moving forward and were already approaching her palace.
She had to use the last magical remedy she had left. The Golden Cap was kept in the secret bottom of Bastinda's chest. ...
... And so Bastinda took out the Hat, put it on her head and began to cast a spell. She stamped her foot and loudly shouted magic words...”
“Ellie was beside herself with grief and anger: she loved the silver slippers so much. In order to somehow repay Bastinda, Ellie grabbed a bucket of water, ran up to the old woman and doused her with water from head to toe.
The sorceress screamed in fear and tried to shake herself off. In vain: her face became spongy, like melting snow; steam rose from it; the figure began to settle and evaporate..."
- So your heroes have prototypes?
- There are always prototypes. When my daughter was little, five years old, I drew Pinocchio from her. I tied a cardboard nose to her with a string, and she posed for me. And when she was 9 years old, she turned into Ellie. And he is very proud of it. Now I draw Pinocchio from a childhood photograph of my granddaughter and even from my great-grandson, who is 5 years old.
“Restoring the Woodcutter was not nearly as easy as the Scarecrow. The most skilled craftsman in the country, Lestar, worked for three days and four nights on his twisted, complex mechanism. He and his assistants banged with hammers, sawed with files, riveted, soldered, polished...”
“...from behind a green screen that merged with the wall, a little man jumped out screaming...
...He was no taller than Ellie, but already old, with a large head and a wrinkled face. He was wearing a colorful vest, striped trousers and a long frock coat. He had a long bullhorn in his hand, and he was frightenedly waving it away from Toto, who jumped out from behind the screen and tried to bite him on the leg.”
“Having contrived, the Lion made a long jump and fell right on the back of the beast. Before the Spider came to his senses from his sleep, the Lion severed his thin neck with a blow of his clawed paw...”
“...and then they led us into a richly decorated pink hall, where the sorceress Stella sat on the throne. She seemed very beautiful and kind and surprisingly young to Ellie...
- Your wish will come true. But you must give me the Golden Cap.
- Oh, with pleasure, madam! True, I was going to give it to the Scarecrow, but I’m sure that you will use it better than he.”
- How did the Scarecrow appear?
- You know, artists are divided into two types: some, when they work, try not to look at other people’s illustrations, but sit down and come up with their own. And others (including me) try to watch everything they can. First I look into all the books, and then I start to fantasize myself, and so something happens. When I was thinking about Volkov’s heroes, I came across Baum’s book “The Wizard of Oz.” There was a Scarecrow with a hole instead of a nose - he was a scarecrow! But I really wanted to make him cute, and I came up with a patch and rye sheaves of hair.
Oorfene Deuce and his faithful blockheads. In the 1987 edition (Soviet Russia publishing house, Moscow) this picture was used on the cover
“..., Oorfene threw off his boots. Tiny sprouts grew thickly green on their soles. Sprouts peeked out from the seams of clothes. The log for chopping wood is bristling with shoots.”
The invincible army of Oorfene Deuce
“The general came out looking luxurious: all over his body, along his arms and legs, across his head and face were beautiful multi-colored patterns, his whole body was polished and shiny. ...
...- I am General Lan Pirot, commander of the invincible army of Oorfene Deuce.”
“Urfene retreated from the wall and sent Corporal Befar with his platoon into a nearby grove. There they felled a long tree, cleared it of branches and, under the leadership of Oorfene Deuce and the general, moved towards the wall. Lined up in two rows, the blockheads swung the pillar like a battering ram and hit the gate. The gates began to crack."
So it’s easier to draw scary sorceresses and evil heroes?
- Not always. I also suffered for a long time with Arachne, the evil sorceress from “The Yellow Fog.” A rude, primitive giantess who cast a yellow fog over the Magic Land, where can she find a prototype? I rode the subway all day, sat at train stations, drew old women, but Volkov didn’t like anything. Late in the evening I return home tired, and my neighbor comes towards me. I drew it. A book came out, and my friends tell me: “Communal services are a terrible thing! Look, if she recognizes herself in the book, she will definitely pour poison on you!” I didn’t wait, I went into the kitchen and said: “Marya Alekseevna, you know, I have a book published, here.” And she: “Congratulations!” When I was completely tired of waiting for the tragic ending, I went to her again and immediately opened the picture with Arachne. She looked and said so calmly: “It looks like it!” To the neighbor from the sixth apartment. Just as nasty.”
“But what then, ruler? - asked Dean Gior.
“These wooden people must be afraid of the same thing that I am afraid of,” said the Scarecrow thoughtfully, “fire.” That’s why we need to prepare more straw on the wall and keep matches handy.”
