Artists illustrating fairy tales. Which artists illustrated folk tales? Ivan Bilibin paintings

    Russians still attract children folk tales . Who in childhood was not told about the adventures of Kolobok or the stubborn turnip! And then they started fairy tales. And if there were illustrations for them, then the book was reread and considered many times. The artist colorfully designed folk tales Ivan Bilibin, which placed story drawing in a beautiful, ornamented frame.

    Inimitable paintings Viktor Vasnetsov Ivan Tsarevich and the Gray Wolf, Alyonushka, inspired by the Russian folk tale Sister Alyonushka and Brother Ivanushka, Kashchei the Immortal.

    Among the artists who illustrated the plots of Russian folk tales, three artists can be especially highlighted:

    • Victor Vasnetsov and his illustrations for the fairy tales Ivan Tsarevich and the Gray Wolf Little Humpbacked Horse, Three Heroes.
    • Ivan Bilibin, who illustrated a lot of folk tales

      We also need to remember the artists Boris Zvorykin and Evgeny Rachev.

    The literary life of any child begins with fairy tales. And first of all, what the baby looks at is the illustrations for fairy tales. The child does not know how to read letters, but he reads a fairy tale from pictures. Therefore, it is very important which artist illustrates the fairy tale.

    Well-known domestic children's illustrators are: Ivan Bilibin (for example, he illustrated the fairy tale The Frog Princess), Viktor Vasnetsov (drew for such wonderful fairy tales as the Little Humpbacked Horse and the Firebird), Yuri Vasnetsov (Teremok).

    First of all, I want to remind you of such a person as Ivan Bilibin - he did great amount illustrations for both folk tales and Pushkin's fairy tales.

    Boris Zvorykin was also involved in creating illustrations specifically for fairy tales.

    Evgeny Rachv is also an illustrator of fairy tales.

    A very famous artist Ivan Bilibin, his illustrations adorned collections of Russian folk tales. The illustrations were drawn for children, half text and half pictures. This made it clearer for the little ones.

    And this is one of the illustrations by Ivan Bilibin.

    Artists who painted various fairy tale characters in their paintings. Ivan Bilibin, for example, painted beautiful pictures. Viktor Vasnetsov also drew fairy tale characters, for example from the fairy tale The Little Humpbacked Horse.

    Folk tales are one of my favorite genres folklore. They reflect the life of the people, their traditions and rituals, and usually have an instructive and educational meaning.

    Children love folk tales very much. After all, this type of creativity is very easy and accessible for them to understand.

    Illustrators made a huge contribution to conveying the plot of the tale to the reader. We imagine many fairy tale heroes exactly as they were seen in the pictures.

    Among the famous illustrators should be named

    Ivan Bilibina (The Tale of the Golden Cockerel, The Frog Princess, Vasilisa the Beautiful),

    Viktor Vasnetsova (Humpbacked Horse, Firebird, Ivan Tsarevich on a gray wolf)

    Yuri Vasnetsov (Three Bears, Little Humpbacked Horse).

    Evgenia Rachva (created many illustrations for Russian folk tales).

    A distinction should be made between artists who painted fairy-tale scenes and artists who painted illustrations for printed editions of Russian fairy tales. Among the first, one should name, first of all, Viktor Vasnetsov, who in his work turned specifically to fairy tales- this is Ivan Tsarevich and the Gray Wolf and the Bogatyrs. Vasnetsov also worked on illustrations of books, for example, The Little Humpbacked Horse by Ershov, but this is not exactly a folk tale.

    Of the fairy tale illustrators, of course, we should remember Ivan Bilibin, who made the most famous illustrations of Pushkin’s fairy tales and many folk tales:

    And of course, we cannot forget the genius of fairy-tale illustration, my favorite artist of this genre, Evgeny Rachev, who illustrated a great sea of ​​folk tales:

    Since childhood, I have kept wonderful books of Russian folk tales, the illustrations of which are probably more interesting than the fairy tales themselves. First of all, the luxurious paintings of the Vasnetsov brothers come to mind. I remember reproductions of paintings by Viktor Vasnetsov, Ivan the Tsarevich and the Gray Wolf, which hung on the wall of my great-grandmother’s house and Knights at the Crossroads, known as the Three Heroes

    I still love looking at illustrations for Ivan Bilibin’s fairy tales, and I’m very proud that I have a rare edition of Bilibin’s drawings at home - a large colorful album with sketches and finished illustrations.

    Among the works of female artists, I really like the illustrations for fairy tales by Elena Almazova and Inna Anfilofyeva and the magical, precise micro-details in the drawings of Elena Polenova (who, by the way, is the sister of the famous artist Vasily Polenov).

    And the drawings for Boris Zvorykin’s fairy tales are reminiscent of illustrations for real historical events: the details of costumes and household items are very accurately conveyed...

    There are many illustrators of fairy tales and epics. I only remembered my loved ones.

    The book The Tale of the Dead Princess and the Seven Knights of Pushkin with illustrations by Boris Zvorykin immediately appeared in my mind’s eye - such a bright ornamental decorativeness, a sensitive Russian harmonious tradition. Few people know that Boris Zvorykin except book illustration He also did icon painting and was a translator. He was born in Moscow, in the Russian Empire in 1897, and died in 1942 in Paris, where he emigrated in 1921.

