Illustrations by Evgeny Migunov, 1965. Three versions of Monday illustrated by Evgeny Migunov. How a deaf-mute boy got a chance for success and fame and took advantage of it

02.10.2020

There is nothing uglier in the world than beauty that has been attempted to be improved.
That's what I think every time I see one book on the shelf. This is "Monday begins on Saturday" ABS with drawings by Evgeny Migunov. The book I grew up with, which I already re-read before I went to school. Even though I didn’t understand much of it then, I still didn’t let it out of my hands. Not least, by the way, because of the wonderful children's drawings - but the fact that this was a children's book did not raise any doubts in my mind.
This book stands on the shelf (I found it once on Bukokonnik) - and it causes me terrible cognitive dissonance. The text is fine, the artist is the same.
But this is not that book.
There is some kind of glitch in reality - and there are other drawings. Slightly different. I have never seen anything uglier in my life.
The true book of my childhood was published in 1965. This publication was published in 1979. The publishing house is the same - "Children's Literature". How so?

I began to dig the Network in bewilderment. And this is what turned out. The artist Evgeny Tikhonovich Migunov, it turns out, illustrated PNvS three times.
In 1965 - in the very first edition (my book).
In 1979 - when republished by the same publishing house (what I found recently). It seems like he wanted to “refine” the illustrations to make them “more modern.” That's right - changed each illustration from the first version, several new ones have been added, and several old ones have been removed from the layout altogether. The same version of the book was published in 1987 by the Frunze publishing house "Mektep" (with low printing quality).
In 1993 - for a joint book by the Book Garden and Interoco publishing houses. Several new illustrations for the text of the novel, portraits of characters and a double portrait-caricature of the Strugatskys appeared. (This is a rare edition, I don’t have it - it looks like this).

In the first edition, the main character is Shurik (Alexander Demyanenko) from the films of L. Gaidai. This was very correct and completely logical. In subsequent versions he is some kind of infantile imbecile, I don’t know what to call him. This is the most noticeable fundamental change in the reissue. I'm desperately subjective.

For a long time I planned to scan both books - 1965 and 1979 - and make a comparative table of illustrations. I prepared, made time... until I discovered that good people had already done it.
Here - http://litvinovs.net/pantry/migunov_monday_begins_on_saturday/
And I openly copy someone else’s work with attribution because of its importance to me. With gratitude.

By the way, a quote from the text of the novel (afterword by Privalov):

"4. A few words about the illustrations.
The illustrations are highly authentic and look very convincing. (I even thought that the artist was directly connected with the adjacent Research Institute of Kabbalism and Divination.) This is further evidence that true talent, even if misinformed, is still not able to completely break away from reality. And at the same time, one cannot help but see that the artist had the misfortune of looking at the world through the eyes of the authors, whose competence I have already spoken about above..."

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These are their covers:

Ifrits in the second edition moved to the title page:

And this is what the title page looked like in the old edition (the sofa, please note, is on chicken legs):

"I was approaching my destination..." In the first version, Volodya Pochkin went hunting without a gun, but with a suitcase. And, apparently, with a drawing tube in his backpack.

Gate IZNAKURNOZH:

And here is the third drawing with a gate! I don't know which edition... (1993 - note by I.B.)

Naina Kievna in a cheerful scarf with images of an atomium and with the inscription “International Exhibition in Brussels”:

Cat Vasily:

Talking pike:

The dragon is being taken to the training ground (Sasha Privalov and Naina Kievna are standing in the crowd):

Naina Kievna rolls up for transport to Bald Mountain (note: the mermaid is hanging on the branches):

Grip on the stove:

Vitka Korneev flew in for the umklaydet (it seems that there is no such picture in the old edition):

Modest Matveevich stops squandering:

Morning exercises (a this illustration disappeared in the new edition):

NIICHAVO Museum (signature under the slingshot that Sasha is looking at in the new illustration: “David’s Sling”):

- Well, don’t you see? And I saw...

Sasha Privalov at a briefing with Modest (all the furniture is back on chicken legs):

Fyodor Simeonovich Kivrin (very similar in appearance to Felix Krivin, although his main prototype is Ivan Efremov):

The incredibly graceful Cristobal Josevich Junta:

Vybegallo (somehow resembles one of his prototypes, Professor Petrik Alexander Kazantsev):

Merlin with a stolen receiver (new edition only):

Magnus Redkin and his invisible trousers:

Institute lobby:

Autoclave (again, according to tradition, on chicken legs):

Exposing Vitka's false take with dead crucian carp (only in the old edition):

Is this what transgression is?

Run out at the autoclave (only in a later edition):

Kott and Gies are loading the equipment, Briareus is fooling around:

Discussion about non-protein life (in the second illustration, Edik casually took off his shoes and kept his socks on):

Vitka levitates:

Louis Sedlova with his unit (for some reason it is not in the new edition):

Journey to the described future:

Sasha Drozd, Privalov and the witch Stella are drawing a wall newspaper, and a parrot is watching them (this illustration has disappeared in the new edition):

Dead parrot in a Petri dish:

Associative interrogation:

Janus with a parrot:

Witch Stella (such a cute Stella is only in the new edition):

The idea of discrete counter-motion:

Janus Poluektovich - as expected, in two faces: older Janus (1965) and younger Janus (1979):

And here are a few more portraits that I have not seen either in the old edition or in the new one. However, they exist. Moreover, some heroes (Modest Matveevich, Vitka Korneev) are clearly drawn in the old style, while others (Privalov, Janus) are drawn in the new one. (1993 - note by I.B.)



Well, to complete the picture: this is how the afterword was illustrated. (Please note: on Privalov’s table is the same book from 1965 - note by I.B.)