“The Scarecrow the Wise was sitting at that time in the palace basement. He was not so much tormented by regret about the lost power as by the thought that the Tin Woodman, having come to his rescue, would get into trouble. And there was no way to warn his friend! Faramant and Din Gior, imprisoned in the same basement, tried in vain to console the former ruler.”
“We won’t write a letter, but draw it!” the Scarecrow guessed.... We need to draw you and me behind bars.
“That’s right,” the Woodcutter rejoiced. - Draw!
But the Scarecrow didn't succeed. ... The Tin Woodman got down to business.”
“The travelers carefully entered the underground gallery. Lev walked first, followed by Ellie and Toto... The procession was brought up last by sailor Charlie, holding a lit torch above his head...
...Charlie Black lit the second torch and handed it to Ellie. He walked forward and moved slowly, feeling the ground with a walking stick.”
Don’t think that Russian children only read “Harry Potter” these days. You should see how many drawings, dolls, crafts and electronic messages the children send to the Museum of the Emerald City, located in the Central City Children's Library named after. Gaidara! One boy and his dad welded a human-sized Tin Woodman from metal. But it has not yet been possible to transport him to Moscow. And how many Scarecrows, Goodwins, Ginghams - it’s impossible to count.
“A fierce battle began. The clubs hit the Woodcutter’s iron body, and they caused dents on his back, chest, and arms. But these blows, although dangerous, were not fatal to the Woodcutter. But the blows of his terrible hammer crushed the oak heads of his opponents and broke their pine torsos into pieces.”
“All the city carvers were imprisoned for urgent work. The Scarecrow instructed them to transform the ferocious faces of the former blockheads Oorfene Deuce into cheerful, friendly faces. ...
... When the corporals lined up their subordinates in a column, the spectators were delighted. Cheerful, hardworking workers looked at them from the rows.”
« And Oorfene Deuce, freed by the guards, went wherever his eyes led him to the whistling and hooting of the townspeople and farmers,..."
Do you believe in a magical land?
- How can I not believe in her? Listen to this fairy tale. Once upon a time there lived a boy Vasya Boyko. He once read the book “The Wizard of the Emerald City” and decided that when he was big, he would definitely build the Emerald City. He grew up, became the president of a large investment and construction company, and is now building the Emerald City not far from the Kursky Station. This will be a cultural and health complex. The Emerald City Museum will move there. There, at the entrance, everyone will be greeted by Faramant with a proposal to immediately put on green glasses, there will be a throne room and many other miracles. How can I not believe in what is?
“The lackeys of King Ukonda, who ascended the throne after Asfeyo, with jokes and laughter, carried those who had fallen asleep into a special storeroom and laid them on shelves located in several tiers.”
“Ruf Bilan stopped. Voices could be heard faintly from behind the partition. So, he was not mistaken, there are people here, and they will help him...”
“The path along which Regnault led the prisoner bifurcated at times. Ruf Bilan noticed that the head of the guard always follows the instructions of the arrows painted in red paint on the walls of the corridors.”
“The two kings, Mentaho and Arbusto, met when Mentaho had slept and Arbusto had completed his course of study. Both rulers have already lived in the world for three hundred years, but have never met.”
- You must be a happy person?
- Of course, because I do what I love, and I also get a little money for it. And I never draw anything I don’t like, even if I have no money at all. A friend tells me: “I drew 200 books.” So what? And in my fifty creative years I have drawn only twenty books, or, to be serious, only three. But their circulation is more than twenty million. And I don’t at all feel like a passing figure from the last century. Do you know what is the best moment in life? Sit at your desk.(c) Alla Anufrieva 2002
“After walking a few hundred more steps, Fred and Ellie saw a huge crowd of people in multi-colored clothes pour out of the city gates. Ellie’s heart sank, but, coming close, she bravely turned to several people who stood out for the importance of their posture...”
“Having said goodbye to his wife and children, Leo set off at the head of a company of tigers: this was his personal guard. The commander was accompanied by adjutant birds and secretary birds.”
“Ellie disrupted the whole ceremony. Squealing with delight, she ran out from nearby and rushed headlong towards the Scarecrow's stretcher. The blockheads instantly formed a staircase, and the girl found herself in the arms of her good old friend...”
“The Scarecrow was taken to the workshop and placed in a secluded corner, where he did not bother anyone and where the workers did not bother him... In the dry and hot factory air, thick steam rose from the Scarecrow in the first days, and then his health began to improve surprisingly quickly. His arms and legs filled with strength, and clarity appeared in his brain. »
“It was bad for the Woodcutter too... Fortunately, in the last transport of provisions there was enough vegetable masoa, and the Tin Woodman was loaded there so that only a funnel was visible above the surface, replacing his hat. And so that the Woodcutter would not get bored, the Longbeard Soldier sat on a chair next to him and told him various entertaining stories from his past, when he still served as Goodwin’s gatekeeper.”