    His illustrations cannot be confused with others

    Sister also belongs to the same Russian tradition famous painter Vasily Polenova Elena Polenova is a watercolor artist, she was born on November 27, 1850, in St. Petersburg, then women were not allowed to study at universities, but she studied with the best Russian artists: P.P. Chistyakov, I.N. Kramskoy and in Paris with Ch. Chaplin, her illustrations are less decorative, softer

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

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

    But the main thing that the artist enriched Russian art with is works written on the basis of folk art. What paintings by Viktor Vasnetsov can be considered the most famous? Anyone will answer that these are the famous fairy-tale works of the master: “Bogatyrs”, which some will call “Three Heroes”, the gentle, thoughtful “Alyonushka” and, perhaps, an equally famous creation - “Ivan the Tsarevich on the Gray Wolf”. Why are these particular works so clearly imprinted in the memory of most people? Perhaps this is due to primordially Russian images or soulful fairy-tale motifs that are passed on to new generations, already at the level people's memory and in some ways even became a reflection of the history of Ancient Rus'.

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

    Viktor Vasnetsov himself admitted that the fairytale “Alyonushka” (1881) was his favorite piece, for the creation of which he traveled from Moscow to his native place. And to convey greater insight to the image, I attended many concerts classical music. Every twig, flower and blade of grass sings a song of praise to Russian nature, glorifying the beauty, freshness and at the same time sad thoughtfulness of the main character.

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

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

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

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

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

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

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

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

    Ornamental lines clearly limit the colors, set volume and perspective in the plane of the sheet. Filling a black and white graphic design with watercolors only emphasizes the given lines. For framing the drawings of I.Ya. Bilibin generously uses ornamentation (33).

    In our 21st century, the century of narrow specialization, the figure Nicholas Konstantinovich Roerich is a unique phenomenon. great artist, archaeologist and researcher, Nicholas Roerich has a worldwide reputation as a painter and scientist. We are less familiar with his literary heritage. For example, few people know that Nikolai Konstantinovich also wrote... fairy tales. With beautiful allegorical images, with the alluring beauty of mysterious worlds. The heroes of his fairy tales are carriers sublime feelings and thoughts that have eternal universal value (39). They encourage deep thought, incite high feelings, and direct one toward spiritual improvement.

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

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

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

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

    The characteristic Russian landscape takes on a fantastic, magical coloring - vast wet meadows, a winding river, thin birch trees frozen in the silence of the falling twilight, illuminated by the crimson of the horned moon (64).

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

    Sadko (Rich Guest) is the hero of epics Novgorod cycle. Sadko was at first a poor psaltery player who amused Novgorod merchants and boyars by playing the gusli on the shore of Lake Ilmen. With his play he gained the favor of Tsar Vodyany. The king demanded that the hero marry his daughter, who had to be chosen. In gratitude for the rescue, Sadko built churches in Novgorod in honor of Holy Mother of God and Nikola Mozhaisky.

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

    Illustrators

    Children's book illustrators. Who are the authors of the most favorite pictures?


    What's the use of a book, thought Alice.
    – if there are no pictures or conversations in it?
    "Alice's Adventures in Wonderland"

    Surprisingly, children's illustrations in Russia (USSR)
    There is exact year birth - 1925. This year
    a children's literature department was created in Leningradsky
    State Publishing House (GIZ). Before this book
    with illustrations were not published specifically for children.

    Who are they - the authors of the most beloved, beautiful illustrations that have remained in our memory since childhood and are liked by our children?
    Find out, remember, share your opinion.
    The article was written using stories from parents of current children and reviews of books on online bookstore websites.


    Vladimir Grigorievich Suteev(1903-1993, Moscow) - children's writer, illustrator and animator. His kind funny pictures look like scenes from a cartoon. Suteev’s drawings turned many fairy tales into masterpieces.
    For example, not all parents consider the works of Korney Chukovsky to be necessary classics, and most of them do not consider his works talented. But I want to hold Chukovsky’s fairy tales, illustrated by Vladimir Suteev, in my hands and read them to children.

    Boris Aleksandrovich Dekhterev (1908-1993, Kaluga, Moscow) – folk artist, Soviet graphic artist (it is believed that the “Dekhterev School” determined the development of book graphics in the country), illustrator. He worked primarily in pencil drawing and watercolor techniques. Dekhterev’s good old illustrations are a whole era in the history of children’s illustration; many illustrators call Boris Alexandrovich their teacher.

    Dekhterev illustrated children's fairy tales by Alexander Sergeevich Pushkin, Vasily Zhukovsky, Charles Perrault, and Hans Christian Andersen. As well as works of other Russian writers and world classics, for example, Mikhail Lermontov, Ivan Turgenev, William Shakespeare.

    Nikolai Alexandrovich Ustinov(b. 1937, Moscow), his teacher was Dekhterev, and many modern illustrators already consider Ustinov their teacher.

    Nikolay Ustinov is a national artist and illustrator. Fairy tales with his illustrations were published not only in Russia (USSR), but also in Japan, Germany, Korea and other countries. Illustrated almost three hundred works famous artist for publishing houses: “Children’s Literature”, “Malysh”, “Artist of the RSFSR”, publishing houses of Tula, Voronezh, St. Petersburg and others. Worked in the magazine Murzilka.
    Ustinov's illustrations for Russian folk tales remain the most beloved for children: Three Bears, Masha and the Bear, Little Fox Sister, The Frog Princess, Geese and Swans and many others.

    Yuri Alekseevich Vasnetsov(1900-1973, Vyatka, Leningrad) - people's artist and illustrator. All kids like his pictures for folk songs, nursery rhymes and jokes (Ladushki, Rainbow-arc). He illustrated folk tales, tales of Leo Tolstoy, Pyotr Ershov, Samuil Marshak, Vitaly Bianki and other classics of Russian literature.

    When buying children's books with illustrations by Yuri Vasnetsov, make sure that the pictures are clear and moderately bright. Using the name of a famous artist, books have recently often been published with unclear scans of drawings or with increased unnatural brightness and contrast, and this is not very good for children's eyes.