It's called - find ten differences. Let's go. Lev Ben Bezalel:

Harpy:

Dwarf:

Golem:

Maxwell's Demon:

Jian Ben Jian:

Dracula:

Incunabula:

Levitation:

"Witches Hammer":

But the oracle was drawn only in the old edition:

Ramapithecus:

Ghoul:

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Original taken from dubikvit in "Monday begins on Saturday" with illustrations by Evgeny Migunov

Artist Evgeny Tikhonovich Migunov is deservedly considered the best illustrator of Soviet science fiction. His illustrations for the works of Kir Bulychev and the Strugatsky brothers are loved by many generations of readers, and for the story “Monday Begins on Saturday” are generally considered canonical.
It is precisely the illustrations for “PNvS” that I want to talk about today.

Do you know that Evgeniy Tikhonovich illustrated this book three times?

The first book with his illustrations was published in 1965

The second edition with its revised illustrations was published in 1979

This variant was later re-released in 1987

The third version was released in 1993. It is this edition (as it turns out, quite rare) that is on my bookshelf

The preface to it says:
"The text, revised by the authors, is published in full for the first time, without distortions made at one time by party and artistic censorship
Especially for this edition, the artist Evgeny Migunov created illustrations for “The Tale of Troika”, and the drawings for “Monday...” known to every science fiction fan were updated and supplemented by him.”

Let's compare how much the artist reworked the illustrations

The title page is different in all three editions

As you can see, in the first edition the plot is taken from the first part, in the second from the second part, and in the third, where there were two stories under one cover, generally from “The Tale of Troika”. For “Monday...” the title page was with Naina Kievna

Ifrits in the third edition migrated to the epigraph

And in the first one they were in the text and looked a little different

"I was approaching my destination...
To the right, two people came out of the forest, stepped onto the side of the road and stopped, looking in my direction. One of them raised his hand..."

As you can see, this drawing in the second and third editions is identical, but in the first it was completely different. These citizens would arouse suspicion in me personally - if they are hunters, then why do they have one gun between them? And why do they need a suitcase while hunting in the forest?! (I immediately remember Pechkin from “Prostokvashino”) And what sticks out of the backpack of a citizen with a suitcase? Why do you need a tube while hunting in the forest (I think it’s clear that it’s not a grenade launcher)?

“The gates were absolutely phenomenal, like in a locomotive depot, with rusty iron hinges weighing a pound. I read the signs with amazement.”

As you can see, by 1979 the gates were very dilapidated, and by 1993 they were covered with iron

“The hostess was probably over a hundred. She walked towards us slowly, leaning on a gnarled stick, dragging her feet in felt boots with galoshes. Her face was dark brown; from a continuous mass of wrinkles, her nose protruded forward and downward, crooked and sharp, like scimitar, and the eyes were pale, dull, as if closed by cataracts.
“Hello, hello, grandson,” she said in an unexpectedly sonorous bass. - This means there will be a new programmer? Hello, father, welcome!..
I bowed, realizing that I needed to keep quiet. The grandmother's head, on top of a black down scarf tied under her chin, was covered with a cheerful nylon scarf with multi-colored images of the atomium and with inscriptions in different languages: “International Exhibition in Brussels.” There was sparse gray stubble sticking out on his chin and under his nose. The grandmother was dressed in a padded vest and a black cloth dress."

By 1993, the grandmother had lost a lot of weight and was hunched over, and in 1965 the old lady was completely different (as soon as the change was not noticed?!)

“Suddenly he had a massive harp in his paws - I didn’t even notice where he got them. He desperately, clinging to the strings with his claws, yelled even louder, as if trying to drown out the music.”

The cat also apparently grew old by 1979, either turning gray or shedding color. But by 1993 it had not changed

“The tub seemed very heavy to me. When I put it on the frame, a huge pike head stuck out of the water, green and all sorts of mossy. I jumped back.”

But in this picture you can see how Privalov has changed. He lost weight, grew his hair, and apparently acquired boxing skills

"A man was walking along the pavement with children's flags in his hands. Behind him, about ten steps away, with a strained roar, a large white MAZ slowly crawled with a giant smoking trailer in the form of a silver tank. On the tank it was written "flammable", to the right and left of it also slowly Red fire trucks, bristling with fire extinguishers, were rolling along."

Well, here are pictures from the series “find 10 differences”

“While I was lying under the car and dousing myself with oil, the old woman Naina Kievna, who suddenly became very affectionate and amiable, drove up to me twice so that I would take her to Bald Mountain.”

Oh, right, they changed the grandmother

“I looked around and sat down on the floor. On the stove, a gigantic vulture with a bare neck and an ominous curved beak was neatly folding its wings.”

Well, a vulture is like a vulture

“I sat down and looked around. In the middle of the room, a huge fellow in sweatpants and an untucked striped Hawaiian hovered in the air. He hovered over the cylinder and, without touching it, smoothly waved his huge bony paws.”

Well, I wouldn’t say that they are “bony”, but rather muscular. But in the first edition there was no illustration of this scene

“Four people entered the room and crowded around the sofa. I knew two of them: the gloomy Korneev, unshaven, with red eyes, still in the same frivolous Hawaiian jacket, and the dark, hook-nosed Roman, who winked at me, made an incomprehensible sign with his hand and immediately turned away. The gray-haired one I didn’t know. I also didn’t know a plump, tall man in a black suit, shiny from the back and with wide, masterful movements.”

The picture is only present in the first edition

“You stop this, Roman Petrovich,” the sleek man suggested with dignity. “Don’t shield your Korneev from me. The sofa is in my museum and should be there...”

Oh, what happened to Modest Matveevich!? Did you play sports and put in contact lenses?