“Ellie waved her wand and began to say a spell: “Barramba, marramba, tariki, variki, vitriol, shaforos, bariki, balls!” Terrible spirit, Great Mechanic, go into the deepest bowels of the earth and give us your treasure - Sleeping Water!
Ellie stomped her foot on the floor three times, and after the third blow, a dull noise and roar was heard somewhere in the depths... A dazzling stream of water poured into the pool from a large pipe!”
“In the clearing, among the parting crowd of mourners, Ruggiero appeared... So, the sad hour of separation came. Ellie once again hugged and kissed her friends, Fred said goodbye to everyone...”
The illustrator Leonid Vladimirsky, who gave the world the images of Pinocchio and the heroes of Alexander Volkov’s fairy tales, has died. The artist was 94 years old. Throughout his life he carried his faith in God. The artist gave this interview to Pravmir on the eve of his 90th birthday
Mischievous Pinocchio in a red and white cap, Scarecrow and Tin Woodman from the Emerald City. When we mention these characters, images that were created by children's artist Leonid Vladimirsky appear in our memory. His works have become classics of fine art for children. We talk about the age of the soul, the ability to rejoice and miracles with the artist Leonid Vladimirsky
Leonid Viktorovich, have you ever been interested in the origin of your last name?
There is a legend in our family that one of our ancestors was a priest. One day he got into trouble and went to Moscow to the Assumption Cathedral to pray to the icon and ask for intercession. His prayers were answered. From that moment on, my ancestor changed his last name and became Vladimirsky.
Interestingly, I was born on September 21st. For a long time I was an unbaptized person. My wife Svetlana was also unbaptized. We are people of our time. Not so long ago, already on the threshold of the twenty-first century, we spent the summer in the village. We went to a village church. Still, we are believers. And that day my wife suggested to me: “Let’s get baptized.” I agreed. In the same church, the priest baptized us and after performing the sacrament he said: “Now light a candle to the Vladimir Icon of the Mother of God.” "Why?" “Because today is the day of the Vladimir Icon of the Mother of God.” We didn't even think about it. There was a coincidence that makes you think.
I believe that the Mother of God is taking care of me. There are many amazing things in my life. The fact that I survived the war. The fact that God gave the opportunity, health, time to work. That I'm almost ninety years old and I'm living. That he met his wife. My first wife died. Her husband died. We are both artists. We met and have been living together for more than 26 years.
How did you find your calling?
My parents had nothing to do with art. Mother is a doctor. Father is an office worker. In my youth I became interested in poetry and drawing. I was wondering where to go – literary or artistic. My father said that both are unreliable, you need to have a profession, and engage in poetry and drawing in your free time. I listened to my father and entered MISS. I studied for three years, and in the fourth the war came. We Komsomol volunteers went to courses at the military engineering academy, and then to the front. Served in the engineering troops. He did not perform any feats. Built roads and bridges. After the war, he entered VGIK in the animation department.
I became a children's artist because I am interested in what is interesting to third grade children. I'm interested in fairy tales. Adults are usually not very interested in fairy tales. There is even an expression: “Why are you telling me fairy tales?” Adults need to survive, their life is so difficult.
I believe that the age of my soul is nine years. There is a wonderful illustrator Igor Ilyinsky. He illustrated Mine Read. I once told him: “Your soul age is probably fifteen years old.” He replied, “Yes, I know.”
When did you first think about the age of the soul?
One day I arrived at a holiday home. I had a neighbor there. I tell him: “Hello, Petya! What kind of cultural program do we have here?” And the neighbor answers me: “Why is this interesting to you? Well, dancing today." I say: “Dancing! Let's go dancing." And he said to me: “What’s interesting there?” "Music. Acquaintance. New impressions." “But I haven’t been interested in this for a long time.” And he remained sitting in the room. I was about forty. And the neighbor is twenty-five years old. But it turned out that he was a young old man.
Is it the merit of your parents that your soul is so young?
Maybe from my parents - they raised me with kindness. Or maybe from above - from God.
You have poems with the following lines: And what else can we expect from God when he gave us life. Is it about humility?
Yes, about that. If you live, be happy. Make others happy with your life and example. Understand that I am not a pink, glamorous old man. I have a difficult life, with pain, with losses. But we must live, humble ourselves, endure. Rejoice under all circumstances. This is humility.
Your fairy-tale heroes are very human. There is worry and thought on their faces. Even the Scarecrow, who has straw in his head, is a person with character.