    Leonid Viktorovich Vladimirsky(b. 1920, Moscow) - Russian graphic artist and the most popular illustrator of books about Buratino by A. N. Tolstoy and about the Emerald City by A. M. Volkov, thanks to which he became widely known in Russia and other countries former USSR. Painted with watercolors. It is Vladimirsky’s illustrations that many recognize as classic among Volkov’s works. Well, Pinocchio in the form in which several generations of children have known and loved him is undoubtedly his merit.

    Victor Alexandrovich Chizhikov(b. 1935, Moscow) - People's Artist of Russia, author of the image of the bear cub Mishka, the summer mascot Olympic Games 1980 in Moscow. Illustrator for the magazines “Crocodile”, “Funny Pictures”, “Murzilka”, drew for many years for the magazine “Around the World”.
    Chizhikov illustrated the works of Sergei Mikhalkov, Nikolai Nosov (Vitya Maleev at school and at home), Irina Tokmakova (Alya, Klyaksich and the letter “A”), Alexander Volkov (The Wizard of the Emerald City), poems by Andrei Usachev, Korney Chukovsky and Agnia Barto and other books .

    To be fair, it is worth noting that Chizhikov’s illustrations are quite specific and cartoonish. Therefore, not all parents prefer to buy books with his illustrations if there is an alternative. For example, many people prefer the books “The Wizard of the Emerald City” with illustrations by Leonid Vladimirsky.

    Nikolai Ernestovich Radlov(1889-1942, St. Petersburg) - Russian artist, art critic, teacher. Illustrator of children's books: Agnia Barto, Samuil Marshak, Sergei Mikhalkov, Alexander Volkov. Radlov drew with great pleasure for children. His most famous book is comics for kids “Stories in Pictures”. This is a book-album with funny stories about animals and birds. Years have passed, but the collection is still very popular. The stories in pictures were repeatedly republished not only in Russia, but also in other countries. On international competition children's book in America in 1938, the book received second prize.

    Alexey Mikhailovich Laptev (1905-1965, Moscow) - graphic artist, book illustrator, poet. The artist’s works are in many regional museums, as well as in private collections in Russia and abroad. Illustrated “The Adventures of Dunno and His Friends” by Nikolai Nosov, “Fables” by Ivan Krylov, and the magazine “Funny Pictures”. The book with his poems and pictures “Peak, pak, pok” is very loved by more than one generation of children and parents (Briff, the greedy bear, foals Chernysh and Ryzhik, fifty bunnies and others)

    Ivan Yakovlevich Bilibin (1876-1942, Leningrad) - Russian artist, book illustrator and theater designer. Bilibin illustrated a large number of fairy tales, including those of Alexander Sergeevich Pushkin. He developed his own style - “Bilibinsky” - a graphic representation taking into account the traditions of ancient Russian and folk art, a carefully drawn and detailed patterned contour drawing, colored with watercolors. Bilibin's style became popular and began to be imitated.

    Fairy tales, epics, images ancient Rus' For many, they have long been inextricably linked with Bilibin’s illustrations.

    Vladimir Mikhailovich Konashevich(1888-1963, Novocherkassk, Leningrad) - Russian artist, graphic artist, illustrator. I started illustrating children's books by accident. In 1918, his daughter was three years old. Konashevich drew pictures for her for each letter of the alphabet. One of my friends saw these drawings and liked them. This is how “The ABC in Pictures” was published - the first book by V. M. Konashevich. Since then, the artist has become an illustrator of children's books.
    Since the 1930s, illustrating children's literature became the main work of his life. Konashevich also illustrated adult literature, was engaged in painting, and drew pictures in his favorite specific technique - ink or watercolor on Chinese paper.

    The main works of Vladimir Konashevich:
    - illustration of fairy tales and songs of different peoples, some of which were illustrated several times;
    - fairy tales by G.Kh. Andersen, Brothers Grimm and Charles Perrault;
    - “The Old Man of the Year” by V. I. Dahl;
    - works by Korney Chukovsky and Samuil Marshak.
    The artist’s last work was illustrating all the fairy tales of A. S. Pushkin.

    Anatoly Mikhailovich Savchenko (1924-2011, Novocherkassk, Moscow) - animator and illustrator of children's books. Anatoly Savchenko was the production designer for the cartoons “Kid and Carlson” and “Carlson is Back” and the author of illustrations for Astrid Lindgren’s books. The most famous cartoon works with his direct participation: Moidodyr, the adventures of Murzilka, Petya and Little Red Riding Hood, Vovka in the Far Far Away Kingdom, The Nutcracker, Tsokotukha the Fly, Kesha the Parrot and others.
    Children are familiar with Savchenko’s illustrations from the books: “Piggy Gets Offended” by Vladimir Orlov, “Little Brownie Kuzya” by Tatyana Alexandrova, “Fairy Tales for the Little Ones” by Gennady Tsyferov, “Little Baba Yaga” Proysler Otfried, as well as books with works similar to cartoons.

    Oleg Vladimirovich Vasiliev (b. 1931, Moscow). His works are in the collections of many art museums in Russia and the USA, incl. in the State Tretyakov Gallery in Moscow. Since the 60s, for more than thirty years he has been designing children's books in collaboration with Eric Vladimirovich Bulatov(born 1933, Sverdlovsk, Moscow).
    The most famous are the artists' illustrations for the fairy tales of Charles Perrault and Hans Andersen, the poems of Valentin Berestov and the fairy tales of Gennady Tsyferov.

    Boris Arkadyevich Diodorov(born 1934, Moscow) - People's Artist. Favorite technique is color etching. Author of illustrations for many works of Russian and foreign classics. His illustrations for fairy tales are most famous:

    Jan Ekholm “Tutta Karlsson the First and Only, Ludwig the Fourteenth and Others”;
    - Selma Lagerlöf " Amazing trip Nils with wild geese";
    - Sergey Aksakov “The Scarlet Flower”;
    - works of Hans Christian Andersen.