“It was a pretty decent museum - with stands, diagrams, showcases, models and dummies. The general appearance was most reminiscent of a forensic museum: a lot of photographs and unappetizing exhibits.”

Well, the museum has obviously made some changes, although the main exhibits have not gone anywhere

“I stopped near a strange building with a sign “NIICHAVO” between the windows.
- What does this mean? - I asked. - Can I at least find out where I am forced to work?
“You can,” said Roman. - You can do anything now. This is the Research Institute of Witchcraft and Wizardry... Well, what have you become? Drive the car.
- Where? - I asked.
- Well, don’t you see?
And I saw"

In later editions the car disappeared, but the direction of view was preserved - apparently he noticed Stella in the window

“Modest Matveyevich in a shiny suit was waiting majestically for me in his own reception room. Behind him, a small dwarf with hairy ears sadly and diligently ran his fingers over an extensive list.”

Well, we already talked about Kamneedov

“At fourteen hours and thirty-one minutes, the famous Fyodor Simeonovich Kivrin, a great magician and wizard, head of the department of Linear Happiness, burst into the reception room, puffing noisily and cracking the parquet floor.”

Kivrin swapped his felt boots for more modern shoes. Well, apples

“The thin and graceful Cristobal Josevich Junta entered, wrapped in a mink coat.”

And the old Junta will probably be more interesting

“At exactly three o’clock, in accordance with labor legislation, Doctor of Sciences Ambrosy Ambruazovich Vibegallo brought the keys. He was wearing felt boots lined with leather, a fragrant cab driver’s sheepskin coat, and a grayish unclean beard stuck out from his raised collar. He cut his hair into a bowl, so no one has ever seen his ears"

The sheepskin coat is more fashionable, and the felt boots...

“Then the bachelor of black magic, Magnus Fedorovich Redkin, brought the keys, fat, as always preoccupied and offended. He received his bachelor’s degree three hundred years ago for the invention of invisibility trousers. Since then, he has been improving and improving these trousers. Invisibility trousers first turned into invisible culottes, then invisible trousers, and finally, quite recently, they began to be talked about as invisible trousers"

Interesting different approaches to the concept of “invisibility pants”

“But then there was a crash, a crash, a flash of flame and the smell of sulfur. Merlin appeared in the middle of the reception room.”

But Merlin was not in the first edition

“Putting the keys in my jacket pocket, I went on my first round. Along the grand staircase, which in my memory was used only once, when the institute was visited by an august figure from Africa, I descended into the vast lobby, decorated with centuries-old layers of architectural excesses.”

Well, it’s difficult to see something here - it’s dark, Privalov didn’t turn on the lights

“In the center of the laboratory there was an autoclave, in the corner there was another, larger one. Near the central autoclave, right on the floor, there were loaves of bread, there were galvanized buckets with bluish return and a huge vat of steamed bran. Judging by the smell, there were herring heads somewhere nearby, but I could not understand where. Silence reigned in the laboratory; rhythmic clicking sounds were heard from the depths of the autoclave."

The big autoclave has disappeared, the small one has changed

“Vitka’s double stood with his palms resting on the laboratory table, and with a fixed gaze he watched the work of Ashby’s small homeostat. At the same time, he hummed a song to a once popular tune.”

Again a scene that disappeared after the first edition

“He took me by the hand, jumped, and we rushed through the floors. Piercing the ceilings, we crashed into the ceilings, like a knife into frozen butter, then with a smacking sound we jumped into the air and crashed into the ceilings again. Between the ceilings it was dark, and the little gnomes mixed with mice with frightened squeaks, they shied away from us, and in the laboratories and offices through which we flew, employees looked up with puzzled faces"

There are more “concerned” people

“The main thing is what?” Vibegallo readily proclaimed. “The main thing is that the person is happy.”

But the happy Vibegallo was not in the first edition

“Kott took the autoclave, Gies took everything else. Then Briareus, seeing that he had nothing, began to give orders, give instructions and help with advice.”

This illustration is not in the third edition, but there is one with the result of the experiment: “The giant consumer was not in the funnel. But there was everything else and much more besides. There were photo and movie cameras, wallets, fur coats, rings, necklaces, trousers and a platinum tooth. There were Vibegalla’s felt boots and Magnus Fedorovich’s hat. There It turned out to be my platinum whistle for calling an emergency team. In addition, we found there two Moskvich cars, three Volga cars, an iron safe with the seals of the local savings bank, a large piece of fried meat, two boxes of vodka, a box of Zhiguli beer and an iron bed with it. nickel-plated balls"

"The spider-hedgehog disappeared. Instead, little Vitka Korneev appeared on the table, an exact copy of the real one, but the size of a hand. He snapped his small fingers and created an even smaller micro-double. He also snapped his fingers. A double the size of a fountain pen appeared. Then the size of a matchstick boxes. Then - with a thimble"

Again pictures from the “find 10 differences” series

“On the one hundred and fifteenth jump, my roommate Vitka Korneev fluttered into the room. As always in the morning, he was cheerful, energetic and even complacent. He hit me on my bare back with a wet towel and began to fly around the room, making movements with his arms and legs, as if he were swimming breaststroke"

“In the end, I was brought to the absolute students. I ended up just before the start of the seminar. The employees, yawning and carefully stroking their ears, sat down in a small conference room. In the chairman’s place, calmly intertwining their fingers, sat the head of the department, the Master Academician, all White, Black and Gray magic, the expert Maurice-Johann-Lavrentiy Pupkov-Zadniy looked favorably at the fussing speaker, who, with two ineptly executed hairy-eared takes, was installing on the exhibition stand a certain machine with a saddle and pedals, similar to a simulator for those suffering from obesity"

The scene is only in the first edition

“The sidewalk brought me to a huge square, crowded with people and lined with spaceships of the most varied designs. I stepped off the sidewalk and stole a car. At first I didn’t understand what was happening. Music was playing, speeches were being made, here and there, towering above the crowd, curly, ruddy the young men, having difficulty controlling the unruly strands of hair constantly falling on their foreheads, soulfully read poetry"

In the third edition, Privalov for some reason goes in the opposite direction

“Roman, holding his chin, stood over the laboratory table and looked at the small green parrot lying in the Petri dish. The small green parrot was dead, with its eyes covered with a dead whitish film.”