If you can empathize, then you can convey feelings to your characters. When I draw the Scarecrow, I imagine how he feels. We need to work kindly for children. Anyone who can spread kindness can be a children's artist or writer. And so that there is humor and expressiveness.
The greatest joy for me was when I myself began to write and draw at the same time. He wrote and illustrated two fairy tales, “Pinocchio is looking for treasure” and “Pinocchio in the Emerald City.” My wife helped me - my critic and adviser. And our dog Tyapa helped, he wagged his tail.
In the second book, Pinocchio was poisoned by Alice the Fox, and he turned into a piece of wood. Papa Carlo had to save him, and for this he went to a magical land for magic powder. He passed all the tests. And here is the last locked door in front of him. Then Papa Carlo began to cry... and I cried with him. As Pushkin wrote: “I will shed tears over fiction.” And in my fairy tale everything ended well. Papa Carlo unexpectedly discovered the Golden Key, and the second secret of the Golden Key, as you know, is that it opens any door.
When you look at the pictures you created, there is a feeling of lightness.
When I work for children, I am happy. Once at a master class I was asked: “Who are you targeting – professionals or readers?” You don't need to rely on anyone. As your soul wants, that’s how you should work. The main thing is joyfully, sincerely. If you work for someone else, it turns out to be a hack job. Real music and poetry are communication with God. The soul sings or hurts, and a person creates. If he sings, the result is a piece for those who feel good. If it hurts, for those who feel bad.
You, already a famous artist, taught children to draw in the art studio at the children's republican library. Please tell us some interesting episode.
One day a five-year-old girl, Masha, came. And I took in children from the age of six. Mom really asked me to accept Masha. I asked the girl: “Do you, Masha, want to draw?” She replied: “Yes. Want". I think the child has a desire. We must accept it. The younger the child, the more interesting his work. And he will learn to draw.
This is how I worked with children. I read them a fragment of a fairy tale. Then they made sketches and drew. We laid out the finished works on the floor. And each child took turns saying which picture from his comrades’ works he liked and why. It was Mashenka’s turn, and she said: “I like my picture.” Everyone laughed. Now Masha is graduating from an art institute. Excellent student. She tells everyone that her first teacher is Vladimirsky.
What advice can you give to parents who want to teach their children to draw?
Give your child paper, pencil, crayons, and gouache early. Recently there was an interview on the radio with Viktor Chizhikov. This is one of the best illustrators. He said he started drawing when he was ten months old. First on the wallpaper. His parents allowed him to paint the walls. There is no need to say: “Let’s draw a cucumber man.” Let it be scribbles, but your own. Hang a child's picture on the wall. Say: “My Vasya drew this.” To have an incentive. Children definitely need a kind word.
What are you happy about today?
Because my wife is next to me. We have been given love and understanding. Love must be protected. To the question: “How do you live?” I answer: “We are trying.” In the plural. I'm helping her. She is for me. I was a professional artist, but my eyes were tired. And now I write poetry. Recently I decided to write a poem for my upcoming anniversary – my ninetieth birthday. It turned out to be sixteen quatrains. The wife says: “If it’s twice as short, it will be twice as good.” I cut it with pain in my heart. And she again: “If it’s twice as short, it will be even better.” I obeyed. I trust her. I have a poem about how a little girl gave me a dryer for my pictures. There really was an incident with drying. This happened after my performance at a family orphanage. And I dedicate most of my poems to my wife, my Beregin, my muse.
To my wife Svetlana
Don’t cry, my dear, don’t worry, you’re tired,
This is only dearer to me, you have become dearer and closer
No need to look in the mirror for traces of your anxiety -
Gray strands at the temple, severe wrinkles on the forehead
Just be patient, the trouble will go away, we will be able to deal with it
I'm here. I'm nearby. Forever. And you are my beauty.
Untitled
No matter how you dream, no matter how you pray,
Everyone has their own path
And what else can we expect from God?
When he gave us life.
Long-lived
I found out when the years passed, the result is disrespectful
We fall into childhood - that’s the problem. We are these long-livers
We need to be praised more often. Give some candy once a day
And what did we manage to break: “For luck,” we must say
Don’t forget about vitamins and go to bed early
You are many years younger, but I call you mom
There is no kinder person in the world than you. And I'm the happiest
Drying for tea
The years are moving faster and faster.
Across the road - stops, anniversaries, summing up.
I will have a mystery anniversary soon.
Ninety. This is hilarious. I don't even believe it myself.
And today a little girl came up by chance:
“For the pictures. This is for tea. And she gave me a dryer"
This sunny circle is more valuable than all awards
This means that I lived my life very well.