    Diodorov illustrated more than 300 books. His works were published in the USA, France, Spain, Finland, Japan, South Korea and other countries. He worked as the chief artist of the publishing house "Children's Literature".

    Evgeniy Ivanovich Charushin (1901-1965, Vyatka, Leningrad) - graphic artist, sculptor, prose writer and children's animal writer. Most of the illustrations are done in the style of free watercolor drawings, with a little humor. Children like it, even toddlers. He is known for the illustrations of animals that he drew for his own stories: “About Tomka”, “Wolf and Others”, “Nikitka and His Friends” and many others. He also illustrated other authors: Chukovsky, Prishvin, Bianchi. The most famous book with his illustrations is “Children in a Cage” by Samuil Yakovlevich Marshak.

    Evgeniy Mikhailovich Rachev(1906-1997, Tomsk) – animal artist, graphic artist, illustrator. He illustrated mainly Russian folk tales, fables and tales of classics of Russian literature. He mainly illustrated works in which the main characters are animals: Russian fairy tales about animals, fables.

    Ivan Maksimovich Semenov(1906-1982, Rostov-on-Don, Moscow) - people's artist, graphic artist, caricaturist. Semyonov worked in newspapers " TVNZ», « Pioneer truth", magazines "Smena", "Crocodile" and others. Back in 1956, on his initiative, the first in the USSR was created humor magazine for small children - “Funny Pictures”.
    His most famous illustrations are for Nikolai Nosov’s stories about Kolya and Mishka (Fantasers, Living Hat and others) and drawings “Bobik visiting Barbos.”

    The names of some other famous contemporary Russian illustrators of children's books:

    - Vyacheslav Mikhailovich Nazaruk(b. 1941, Moscow) – production designer for dozens of animated films: Little Raccoon, The Adventures of Leopold the Cat, Mother for a Baby Mammoth, Bazhov's tales and the illustrator of books of the same name.

    - Nadezhda Bugoslavskaya(the author of the article did not find biographical information) - the author of kind, beautiful illustrations for many children's books: Poems and songs of Mother Goose, poems by Boris Zakhoder, works by Sergei Mikhalkov, works by Daniil Kharms, stories by Mikhail Zoshchenko, “Pippi Longstocking” by Astrid Lindgren and others.

    - Igor Egunov(the author of the article did not find biographical information) – contemporary artist, author of bright, well-drawn illustrations for the books: “The Adventures of Baron Munchausen” by Rudolf Raspe, “The Little Humpbacked Horse” by Pyotr Ershov, fairy tales of the Brothers Grimm and Hoffmann, tales of Russian heroes.

    - Evgeniy Antonenkov(born 1956, Moscow) - illustrator, favorite technique is watercolor, pen and paper, mixed media. The illustrations are modern, unusual, and stand out among others. Some look at them with indifference, others fall in love with the funny pictures at first sight.
    The most famous illustrations: for the tales of Winnie the Pooh (Alan Alexander Milne), “Russian children's fairy tales”, poems and fairy tales by Samuil Marshak, Korney Chukovsky, Gianni Rodari, Yunna Moritz. “The Stupid Horse” by Vladimir Levin (English ancient folk ballads), illustrated by Antonenkov, is one of the most popular books of 2011.
    Evgeniy Antonenkov collaborates with publishing houses in Germany, France, Belgium, the USA, Korea, Japan, is a regular participant in prestigious international exhibitions, laureate of the White Crow competition (Bologna, 2004), winner of the Book of the Year diploma (2008).

    - Igor Yulievich Oleynikov(b. 1953, Moscow) – artist-animator, mainly works in hand-drawn animation, book illustrator. Surprisingly, such a talented contemporary artist has no special art education.
    In animation, Igor Oleinikov is known for the films: “The Secret of the Third Planet”, “The Tale of Tsar Saltan”, “Sherlock Holmes and I” and others. Worked with children's magazines "Tram", "Sesame Street" "Good night, kids!" and others.
    Igor Oleynikov collaborates with publishing houses in Canada, the USA, Belgium, Switzerland, Italy, Korea, Taiwan and Japan, and participates in prestigious international exhibitions.
    The artist’s most famous illustrations for books: “The Hobbit, or There and Back Again” by John Tolkien, “The Adventures of Baron Munchausen” by Erich Raspe, “The Adventures of Despereaux the Mouse” by Kate DiCamillo, “Peter Pan” by James Barrie. Latest books with illustrations by Oleinikov: poems by Daniil Kharms, Joseph Brodsky, Andrei Usachev.

    Anna Agrova

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    Illustrations talented artist Ivan Bilibin to Russian fairy tales (and not only). Before looking at his wonderful works, I suggest, friends, to read this excellent article

    7 main facts from the life of the fabulous artist Ivan Bilibin

    Ivan Bilibin is a modernist and lover of antiquity, an advertiser and storyteller, the author of the revolutionary double-headed eagle and a patriot of his country. 7 main facts from the life of Ivan Yakovlevich Bilibin



    1. Artist-lawyer


    Ivan Yakovlevich Bilibin intended to become a lawyer, diligently studied at the Faculty of Law of St. Petersburg University and successfully completed the full course in 1900. But in parallel with this, he studied painting at the drawing school of the Society for the Encouragement of Artists, then in Munich with the artist A. Ashbe, and after another 6 years he was a student of I.E. Repina. In 1898, Bilibin saw Vasnetsov’s “Bogatyrs” at an exhibition of young artists. After that, he leaves for the village, studies Russian antiquity and finds his own unique style, in which he will work for the rest of his life. For the refinement of this style, the energy of his work and the impeccable firmness of the artist’s line, his colleagues called him “Ivan the Iron Hand.”