“I took out a folder with the next things to do and was about to get to work, but then Stella, a very cute snub-nosed and gray-eyed witch, Vibegalla’s intern, came and called me to make another wall newspaper.”

For some reason, the charming Stella is present only in the second edition

"The parrot sat on the yoke of the laboratory scale, twitched, balanced itself, and clearly shouted: - Pr-Roxima Centauri-r-ra! R-rubidium! R-rubidium!"

But the process of creating a wall newspaper is only in the first

“Vitka pulled up a chair, sat down with a voice recorder in his hand opposite the parrot, ruffled his feathers, looked at the parrot with one eye and barked:
- R-rubidium!
The parrot shuddered and almost fell off the scale. Flapping his wings to regain his balance, he responded:
- R-reserve! Cr-rater Richie!"

The microphone in the second and third editions was changed to a more modern one

“The parrot flew up, sat on Janus’s shoulder and said in his ear:
- P-dew, pr-dew! Sugar rock!
Janus Poluektovich smiled tenderly and went to his laboratory. We looked at each other in shock."

But Janus with the parrot is missing from the first edition

“Everyone jumped up. It was as if I had scored the decisive goal in a cup match. They rushed at me, they slobbered on my cheeks, they hit me on the back and neck, they threw me onto the sofa and fell down themselves. “Good girl!” yelled Edik. “Head!” roared Roman. “And I thought you were a fool!” said the rude Korneev."

But it contains a scene of joy from solving the mystery of Janus Poluektovich

“It’s bad to read a good book from the end, isn’t it?” said Janus Poluektovich, who was openly watching me. “And as for your questions, Alexander Ivanovich, then... Try to understand, Alexander Ivanovich, that there is no single future for everyone “There are many of them, and each of your actions creates one of them... You will understand this,” he said convincingly. “You will definitely understand this.”

Change again! Maybe we can attribute it to Janus A and Janus U?

"A brief afterword and commentary by the acting head of the computer laboratory of NIICHAVO, junior researcher A. I. Privalov"

I will not comment on the afterword. The differences here are not very noticeable.

Bezalel, Lev Ben

Harpies

Maxwell's demon

Jian bin Jian

Dracula, Count

Incunabula

Levitation

"Witches Hammer"

Oracle

Ramapithecus

Well, as a bonus, the third edition contains such charming portraits of the book’s characters. Moreover, if you look closely, the characters here are mixed up from different publications

Sources

In preparing the material, fragments of the story “Monday Begins on Saturday” by Arkady and Boris Strugatsky and illustrations by Evgeny Migunov for the 1965, 1979 and 1993 editions of this story were used

Biography:

Evgeny Tikhonovich Migunov born in Moscow on February 27, 1921 in the family of an employee. In 1928, he entered school No. 12 in the Khamovnichesky district of Moscow, then, together with the most successful students, he was transferred to the Moscow Experimental Demonstration School named after. Lepeshinsky (No. 32). After graduating in 1938, he studied at an art studio, worked under contracts, and took training courses at a university at the Moscow Leather Institute. In 1939 he entered the art department of the All-Union State Institute of Cinematography, in the workshop of I.P. Ivanov-Vano. While passing the entrance exams, I met A.P. Sazonov, who had a great influence on the development of Migunov as an artist and became his co-author. At the end of July 1941, together with students and teachers of VGIK, Migunov, despite his ill health, volunteered to join the ranks of the People's Militia of the Rostokinsky District and ended up in battlefields in the Vyazma region, from where the students of the institute were recalled to Moscow by September 1 to continue their studies. In the fall of 1941, Migunov resumed his studies and underwent practical training at the Soyuzmultfilm film studio in the group of I.P. Ivanov-Vano (he worked on the political poster “Kitchen of Lies” as an animator and decorator). He took part in the evacuation of the studio to Samarkand. At the end of November, together with the institute, he was evacuated to Alma-Ata, where he completed his studies and in 1943 received from the hands of S.M. Eisenstein a diploma as an artist-director of an animated film. Migunov's diploma work was the development of his own script "Let's Laugh."

Caricature for the magazine "Crocodile"

In 1943, Migunov returned to Moscow and enrolled in permanent work at the Soyuzmultfilm film studio. He works a little as a cartoonist, and has been the head of a drawing workshop for about a year. As a production designer, he does his first works together with A.P. Sazonov - the completion of I.P. Ivanov-Vano’s film “The Stolen Sun”, work on the films “The Winter’s Tale” by I.P. Ivanov-Vano, “The Missing Letter” by the Brumberg sisters , "Song of Joy" by M.S. Pashchenko (the first Soviet hand-drawn film awarded at an international festival). Since 1946, Migunov has been working independently. Collaborates with directors V.G. Suteev ("The Cheerful Garden"), B.P. Dezhkin and G.F. Filippov (types for the films "The Elephant and the Ant" uncredited and "Who's on First?"), A.V. .Ivanov ("Quartet", "Champion", "Polkan and Shavka", "Grandfather and Granddaughter", "Pipe and the Bear"), L.A. Amalrik and V.I. Polkovnikov ("Magic Shop"), M. S. Pashchenko (“When the Christmas trees are lit,” together with V.D. Degtyarev, “Forest Travelers”), I.P. Ivanov-Vano (short film “Song of Friendship”).