REFERENCE:
Leonid Viktorovich Vladimirsky - (born September 21, 1920 in Moscow) - Russian graphic artist and illustrator.
Born in Moscow in 1920. With the outbreak of war in 1941, he was drafted into the army, having completed three courses at the Moscow Civil Engineering Institute (MISI) named after. Kuibysheva. After the war, he graduated with honors from the art department of the Institute of Cinematographers (VGIK) in the animation department.
In 1953, for the film strip “The Adventures of Pinocchio” based on the fairy tale by A. N. Tolstoy, the artist created his own image of a wooden hero in a striped cap - an image that became well known and is considered a classic. After the publication of the book “The Adventures of Pinocchio” by the publishing house “Iskusstvo” in 1956, Vladimirsky devoted himself entirely to illustrating books for children. The artist’s next well-known work was illustrations for six fairy tales by A. Volkov, the first of which, “The Wizard of the Emerald City,” was published in 1959.
Among the artist’s works are illustrations for the poem “Ruslan and Lyudmila” by A. S. Pushkin, for the story “Three Fat Men” by Yuri Olesha, for “The Adventures of Parsley” by M. Fadeeva and A. Smirnov, “The Journey of the Blue Arrow” by J. Rodari and the collection Russian fairy tales.
The total circulation of books published with illustrations by Leonid Vladimirsky exceeds 20 million.
In 1974, Vladimirsky was awarded the title Honored Artist of the RSFSR.
In 1996 he became a laureate of the All-Russian Children's Reading Competition.
In 2007 he was awarded the gold medal of the Creative Union of Artists of Russia
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Vladimirsky Leonid Viktorovich born in Moscow on September 21, 1920 - Russian graphic artist and illustrator, the oldest children's book artist, Honored Artist of the RSFSR. His childhood was spent on Arbat. My parents had nothing to do with art. Mother is a doctor. Father is an office worker. In his youth, he became interested in poetry and drawing.
Despite his artistic talent, he decided to enter the Institute of Civil Engineering. Before the war I managed to complete 3 courses. During the war he served in engineering units, built roads and bridges. He graduated from the war with the rank of senior lieutenant, has a medal “For Victory over Germany,” and after demobilization, in 1945, he decided to become an artist. He chose the art department of VGIK, the animation department, and graduated with honors in 1951.
In 1953, he was invited to work as chief artist at the Filmstrip studio, where he created 10 children's filmstrips, including “The Adventures of Pinocchio” (1953) based on the fairy tale by A.K. Tolstoy. The artist created his own image of a wooden hero in a striped cap - an image that has become well known and is considered classic. He copied his favorite hero, Pinocchio, from his daughter. She was just five years old then. I cut out a long nose from cardboard and attached it with an elastic band, and put a striped cap on my head. After the publication of the book “The Adventures of Pinocchio” by the publishing house “Iskusstvo” in 1956, Vladimirsky devoted himself entirely to illustrating books for children.
Leonid Viktorovich Vladimirsky has been painting with watercolors all his life. - Most of all he drew fairy tales. And they contain all kinds of fiction: mermaids, witches, fairies, sorcerers, dragons, devils, gnomes and other amazing creatures. All children of modern Russia, their parents, as well as grandparents know his pictures.
The artist’s next widely known work was illustrations for six fairy tales by A. Volkov, the first of which, “The Wizard of the Emerald City,” was published in 1959. It was first published as a separate book, even before the war, with black and white illustrations by the artist N. E. Radlova A new wave of interest among Soviet children in Ellie’s adventures was caused by the publication of “The Wizard of the Emerald City” with new, original illustrations by Vladimirsky, colorful and beautiful.
The artist's list includes: A. Pushkin "Ruslan and Lyudmila"; Y. Olesha “Three Fat Men”; M. Fadeeva, A. Smirnov “The Adventures of Parsley”; J. Rodari “The Journey of the Blue Arrow”; Tolstoy A. N. “The Adventures of Pinocchio, or the Golden Key”; collection “Russian Fairy Tales” and many other books.
With his drawings for various editions of books about Buratino by A. N. Tolstoy and about the Emerald City by A. M. Volkov, he became widely known in the USSR and socialist countries.
Currently, Leonid Viktorovich lives in one of the capital’s suburbs, in Dolgoprudny. His wife Svetlana Kovalskaya is also an artist. Honored Artist of Russia, member of the Union of Artists of Russia, a legend of Soviet book publishing in his late 90s, he is easy to communicate with, cheerful, and holds himself upright. He is very friendly, greets guests cordially, and talks about his creative destiny.