    2. Storyteller

    Almost every Russian person knows Bilibin’s illustrations from the books of fairy tales that were read to him at bedtime as a child. Meanwhile, these illustrations are more than a hundred years old. From 1899 to 1902, Ivan Bilibin created a series of six “Fairy Tales” published by the Expedition for the Procurement of State Papers. Afterwards, the same publishing house published Pushkin’s fairy tales about Tsar Saltan and the Golden Cockerel and the slightly less well-known epic “Volga” with illustrations by Bilibin.

    It is interesting that the famous illustration for “The Tale of Tsar Saltan...” with a barrel floating on the sea is reminiscent of the famous “Great Wave” by the Japanese artist Katsushika Hokusai. The process of I. Ya. Bilibin’s graphic drawing was similar to the work of an engraver. First, he sketched a sketch on paper, specified the composition in all details on tracing paper, and then translated it onto whatman paper. After this, using a kolinsky brush with a cut end, likening it to a chisel, I drew a clear wire outline with ink along the pencil drawing.

    Bilibin's books look like painted boxes. It was this artist who first saw a children's book as a holistic, artistically designed organism. His books are like ancient manuscripts, because the artist thinks through not only the drawings, but also all the decorative elements: fonts, ornaments, decorations, initials and everything else.

    Few people know that Bilibin even worked in advertising. Where the Polustrovo mineral water plant in St. Petersburg is now located, there used to be " Joint-Stock Company beer and mead factory "New Bavaria". It was to this plant that he created advertising posters and pictures by Ivan Yakovlevich Bilibin. In addition, the artist created posters, addresses, sketches of postage stamps (in particular, a series for the 300th anniversary of the House of Romanov) and about 30 postcards for the Community of St. Eugenia. Later, Bilibin painted postcards for Russian publishing houses in Paris and Berlin.

    4. Double headed eagle

    The same double-headed eagle that is now used on the coins of the Bank of Russia belongs to the brush of the heraldry expert Bilibin. The artist painted it after the February Revolution as a coat of arms for the Provisional Government. The bird looks fabulous, not ominous, because it was drawn by a famous illustrator of Russian epics and fairy tales. The double-headed eagle is depicted without royal regalia and with lowered wings; the inscription “Russian Provisional Government” and the characteristic “forest” Bilibinsky ornament are written around the circle. Bilibin transferred the copyright to the coat of arms and some other graphic designs to the Goznak factory.

    5. Theater artist


    Bilibin's first experience in scenography was the design of Rimsky-Korsakov's opera "The Snow Maiden" for the National Theater in Prague. His next works are sketches of costumes and scenery for the operas “The Golden Cockerel”, “Sadko”, “Ruslan and Lyudmila”, “Boris Godunov” and others. And after emigrating to Paris in 1925, Bilibin continued to work with theaters: preparing brilliant sets for productions of Russian operas, designing Stravinsky’s ballet “The Firebird” in Buenos Aires and operas in Brno and Prague. Bilibin widely used old engravings, popular prints, folk art. Bilibin was a true connoisseur of ancient costumes of different nations; he was interested in embroidery, braid, weaving techniques, ornaments and everything that created the national flavor of the people.

    6. The artist and the church


    Bilibin also has works related to church painting. In it he remains himself, preserves individual style. After leaving St. Petersburg, Bilibin lived for some time in Cairo and actively participated in the design of a Russian house church in the premises of a clinic set up by Russian doctors. The iconostasis of this temple was built according to his design. And after 1925, when the artist moved to Paris, he became a founding member of the Icon society. As an illustrator, he created the cover of the charter and a sketch of the society's seal. There is also a trace of him in Prague - he completed sketches of frescoes and an iconostasis for the Russian church at the Olsany cemetery in the capital of the Czech Republic.

    7. Return to homeland and death


    Over time, Bilibin came to terms with Soviet power. He formalizes the Soviet embassy in Paris, and then, in 1936, returns by boat to his native Leningrad. Teaching is added to his profession: he teaches at the All-Russian Academy of Arts - the oldest and largest artistic institution in Russia educational institution. In September 1941, at the age of 66, the artist refused the proposal of the People's Commissar of Education to evacuate from besieged Leningrad to the rear. “They don’t flee from a besieged fortress, they defend it,” he wrote in response. Under fascist shelling and bombing, the artist creates patriotic postcards for the front, writes articles and appeals to heroic defenders Leningrad. Bilibin died of hunger in the first winter of the siege and was buried in the mass grave of professors of the Academy of Arts near the Smolensk cemetery.

    The master's artistic heritage is not limited to book graphics. A. F. Pakhomov is the author of monumental paintings, paintings, easel graphics: drawings, watercolors, numerous prints, including the exciting sheets of the series “Leningrad in the days of the siege.” However, it so happened that in the literature about the artist there was an inaccurate idea of ​​​​the true scale and time of his activity. Sometimes coverage of his work began only with works from the mid-30s, and sometimes even later - with a series of lithographs from the war years. Such a limited approach not only narrowed and curtailed the idea of ​​the original and vibrant legacy of A. F. Pakhomov, created over half a century, but also impoverished Soviet art as a whole.

    The need to study the work of A. F. Pakhomov is long overdue. The first monograph about him appeared in the mid-30s. Naturally, only a part of the works was considered in it. Despite this and some limited understanding of traditions characteristic of that time, the work of the first biographer V.P. Anikieva retained its value from the factual side, as well as (with the necessary adjustments) conceptually. In the essays about the artist published in the 50s, the coverage of material from the 20s and 30s turned out to be narrower, and the coverage of the work of subsequent periods was more selective. Today, the descriptive and evaluative side of works about A.F. Pakhomov, two decades distant from us, seems to have lost much of its credibility.