Caricature for the magazine "Crocodile"

Since 1953, he began to work independently as a director. He was at the forefront of the resumption of the production of puppet films (his directorial debut was “Pencil and Blob - Merry Hunters”). In all his directorial works he served as a production designer, and often as a screenwriter. The film "Pencil and Blot..." was actually the first original film in the history of Soyuzmultfilm. He directed the cartoon films “What kind of bird is this?”, “Familiar pictures” (with the participation of Arkady Raikin), “Exactly at three fifteen...” (together with B.P. Dezhkin). He acted in episodic roles in films, created titles and designs for a number of feature films. At the very beginning of work on the film “Mayakovsky - according to bureaucrats” (in November 1960), he was fired from the studio due to “impossibility of further use” (in fact, due to a crisis in relations with the head of the script department N.I. Rodionov and the temporary director K.P. Frolov) and was forced to stop working in animation. According to some reports, in 1963 he participated in the creation of one of the issues of the film magazine "Fitil". Periodically designed the magazine "Soviet Screen".

Caricature for the magazine "Crocodile"

From 1961 to 1966, he worked under a contract in the editorial office of the magazine "Crocodile", edited a series of brochures "Crocodile Library", developing the style of its standard design, layout and designed magazine sections, soon began to act as a cartoonist, in this capacity he collaborated with the magazine until 1987 of the year. Since 1953, he worked in children's books (not counting his joint participation with A.P. Sazonov in the design of the first collection of scripts "Films-Fairy Tales" in 1950), from the second half of the 1950s to the end of the 1970s - in the magazine "Veselye" Pictures". Since the early 1960s, he has been a cartoonist and graphic designer for Literaturnaya Gazeta, as well as the newspapers Pravda, Soviet Culture, Evening Moscow and others. He took part in illustrating children's magazines "Murzilka", "Pioneer", some collections, etc. In children's magazine graphics he created drawings for the works of C. Perrault, S. Mikhalkov, V. Dragunsky, L. Lagin, G. Tsyferov and others, often turned to the form of comics ("story in pictures"), for "Funny Pictures" he made a large number of colorful "extras" covers depicting the heroes of the "Merry Men Club". He collaborated with the publishing houses "Malysh", "Detgiz" ("Children's Literature"), "Young Guard", "Moscow Worker", "Art" and others. In 1966, he underwent a major operation (leg amputation), after which he completely switched to contract work at home.

Among the authors whose books Migunov illustrated are N. Nosov, E. Permyak, V. Mayakovsky, E. Moshkovskaya, A. Shmankevich, Yu. Tretyakov, S. Medynsky, G. Mamlin, M. Tarlovsky, Yu. Kachaev, V. .Lifshits, E.Russo, E.Kiseleva, M.Razumnevich, B.Shakhovsky, A.Martynov, N.Leskov.

Illustrations for Nikolai Nosov's story "Friend"

The most popular are Migunov's illustrations for the works of A. and B. Strugatsky ("Monday begins on Saturday", "The Tale of Troika", "The Guy from the Underworld"), E. Veltistov ("Electronic - the boy from the suitcase", "Ressi - the elusive friend", "Winner of the Impossible", "New Adventures of Electronics", "Golden Oars of Time, or Go Away, Go Away"), Kira Bulycheva ("Girl from Earth", "One Hundred Years Ahead", etc.), F. Krivina ( collections “Prophetic Things”, “Around the Cabbage”, “Half-Tales”, “Kaleidoscope”, “Pocket School”).

Illustrations for the story "Monday Begins on Saturday" by Arkady and Boris Strugatsky

In the “Crocodile Library” series, Migunov designed collections by N. Starshinov, A. Raskin, M. Vladimov, V. Massa, A. Karasev and S. Revzin, S. Shvetsov and others.
In posters, caricatures, illustrations and other areas of creativity, Migunov often used collaging, appliqué and other non-standard technologies. Migunov supplied many children's books, magazine illustrations and posters with his own poetic texts ("0:0", "Winter Fun", "Why is the Ugly Duckling?" and others). He has repeatedly acted as a designer of book covers (“Vitya Maleev at school and at home” by N. Nosov, “Drawn and Puppet Film” by S. Ginzburg).

Caricature for the magazine "Crocodile"

Migunov created famous children's filmstrips: "Cipollino" (in two parts), "Uncle Styopa", "Uncle Styopa - Policeman", "Chalk Caramel", "Little Red Riding Hood", "The Three Little Pigs", "My Essay", "Robot" , who wanted to sleep”, “The Postman and the Piglet”, “Bird Market” (“Smeshinka No. 4”) and others. He independently revised and completed the scripts for a four-part filmstrip based on A. Volkov’s fairy tale “The Wizard of the Emerald City” (two episodes out of four were released: “Ellie Saves the Scarecrow” and “The Evil Witch Bastinda”). In the filmstrip “Forests-Wonders” he again used collaging using unusual textures; the filmstrips “Look for the Wind in the Field” and “Three Bears” were made using the technique of semi-volume (bas-relief) illustration using special lighting. Participated in the creation of a series of filmstrips "Murashkina Geometry".