This artist has many fans whom he met at numerous events in children's libraries, schools, clubs, and family centers. Wherever his exhibitions take place, Vladimirsky communicates a lot with children.
Vladimirsky has a lot of interesting things at home: rare books, paintings, a Pinocchio doll from his play, a huge apple tree - “The Tree of Life” is painted right on the wall, on the wallpaper. There are as many apples on its branches as the owner of the house is old. And every year, on September 20, a new one appears. L. Vladimirsky continues his active social activities.
/ A. M. Volkov; artist L. V. Vladimirsky. - M.: Soviet Russia, 1989. - 180, p.: ill.
/ A. M. Volkov; artist L. V. Vladimirsky. - M.: Soviet Russia, 1987. - 198, p.: ill.: 1.00
Volkov A. M. The Wizard of the Emerald City: fairy tales/ A. M. Volkov; artist L. Vladimirsky. - M.: AST, 2007. - 991 p. ill.
In the region book also: Oorfene Deuce and his wooden soldiers; Seven Underground Kings; Yellow fog; Fire god of the Marrans; The mystery of the abandoned castle.
Volkov A. M. Wizard of the Emerald City/ A. Volkov; artist L. Vladimirsky. - M.: AST, 2006. - 175 p.: ill.
Tit on the back. l. also: "The Wizard of Oz" - a reworking of the fairy tale by American writer Frank Baum "The Wise Man of Oz"
: [fairy tale]/ A. Volkov; artist L. Vladimirsky. - M.: AST, 2004. - 207 p.: ill.
Volkov A. M. The Fire God of the Marrans: a fairy tale/ A. Volkov; [art. L.V. Vladimirsky]. - M.: AST, 2003. - 235, p.: ill. - (Favorite reading)
Volkov A. M. Yellow fog: a fairy tale/ A. Volkov. - M.: AST, 2004. - 238, p.: ill. - (Favorite reading / designed by A. A. Kudryavtsev)
Volkov A. M. Seven underground kings: [fairy tale] / A. Volkov; artist L. Vladimirsky. - M.: AST, 2006. - 205, p.: ill.
Volkov A. M. Wizard of the Emerald City: [fairy tale]:[a guide to extracurricular reading] / A. Volkov; artist L. Vladimirsky. - M.: AST, 2006. - 159, p.
The artist of this book is a laureate of the All-Russian children's reading competition "Golden Key"
Volkov A. M. Urfin Dzhus and his wooden soldiers: [fairy tale] / Alexander Volkov; artist L. V. Vladimirsky. - M.: NF "Pushkin Library", 2005. - 350, p., color: ill. - (Series "Extracurricular Reading") Cont. book
Volkov A. M. The mystery of the abandoned castle:[fairy tale] / A. Volkov; [ill. L.V. Vladimirsky]. - M.: AST, 2004. - 204, p.: ill. - (Favorite reading / design by A. A. Kudryavtsev) Fairy tale story “The Secret of the Abandoned Castle” continued. books: "The Wizard of the Emerald City"; "Oorfene Deuce and his wooden soldiers"; "Seven Underground Kings"; "Fiery God of the Marrans"; "Yellow Fog"
Volkov A. M. Seven underground kings: a fairy tale/ A. Volkov; [art. L. Vladimirsky]. - M.: AST, 2003. - 220, p.: ill. - (Favorite reading)
Volkov A. M. Urfin Dzhus and his wooden soldiers: fairy tale / A. Volkov; artist L.V. Vladimirsky. - M.: House, 1992. - 206, p.: color. ill. Cont. book "The Wizard of the Emerald City"
Volkov A. M. The mystery of the abandoned castle: a fairy tale/ Alexander Volkov; artist L. Vladimirsky. - Vladivostok: Dalnevost. book publishing house, 1984. - 190 pp.: color. ill.
Danko E. Ya. Defeated Karabas/ E. Ya. Danko.; artist L.V. Vladimirsky.- M.: Soviet Russia, 1989.- 124, p.: ill.
The Golden Key, or the Adventures of Pinocchio / Tolstoy A. N. Pinocchio is looking for a treasure. Pinocchio in the Emerald City / Vladimirsky L. Defeated Karabas /
Danko E. The second secret of the golden key/Runge S., Kumma A. artist. Leonid Vladimirsky. - M: EKSMO-Press, 2000. - 596, p.: ill.
Lisina E. N. Lop-Eared Ilyuk: a fairy tale story/ E. N. Lisina; artist L. V. Vladimirsky; lane from Chuvash I. Karimov. - M.: Children's literature, 1986. - 142, p.: ill.