    In the 60s, A.F. Pakhomov wrote the original book “About his work.” The book clearly showed the fallacy of a number of prevailing ideas about his work. The artist’s thoughts about time and art expressed in this work, as well as extensive material from recordings of conversations with Alexei Fedorovich Pakhomov, made by the author of these lines, helped create the monograph offered to readers.

    A.F. Pakhomov owns an extremely large number of works of painting and graphics. Without pretending to cover them exhaustively, the author of the monograph considered it his task to give an idea of ​​the main aspects creative activity master, about its richness and originality, about teachers and colleagues who contributed to the development of A. F. Pakhomov’s art. The civic spirit, deep vitality, and realism characteristic of the artist’s works made it possible to show the development of his work in constant and close connection with the life of the Soviet people.

    Being one of the greatest masters of Soviet art, A.F. Pakhomov carried throughout his long life and creative career a passionate love for the Motherland and its people. High humanism, truthfulness, imaginative richness make his works so sincere, sincere, full of warmth and optimism.

    In the Vologda region, near the city of Kadnikov, on the banks of the Kubena River, the village of Varlamovo is located. There, on September 19 (October 2), 1900, a boy was born to the peasant woman Efimiya Petrovna Pakhomova, who was named Alexei. His father, Fyodor Dmitrievich, came from “appanage” farmers who did not know the horrors of serfdom in the past. This circumstance did not play last role in the way of life and the prevailing characteristics of character, she developed the ability to behave simply, calmly, and with dignity. The traits of particular optimism, broad-mindedness, spiritual directness, and responsiveness were also rooted here. Alexey was brought up in a working environment. We didn't live well. As in the entire village, there was not enough bread of our own until spring; we had to buy it. Additional income was required, which was provided by adult family members. One of the brothers was a stonemason. Many fellow villagers worked as carpenters. And yet the early period of life was remembered to young Alexey as the most joyful. After two years of study at a parochial school, and then two more years at a zemstvo school in a neighboring village, he was sent “at government expense and for government grub” to a higher elementary school in the city of Kadnikov. The time spent studying there remained in the memory of A.F. Pakhomov as very difficult and hungry. “Since then, my carefree childhood in my father’s house,” he said, “has always seemed to me the happiest and most poetic time, and this poeticization of childhood later became the main motive in my work.” Alexei's artistic abilities manifested themselves early, although where he lived there were no conditions for their development. But even in the absence of teachers, the boy achieved certain results. The neighboring landowner V. Zubov drew attention to his talent and gave Alyosha pencils, paper and reproductions of paintings by Russian artists. Pakhomov's early drawings, which have survived to this day, reveal something that later, being enriched by professional skill, will become characteristic of his work. The little artist was fascinated by the image of a person and, above all, a child. He draws his brothers, sister, and neighbor kids. It is interesting that the rhythm of the lines of these simple pencil portraits echoes the drawings of his mature years.

    In 1915, by the time he graduated from the Kadnikov school, at the suggestion of the district leader of the nobility Yu. Zubov, local art lovers announced a subscription and, with the money collected, sent Pakhomov to Petrograd to the school of A. L. Stieglitz. With the revolution came changes in the life of Alexei Pakhomov. Under the influence of new teachers who appeared at the school - N. A. Tyrsa, M. V. Dobuzhinsky, S. V. Chekhonin, V. I. Shukhaev - he strives to better understand the tasks of art. Short supervised training great master Shukhaev's drawing gave him a lot of valuable things. These classes laid the foundation for understanding the structure of the human body. He strived for a deep study of anatomy. Pakhomov was convinced of the need not to copy the surroundings, but to meaningfully depict them. While drawing, he got used to not being dependent on light and shadow conditions, but to “illuminate” nature with his eye, leaving close parts of the volume light and darkening those that are more distant. “True,” the artist noted, “I did not become a true believer of Shukhaev, that is, I did not paint with sanguine, smearing it with an eraser so that the human body looked impressive.” The lessons of the most prominent artists of the book, Dobuzhinsky and Chekhonin, were useful, as Pakhomov admitted. He especially remembered the latter’s advice: to achieve the ability to write fonts on a book cover immediately with a brush, without preparatory outline with a pencil, “like an address on an envelope.” According to the artist, such development of the necessary eye helped later in sketches from life, where he could, starting with some detail, place everything depicted on the sheet.

    In 1918, when living in cold and hungry Petrograd without permanent income It became impossible, Pakhomov left for his homeland, becoming an art teacher at a school in Kadnikov. These months were of great benefit in furthering his education. After lessons in the first and second grade classes, he read voraciously, as long as the lighting allowed and his eyes did not get tired. “I was in an excited state all the time; I was seized by a fever of knowledge. The whole world was opening up before me, which, it turns out, I hardly knew,” Pakhomov recalled about this time. - February and October Revolution I accepted with joy, like most of the people around me, but only now, reading books on sociology, political economy, historical materialism, history, did I begin to truly understand the essence of the events that took place.”