Caricature for the magazine "Crocodile"

Migunov is the author of a number of cartoons and artistic congratulations for the anniversaries of artists, friends, colleagues, relatives, and other holidays. At Soyuzmultfilm he successfully designed the festive interiors of the studio and the House of Cinema, street demonstrations, and became famous as a master of practical jokes.
E.T. Migunov was awarded the Order of the Patriotic War, II degree, medals and badges: “For valiant labor in the Great Patriotic War of 1941-1945,” “In memory of the 800th anniversary of Moscow,” “70 years of the Armed Forces of the USSR ", "Forty years of victory in the Great Patriotic War of 1941-1945", "People's Militia of Moscow 1941", "50 years of victory in the Great Patriotic War" and others. He spoke in the press with materials dedicated to his classmates at the MOPSHK school and fellow soldiers - fellow students.
In 1983, Migunov was awarded a Gold Medal for his participation in the international exhibition “Satire in the Struggle for Peace.” In 1987, a personal exhibition of E.T. Migunov’s works took place in the foyer of the Fitil cinema, and at the same time his author’s collection in the series “Masters of Soviet Caricature” was published.

Caricature for the magazine "Crocodile"

In the 1990s, he was busy illustrating several serial editions of Kir Bulychev's works for the publishing houses "Culture", "Chronos", and "Armada". In total, Migunov illustrated about 26 stories from the cycle about the adventures of the girl Alice (not counting short stories), collections of stories from the “Great Guslyar” series, as well as eight independent stories and a selection of poems by Kir Bulychev. Migunov also illustrated works by A. Salomatov for the Armada publishing house. Migunov was the initiator of several works by Bulychev ("Guest in the Jug", "Alice in Guslyar") and his name is even mentioned not only in the prefaces, but also in the texts of fantasy stories. Migunov's illustrations for "The Tale of the Snub-Nosed Elephant" by E. Faus and the children's book "Funny Alphabet" he conceived remained unpublished.

Caricature for the magazine "Crocodile"

Since 1999, fragmentary publication of E.T. Migunov’s memoirs and excerpts from his essay on the aesthetics of conventional arts has been carried out. Mostly the published fragments relate to Migunov’s work in animated films. They were published in the catalog-almanacs of the Tarussky (since 2002 - Suzdal) Open Russian Animated Film Festival, in the magazines "Kinograf", "Kinovedcheskie zapiski" and some others. Nevertheless, most of the memoirs that Migunov kept in notebooks under the general title “Oh, about and about...” in 1979-2000 (with literary “portraits” of filmmakers, cartoonists, actors, writers and other remarkable people) remain unpublished, as do his essays on caricature ("Drawn Medicine"), cartoons ("Portraits in a Square"), animated films ("Where does Baba Yaga live?"), issues of illustrating science fiction, humorous literature, and so on. In total, Migunov’s literary heritage occupies more than 35 notebooks “Oh, about and about...” (not counting individual essays reprinted by the author, script developments, diaries, correspondence and fiction - comic poems and prose texts).
Since 1999, Migunov, after several strokes, was deprived of the opportunity to continue working. Shortly before this, he was preparing to illustrate the works of I. Ilf and E. Petrov ("The Twelve Chairs" and "The Golden Calf") and M. Bulgakov ("The Master and Margarita"). Died on January 1, 2004. The ashes of E.T. Migunov were buried at the Miusskoye cemetery in Moscow.

"...DO THINGS ABSOLUTELY INCREDIBLE"

"...- The perception of Gogol's fantastic story "The Night Before Christmas" from the very beginning was based on a misunderstanding, a mistake by its first illustrator. The fact is that the artist Pichugin read the story superficially, which is why he ended up with superficial illustrations. He read from Gogol says that there is a witch flying out of a chimney on a broomstick, and when the story was still published in a magazine version, in a vignette without hesitation he drew an enticing picture: there the witch really flies out on a broomstick, and the devil is somewhere nearby... Meanwhile, the artist did not realize at all that the meaning of the story is not in this devilry, but in something completely different. The meaning of “The Night Before Christmas” is not that Vakula flew to St. Petersburg on the devil, but that in Rudoy’s story. Panka, as if in a joke, is embodied in a metaphor - the devil took him to distant Petersburg, when he could have married Oksana anyway! "

Illustration for the story "Kozlik Ivan Ivanovich" by Kir Bulychev

It was with Gogol, or more precisely with the responsible attitude of the illustrator to his work (which was also evident in the drawings for “The Night Before Christmas”) that we began a conversation with the famous artist, illustrator of many books, including science fiction, Evgeny Tikhonovich MIGUNOV. Fans of SF literature know Migunov well from the drawings for the story, the Strugatsky brothers "Monday Begins on Saturday", for the works of Kir Bulychev, Evgeny Veltistov and others.

- As far as I know, readers and science fiction fans like your works. What about the authors? To the writers themselves?

It’s as if they treated me well and still do, they don’t hate me and don’t make any complaints. Usually the authors were so exhausted and happy that they had finally gone through all the slingshots of editing and censorship that they half-consciously agreed to do anything just to see their text published. This is probably why they refused to make any critical comments. I don't think my illustrations are flawless, but the authors were very receptive to what I gave them. However, it often happens like this: a writer writes and does not see a visual image in front of him, the image exists for him verbally, but for me any verbal expression always carries a visual image. At the same time, you understand: an illustrator who does not accurately understand the writer can hopelessly distort his intention... In general, we rarely have contact with writers, that is, on rare occasions we become friends or talk. True, I had closer contacts with Evgeny Veltistov, and purely production contacts with the Strugatskys: two or three meetings. ...And Kir Bulychev was also not against my illustrations, he liked them, even when the Kachanovs. The cartoon "The Secret of the Third Planet" was being made, I was invited to be an artist, to create characters. I told them that my health was no longer fit for this, and yet they used my characters from Alice.