Pushkin A. S. Ruslan and Lyudmila: poem/ A. S. Pushkin; [ill. L. Vladimirsky]. - M.: Sov. Russia, 1980. - 102 pp.: color. ill.
Tolstoy A.N.. The Golden Key, or The Adventures of Pinocchio/ Alexey Tolsto; artist L. Vladimirsky. - Omsk: IPK "OMICH", 1992. - 100, p.: ill.
Clever Marcela: Philippine Folk Tales/ [auth. preface.. I. Podberezsky;] comp. and retelling from English. and Tagalog R.L. Rybkin; [ill. L. Vladimirsky]. - M.: Children's literature, 1981. - 190, p.: ill.
Fadeeva M. A. The Adventures of Parsley and Tuzik: a fairy tale/ M. A. Fadeeva; artist L. Vladimirsky. - M.: Children's Book Studio of the Soviet Peace Committee, 1992. - 44, p.: color. ill.
Leonid Viktorovich
AUTOBIOGRAPHY
I was born a very long time ago - in 1920 in Moscow on Arbat. My parents were far from art. Mom was a doctor, and father was an accountant. It was such a profession back then. Above my childhood bed hung a large map of the world. This is probably why I dreamed of becoming a traveler. When I was 11 years old, letters from all over the world began to arrive at my father’s work. The brands made a big impression on me. I began not only collecting them, but also drawing them. Later, his passion for drawing was supplemented by a love of poetry. This is my youthful manifesto:
Find out all the colors
Understand their calls
Poems and fairy tales
Open laws.
There will be no boredom
And dots:
Work - 24 hours
Love - so much.
Make way for the miracle:
Fate-luck.
I'll be happy
And no other way!
When I finished school, my father said: “You need to get a reliable profession, and then do whatever you want - draw pictures or write poetry.” And I entered the Institute of Civil Engineering, where before the start of the war I managed 
complete three courses. MISI was evacuated to the Urals, but we, Komsomol volunteers, joined the army. I served in the engineering troops. After the war, it was necessary to graduate from a construction institute. But, having matured, I decided to radically change my destiny and went back to study as a first-year student, but this time at the art department of VGIK. I graduated from it in 1951 with honors and was sent to the Filmstrip studio. There I drew 10 films, including the filmstrip “The Adventures of Pinocchio” based on the fairy tale by Alexei Tolstoy. I created my own image of a wooden boy in a striped cap and a red jacket. In 1956, the publishing house “Iskusstvo” published a book under the same title. It contained 128 pictures about Pinocchio. This book has been reprinted ever since.
I liked drawing children's books, and I began to call myself an illustrator. My next work was A. Volkov’s fairy tale “The Wizard of the Emerald City” (1959). We worked together with a wonderful person and writer Alexander Melentyevich Volkov for 20 years. During this time, he wrote and I illustrated 5 more books about the Emerald City.
I didn’t want to part with my favorite characters, and subsequently I myself wrote two fairy-tale stories about their adventures: “Pinocchio is looking for treasure” and “Pinocchio in the Emerald City.”
The list of my works includes “Ruslan and Lyudmila” by A. Pushkin, “Three Fat Men” by Y. Olesha, “The Travels of the Blue Arrow” by D. Rodari, Russian fairy tales, “The Adventures of Parsley” and other books.
My childhood dream also came true. As soon as I could, I tried to travel throughout the Soviet Union and abroad. From trips he brought sketches and notes and published them in magazines. We managed to publish the travel album “Australia”.
With age, my eyes became tired and it became difficult to draw. I started writing articles on art - like “The Secret of the Black Square” - and stories for children and adults. I also remembered my youthful hobby and began to write poetry. I dedicate them to my shore and muse - my wife Svetlana Kovalskaya. By the way, she is also an artist, but a painter. It is to her care that I owe the fact that I have already lived to be 90 years old and continue to be creative.
By and large, I must say that my destiny-luck came true.
There are few graphic artists whose works are familiar to literally everyone who was born and raised in Soviet times and was brought up on good children's books: Russian folk tales, the works of A. S. Pushkin, Yu. K. Olesha, A. N. Tolstoy, A. . M. Volkova, D. Rodari. To one of the most famous and popular book illustrators - Leonid Viktorovich Vladimirsky Today would have been my 95th birthday. He died this spring, a little short of his own anniversary, but the characters in his drawings have long become universally recognized classics, both in our country and abroad. Leonid Vladimirsky was born on September 21, 1920 in Moscow, completed three courses at the Moscow Civil Engineering Institute, but with the beginning of the Great Patriotic War he was drafted into the engineering troops and went to the front. Having been demobilized in 1945 with the rank of senior lieutenant, Vladimirsky unexpectedly entered the art department of VGIK, and graduated from it in the animation department. His diploma work was the first filmstrip in the history of the institute, after which the graduate was invited to work as the chief artist at the Filmstrip studio, where he created a series of illustrations for ten children's films.