    The treasures of science and literature were revealed to the young man; It was quite natural for him to intend to continue his interrupted studies in Petrograd. In a familiar building on Solyanoy Lane, he began studying with N.A. Tyrsa, who was then also the commissar of the former Stieglitz School. “We, Nikolai Andreevich’s students, were very surprised by his costume,” said Pakhomov. “The commissars of those years wore leather caps and jackets with a sword belt and a revolver in a holster, and Tyrsa walked with a cane and a bowler hat. But they listened to his conversations about art with bated breath.” The head of the workshop wittily refuted outdated views on painting, introduced students to the achievements of the impressionists, the experience of post-impressionism, and gently drew attention to the searches that are visible in the works of Van Gogh and especially Cezanne. Tyrsa did not put forward a clear program for the future of art; he demanded spontaneity from those who studied in his workshop: write as you feel. In 1919, Pakhomov was drafted into the Red Army. He became intimately familiar with the previously unfamiliar military environment and truly understood folk character army of the Land of Soviets, which later affected the interpretation of this topic in his work. In the spring of the following year, demobilized after illness, Pakhomov, having arrived in Petrograd, moved from the workshop of N. A. Tyrsa to V. V. Lebedev, deciding to get an idea of ​​​​the principles of cubism, which were reflected in a number of works by Lebedev and his students. Little of Pakhomov’s work completed at this time has survived. Such, for example, is “Still Life” (1921), distinguished by a subtle sense of texture. It reveals the desire, learned from Lebedev, to achieve “doneness” in works, to look not for superficial completeness, but for constructive pictorial organization of the canvas, not forgetting the plastic qualities of what is depicted.

    The idea of ​​a new great job Pakhomov’s painting “Haymaking” originated in his native village of Varlamov. There the material for it was collected. The artist depicted not an ordinary everyday scene of mowing, but the help of young peasants to their neighbors. Although the transition to collective, collective farm labor was then a matter of the future, the event itself, showing the enthusiasm of youth and passion for work, was in some ways already akin to new trends. Sketches and sketches of figures of mowers, fragments of the landscape: grasses, bushes, stubble testify to the amazing consistency and seriousness of the artistic concept, where bold textural searches are combined with the solution of plastic problems. Pakhomov’s ability to capture the rhythm of movements contributed to the dynamism of the composition. The artist worked on this painting for several years and completed many preparatory works. In a number of them he developed plots close to or accompanying the main theme.

    The drawing “Beating the Scythes” (1924) shows two young peasants at work. They were sketched by Pakhomov from life. Then he went over this sheet with a brush, generalizing what was depicted without observing his models. Good plastic qualities, combined with the transmission of strong movement and a general painterly use of ink, are visible in the earlier work of 1923, Two Mowers. Despite the deep truthfulness, and one might say, the severity of the drawing, here the artist was interested in the alternation of plane and volume. The sheet makes clever use of ink washes. The landscape surroundings are hinted at. The texture of mowed and standing grass is noticeable, which adds rhythmic variety to the design.

    Among the considerable number of developments in the color of the “Haymaking” plot, one should mention the watercolor “Mower in a Pink Shirt.” In it, in addition to painterly washes with a brush, scratching was used on the wet paint layer, which gave a special sharpness to the image and was introduced into the picture in another technique (in oil painting). Colorful large leaf“Haymaking”, painted in watercolor. In it the scene seems to be seen from high point vision. This made it possible to show all the figures of the mowers walking in a row and to achieve a special dynamics in the transmission of their movements, which is facilitated by the arrangement of the figures diagonally. Having appreciated this technique, the artist constructed the picture in this way, and then did not forget it in the future. Pakhomov achieved a picturesque overall palette and conveyed the impression of morning haze, permeated with sunlight. The same theme is dealt with differently in the oil painting “At the Mow,” depicting mowers at work and a horse grazing on the side near a cart. The landscape here is different than in the other sketches, variants and in the painting itself. Instead of a field, there is the bank of a fast river, which is emphasized by the currents and a boat with an oarsman. The color of the landscape is expressive, built on various cold green tones, only warmer shades are introduced in the foreground. A certain decorative quality was found in the combination of figures with the surroundings, which enhanced the overall color tone.

    One of Pakhomov’s paintings on sports themes in the 20s is “Boys on Skates.” The artist built the composition on the image of the longest moment of movement and therefore the most fruitful, giving an idea of ​​​​what has passed and what will happen. Another figure in the distance is shown in contrast, introducing rhythmic variety and completing the compositional idea. In this picture, along with his interest in sports, one can see Pakhomov’s appeal to the most important topic for his work - the lives of children. Previously, this trend was reflected in the artist’s graphics. Beginning in the mid-20s, Pakhomov’s deep understanding and creation of images of children of the Land of the Soviets was Pakhomov’s outstanding contribution to art. Studying large pictorial and plastic problems, the artist solved them in works on this new important topic. At the exhibition in 1927, the painting “Peasant Girl” was shown, which, although its purpose had something in common with the portraits discussed above, was also of independent interest. The artist's attention focused on the image of the girl's head and hands, painted with great plastic feeling. The type of young face is captured in an original way. Close to this painting in terms of immediacy of sensation is “Girl with Her Hair,” exhibited for the first time in 1929. It differed from the bust-length image of 1927 in a new, more expanded composition, including almost the entire full-length figure, conveyed in a more complex movement. The artist showed a relaxed pose of a girl, straightening her hair and looking into a small mirror lying on her knee. The sonorous combinations of a golden face and hands, a blue dress and a red bench, a scarlet jacket and the ocher-greenish log walls of the hut contribute to the emotionality of the image. Pakhomov subtly captured the innocent expression baby face, touching pose. Vivid, unusual images stopped the audience. Both works were part of foreign exhibitions of Soviet art.

    Throughout his half-century of creative activity, A.F. Pakhomov was in close contact with the life of the Soviet country, and this imbued his works with inspired conviction and the power of life’s truth. His artistic individuality developed early. An acquaintance with his work shows that already in the 20s it was distinguished by depth and thoroughness, enriched by the experience of studying world culture. In its formation, the role of the art of Giotto and the Proto-Renaissance is obvious, but the influence of ancient Russian painting was no less profound. A.F. Pakhomov was one of the masters who took an innovative approach to the rich classical heritage. His works have a modern feel in solving both pictorial and graphic problems.