Illustrations for Kir Bulychev's stories "Alice in Guslyar" and "Alice in Fantasyland"

As far as I know, you had an individual approach to each SF book. For example, there is one approach to the Strugatskys’ story, but Bulychev’s story required a slightly different manner...

Yes, Bulychev’s books “The Girl from the Earth” and “One Hundred Years Ahead” differed, of course, from “Monday...” by the Strugatskys. These were cheerful and irresponsible impudent space and earthly adventures of Alice and Kolya - guys from different eras. Of course, no “scientific” physical justification for what was happening was given. Essentially, it was a fairy tale, but a fairy tale aimed at the future. The humor that arises from the collision of everyday and moral stereotypes of the present and the future, the collision of different eras, allowed the artist to just as easily and thoughtlessly fantasize that I was confused by the freedom of choice and could not take full advantage of the opportunity given to me. Of course, the book benefited from unconcealed funny lies, supported by my conscientious perjury with respect to verisimilitude in detail and physical action. The drawings were made in a lightweight line-line style...

Illustration for the story by E. Veltistov "Ressi - the elusive friend""

- And E. Veltistov’s stories about Electronics?

Veltistov’s trilogy, built on very serious educational material and containing many topical problems of scientific and technological revolution, important for the development of modern scientific knowledge among schoolchildren, I had to adapt to the perception of a young reader.

- Do you think being a science fiction illustrator is a calling?

As for me, I am a cartoonist by profession, graduated from VGIK. Here the profession of an artist is close to the profession of an illustrator of fantastic works. Sometimes you have to illustrate devilry - in the literal sense of the word, sometimes you have to do things that are completely incredible from the point of view of an ordinary realist artist. Therefore, I felt quite free in science fiction.

Evgeniy Tikhonovich Migunov was born in Moscow on February 27, 1921 into the family of an employee. In 1928, he entered school No. 12 in the Khamovnichesky district of Moscow, then, together with the most successful students, he was transferred to the Moscow Experimental Demonstration School named after. Lepeshinsky (No. 32). After graduating in 1938, he studied at an art studio, worked under contracts, and took training courses at a university at the Moscow Leather Institute. In 1939 he entered the art department of the All-Union State Institute of Cinematography, in the workshop of I.P. Ivanov-Vano.

While passing the entrance exams, I met A.P. Sazonov, who had a great influence on the development of Migunov as an artist and became his co-author. At the end of July 1941, together with students and teachers of VGIK, Migunov, despite his ill health, volunteered to join the ranks of the People's Militia of the Rostokinsky District and ended up in battlefields in the Vyazma region, from where the students of the institute were recalled to Moscow by September 1 to continue their studies.
In the fall of 1941, Migunov resumed his studies and underwent practical training at the Soyuzmultfilm film studio in the group of I.P. Ivanov-Vano (he worked on the political poster “Kitchen of Lies” as an animator and decorator). He took part in the evacuation of the studio to Samarkand. At the end of November, together with the institute, he was evacuated to Alma-Ata, where he completed his studies and in 1943 received from the hands of S.M. Eisenstein a diploma as an artist-director of an animated film. Migunov's diploma work was the development of his own script "Let's Laugh."
In 1943, Migunov returned to Moscow and was assigned to permanent work at the Soyuzmultfilm film studio. He works a little as a cartoonist, and has been the head of a drawing workshop for about a year. As a production designer, he does his first works together with A.P. Sazonov - the completion of I.P. Ivanov-Vano’s film “The Stolen Sun”, work on the films “The Winter’s Tale” by I.P. Ivanov-Vano, “The Missing Letter” by the Brumberg sisters , “Song of Joy” by M.S. Pashchenko (the first Soviet hand-drawn film awarded at an international festival).

Since 1946, Migunov has been working independently. Collaborates with directors V.G. Suteev ("The Cheerful Garden"), B.P. Dezhkin and G.F. Filippov (types for the films "The Elephant and the Ant" uncredited and "Who's on First?"), A.V. .Ivanov ("Quartet", "Champion", "Polkan and Shavka", "Grandfather and Granddaughter", "Pipe and the Bear"), L.A. Amalrik and V.I. Polkovnikov ("Magic Shop"), M. S. Pashchenko ("When the Christmas trees are lit", together with V.D. Degtyarev, "Forest Travelers"), I.P. Ivanov-Vano (short film "Song of Friendship").

The production process of the film “PENCIL AND BLOT - Merry HUNTERS” (1954) (Evgeniy Tikhonovich in the center)

He directed the cartoon films “What kind of bird is this?”, “Familiar pictures” (with the participation of Arkady Raikin), “Exactly at three fifteen...” (together with B.P. Dezhkin).

He acted in episodic roles in films, created titles and designs for a number of feature films. At the very beginning of work on the film “Mayakovsky - according to the bureaucrats” (in November 1960), he was fired from the studio due to “impossibility of further use” (in fact, due to a crisis in relations with the head of the script department N.I. Rodionov and the temporary director K.P. Frolov) and was forced to stop working in animation.

According to some reports, in 1963 he participated in the creation of one of the issues of the film magazine "Fitil". Periodically designed the magazine "Soviet Screen".
From 1961 to 1966, he worked under a contract in the editorial office of the magazine "Crocodile", edited a series of brochures "Crocodile Library", developing the style of its standard design, layout and designed magazine sections, soon began to act as a cartoonist, in this capacity he collaborated with the magazine until 1987 of the year. Since 1953, he worked in children's books (not counting his joint participation with A.P. Sazonov in the design of the first collection of scripts "Films-Fairy Tales" in 1950), from the second half of the 1950s to the end of the 1970s - in the magazine "Veselye" Pictures".
Since the early 1960s, he has been a cartoonist and graphic designer for Literaturnaya Gazeta, as well as the newspapers Pravda, Soviet Culture, Evening Moscow and others.
On April 20, 1961, one of Migunov’s most famous satirical works appeared in “Crocodile”:
He took part in illustrating children's magazines "Murzilka", "Pioneer", some collections, etc. In children's magazine graphics he created drawings for the works of C. Perrault, S. Mikhalkov, V. Dragunsky, L. Lagin, G. Tsyferov and others, often turned to the form of comics ("story in pictures"), for "Funny Pictures" he made a large number of colorful "extras" covers depicting the heroes of the "Merry Men Club".