Thus, in 1953, the famous image of a wooden man in a striped cap was born, created by the artist based on the fairy tale by A. N. Tolstoy “The Golden Key, or the Adventures of Pinocchio.” In 1956, the publishing house “Iskusstvo” published a book with the same title, illustrated by Leonid Vladimirsky. From that moment on, the artist began to deal only with book graphics for children. In an interview recorded in 2006, the artist admitted: “...I really illustrated only three books - “The Adventures of Buratino”, “The Wizard of the Emerald City” and “Ruslan and Lyudmila”. I drew the Scarecrow alone more than 400 times. More than 150 drawings of Pinocchio... I have been drawing Pinocchio since my daughter (she was 5 years old at the time). I tied a cardboard nose to her with a string, and she posed for me. When she turned 9 years old, she turned into Ellie. Now I draw Pinocchio from a childhood photograph of my granddaughter and even from my great-grandson, who is now 5 years old. Then, when I was already working at the Filmstrip studio, I learned that even before the war the Golden Key filmstrip was being prepared. Alexey Tolstoy wrote a frame plan (that is, frame-by-frame text) for it, and the artist Radlov already drew Pinocchio. But then the war began and work was stopped. There were three copies of the text in total, and one burned down at the Filmstrip when a bomb hit it, the second burned down along with the House of Artists. Only the third has been preserved in the archives of the Literary Institute. I found it and made a two-part filmstrip, and then a book - with a short text, for kids who are learning to read.
By the way, because of the popularity of Pinocchio, funny situations often happened to me. So, one day I decided to take part in the exhibition “Artists for Children” and drew a big Pinocchio. I show it to the chairman of the jury. He looked and said: “It’s a disgrace! You took a well-known image! And we only accept unique works. Don’t you know?” I didn’t answer and left.”
In 1959, A. M. Volkov’s book “The Wizard of the Emerald City” was published, all the images for which were drawn by Vladimirsky. According to the Book Chamber, this work was republished in the Soviet Union and abroad more than one hundred and ten times, and always with illustrations by Leonid Viktorovich, which are already perceived by readers of different generations as canonical. This was followed by continuations: drawings for the books “Oorfene Deuce and His Wooden Soldiers” (1963), “Seven Underground Kings” (1964), “Fiery God of the Marrans” (1968), “Yellow Fog” (1970), “The Mystery of the Abandoned Castle” (1976-1982). Among the artist’s other works are illustrations for the poem “Ruslan and Lyudmila” by A. S. Pushkin, for the story “Three Fat Men” by Yu. K. Olesha, for “The Adventures of Parsley” by M. A. Fadeeva and A. I. Smirnov, “The Journey Blue Arrow" by Gianni Rodari, collections "Russian Fairy Tales" and "Clever Marcela". Leonid Viktorovich said: “There are no simple characters and there cannot be. I consider the most successful, of course, to be the images of Pinocchio and the Scarecrow. But the most difficult image for me turned out to be the image of Lyudmila from Pushkin’s poem “Ruslan and 
Lyudmila." This was my diploma work. Everyone liked Lyudmila from the fairy tale, so I decided that everyone should like my Lyudmila too. At first I drew girls on the street, after which I showed the drawings to my friends. If even one of them didn’t like it, he rejected it. This is how Lyudmil drew nineteen. Then I decided that I’d stop adjusting to other people’s tastes, I’ll draw a Lyudmila that I myself would like. And I drew it. My friends looked and said that I had bad taste, that it was a waitress from a restaurant. And then I realized - I need to draw an image that Alexander Sergeevich would like. I thought - I did it. I placed a portrait of Natalya Nikolaevna in front of me and began to draw. This is how the sad Russian princess arose. By the way, all my friends approved of this option.”
By the way, Leonid Vladimirsky himself is the author of two fairy tales about the adventures of his favorite hero: “Pinocchio is looking for treasure” (1995) and “Pinocchio in the Emerald City” (1996). Back in 1974, for his services in the field of fine arts, the artist was awarded the title of Honored Artist of the RSFSR, and in 1996 he became a laureate of the All-Russian Children's Reader's Choice Competition. The artist has always been true to himself, his viewers and his creative calling, repeatedly repeating: “I never paint what I don’t like, even if there is no money left. My friend tells me: “I drew 200 books.” So what? And in my fifty creative years I have drawn only twenty books, but if we take a serious look at them, only three. But their circulation is more than twenty million.”