He was involved in the design of covers for children's gramophone records from the Melodiya company.

He collaborated with the publishing houses "Malysh", "Detgiz" ("Children's Literature"), "Young Guard", "Moscow Worker", "Art" and others. In 1966, he underwent a major operation (leg amputation), after which he completely switched to contract work at home.

In posters, caricatures, illustrations and other areas of creativity, Migunov often used collaging, appliqué and other non-standard technologies. Migunov supplied many children's books, magazine illustrations and posters with his own poetic texts ("0:0", "Winter Fun", "Why is the Ugly Duckling?" and others). He has repeatedly acted as a designer of book covers (“Vitya Maleev at school and at home” by N. Nosov, “Drawn and Puppet Film” by S. Ginzburg).

Migunov created famous children's filmstrips: "Cipollino" (in two parts), "Uncle Styopa", "Uncle Styopa - Policeman", "Chalk Caramel", "Little Red Riding Hood", "The Three Little Pigs", "My Essay", "Robot" , who wanted to sleep”, “The Postman and the Piglet”, “Bird Market” (“Smeshinka No. 4”) and others.
He independently revised and completed the scripts for a four-part filmstrip based on A. Volkov’s fairy tale “The Wizard of the Emerald City” (two episodes out of four were released: “Ellie Saves the Scarecrow” and “The Evil Witch Bastinda”).
In the filmstrip “Forests-Wonders” he again used collaging using unusual textures; the filmstrips “Look for the Wind in the Field” and “Three Bears” were made using the technique of semi-volume (bas-relief) illustration using special lighting. Participated in the creation of a series of filmstrips "Murashkina Geometry".

He spoke in the press with materials dedicated to his classmates at the MOPSHK school and fellow soldiers and fellow students.

In 1983, Migunov was awarded a Gold Medal for his participation in the international exhibition “Satire in the Struggle for Peace.” In 1987, a personal exhibition of E.T. Migunov’s works took place in the foyer of the Fitil cinema, and at the same time his author’s collection in the series “Masters of Soviet Caricature” was published.

In the 1990s, he was busy illustrating several serial editions of Kir Bulychev's works for the publishing houses "Culture", "Chronos", and "Armada". In total, Migunov illustrated about 26 stories from the cycle about the adventures of the girl Alice (not counting short stories), collections of stories from the “Great Guslyar” series, as well as eight independent stories and a selection of poems by Kir Bulychev. Migunov also illustrated works by A. Salomatov for the Armada publishing house.
Migunov was the initiator of several works by Bulychev ("Guest in the Jug", "Alice in Guslyar") and his name is even mentioned not only in the prefaces, but also in the texts of science fiction stories. Migunov's illustrations for "The Tale of the Snub-Nosed Elephant" by E. Faus and the children's book "Funny Alphabet" he conceived remained unpublished.

Nevertheless, most of the memoirs that Migunov kept in notebooks under the general title “Oh, about and about...” in 1979-2000 (with literary “portraits” of filmmakers, cartoonists, actors, writers and other remarkable people) remain unpublished, as do his essays on caricature ("Drawn Medicine"), cartoons ("Portraits in a Square"), animated films ("Where does Baba Yaga live?"), issues of illustrating science fiction, humorous literature, and so on. In total, Migunov’s literary heritage occupies more than 35 notebooks “Oh, about and about...” (not counting individual essays reprinted by the author, script developments, diaries, correspondence and fiction - comic poems and prose texts).
Since 1999, Migunov, after several strokes, was deprived of the opportunity to continue working. Shortly before this, he was preparing to illustrate the works of I. Ilf and E. Petrov ("The Twelve Chairs" and "The Golden Calf") and M. Bulgakov ("The Master and Margarita").

Kir Bulychev - A Million Adventures
Kir Bulychev - Girl from Earth "1974"
Kir Bulychev - One Hundred Years Ahead "1978
Kir Bulychev - War with the Lilliputians "1995"
Yuri Tretyakov - The beginning of the fishing patrol "1962"
Evgeniy Veltistov - Elektronik - boy from a suitcase "1964"
Evgeniy Veltistov - Ressi - the elusive friend "1971
Evgeniy Veltistov - Winner of the Impossible "1975"
Evgeny Veltistov - Adventures of Electronics "1983
Evgeny Veltistov - New adventures of Electronics "1989
Evgeniy Veltistov - Golden oars of time, or Go away, go away
Evgeniy Veltistov - A Sip of the Sun. Notes of the programmer Mart Snegov "1967
Arkady and Boris Strugatsky - Monday begins on Saturday "1979
Arkady and Boris Strugatsky - Guy from the Underworld "1979"
Arkady and Boris Strugatsky - The Tale of Troika
Felix Krivin - Kaleidoscope "1965"
Felix Krivin - Prophetic things
Felix Krivin - Around the cabbage
Felix Krivin - Half-Tales
Felix Krivin - Pocket School
Vladimir Razumnevich - Password “Dragonfly”
Vladimir Razumnevich - About our Natasha
Vladimir Razumnevich - Stories about Vlas - a lazy man and a loafer
Anton Martynov - Hello, master! "1989