    Pakhomov’s mastery of new themes in the canvases “1905 in the Village”, “Riders”, “Spartakovka”, in the cycle of paintings about children is important for the development of Soviet art. The artist played a prominent role in creating the image of his contemporary; his series of portraits is clear evidence of this. For the first time he introduced such bright and life images young citizens of the Land of Soviets. This side of his talent is extremely valuable. His works enrich and expand ideas about the history of Russian painting. Already in the 1920s, the country's largest museums acquired Pakhomov's paintings. His works have gained international fame at large exhibitions in Europe, America, and Asia.

    A.F. Pakhomov was inspired by socialist reality. His attention was drawn to the testing of turbines, the work of weaving factories and new things in life Agriculture. His works reveal themes related to collectivization, the introduction of technology into the fields, the use of combine harvesters, the operation of tractors at night, and the life of the army and navy. We emphasize the special value of these achievements of Pakhomov, because all this was displayed by the artist back in the 20s and early 30s. His painting “Pioneers with an Individual Farmer,” a series about the “Sower” commune and portraits from “Beautiful Sword” are among the most profound works of our artists about changes in the countryside and collectivization.

    The works of A.F. Pakhomov are distinguished by their monumental solutions. In early Soviet mural painting, the artist’s works are among the most striking and interesting. In the “Red Oath” cardboards, paintings and sketches of “Round Dance of Children of All Nations”, paintings about reapers, as well as in general in the best creations of Pakhomov’s paintings, there is a tangible connection with the great traditions of the ancient national heritage, which is part of the treasury of world art. The coloristic and figurative side of his paintings, paintings, portraits, as well as easel and book graphics is deeply original. The brilliant successes of plein air painting are demonstrated by the series “In the Sun” - a kind of hymn to the youth of the Land of the Soviets. Here, in his depiction of the naked body, the artist acted as one of the great masters who contributed to the development of this genre in Soviet painting. Pakhomov’s color searches were combined with the solution of serious plastic problems.

    It must be said that in the person of A.F. Pakhomov, art had one of the largest draftsmen of our time. The master masterfully mastered various materials. Works in ink and watercolor, pen and brush were adjacent to brilliant graphite pencil drawings. His achievements go beyond the scope of domestic art and become one of the outstanding creations of world graphics. Examples of this are not difficult to find in a series of drawings made at home in the 1920s, and among sheets made during trips around the country in the next decade, and in series about pioneer camps.

    A.F. Pakhomov’s contribution to graphics is enormous. His easel and book works, dedicated to children, are among the outstanding achievements in this field. One of the founders of Soviet illustrated literature, he introduced into it a deep and individualized image of the child. His drawings captivated readers with their vitality and expressiveness. Without teaching, the artist conveyed his thoughts vividly and clearly to children and awakened their feelings. And important topics of education and school life! None of the artists solved them as deeply and truthfully as Pakhomov. For the first time, he illustrated the poems of V.V. Mayakovsky in such a figurative and realistic manner. His drawings for the works of L.N. Tolstoy for children became an artistic discovery. The graphic material examined clearly showed that the work of Pakhomov, an illustrator of modern and classical literature, it is inappropriate to limit it only to the field of children's books. The artist’s excellent drawings for the works of Pushkin, Nekrasov, Zoshchenko testify to the great successes of Russian graphics of the 30s. His works contributed to the establishment of the method of socialist realism.

    The art of A.F. Pakhomov is distinguished by citizenship, modernity, and relevance. During the period of the most difficult trials of the Leningrad blockade, the artist did not interrupt his activities. Together with the art masters of the city on the Neva, he, as once in his youth during the Civil War, worked on assignments from the front. Pakhomov’s series of lithographs “Leningrad in the Days of the Siege,” one of the most significant creations of art during the war years, reveals the unparalleled valor and courage of the Soviet people.

    The author of hundreds of lithographs, A.F. Pakhomov should be named among those enthusiastic artists who contributed to the development and dissemination of this type of printed graphics. The possibility of appealing to a wide range of viewers and the mass appeal of the circulation print attracted his attention.

    His works are characterized by classical clarity and laconicism. visual arts. The image of a person is his main goal. An extremely important aspect of the artist’s work, which connects him with classical traditions, is the desire for plastic expressiveness, which is clearly visible in his paintings, drawings, illustrations, prints, right up to his most recent works. He did this constantly and consistently.

    A.F. Pakhomov is “a deeply original, great Russian artist, completely immersed in depicting the life of his people, but at the same time absorbing the achievements of world art. The work of A. F. Pakhomov, a painter and graphic artist, is a significant contribution to the development of Soviet artistic culture. /V.S. Matafonov/




























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    VLADIMIR VASILIEVICH LEBEDEV

    14(26).05.1891, St. Petersburg - 21.11.1967, Leningrad

    People's Artist of the RSFSR. Corresponding Member of the USSR Academy of Arts

    He worked in St. Petersburg in the studio of F. A. Roubo and attended the school of drawing, painting and sculpture of M. D. Bernstein and L. V. Sherwood (1910-1914), studied in St. Petersburg at the Academy of Arts (1912-1914). Member of the Four Arts Society. Collaborated in the magazines "Satyricon" and "New Satyricon". One of the organizers Windows ROSTA" in Petrograd.

    In 1928, the Russian Museum in Leningrad hosted a personal exhibition of Vladimir Vasilyevich Lebedev, one of the brilliant graphic artists of the 1920s. He was photographed then against the background of his works. An impeccable white collar and tie, a hat pulled down over his eyebrows, a serious and slightly arrogant expression on his face, a correct appearance that does not let him get close, and at the same time, his jacket is thrown off, and the sleeves of his shirt, rolled up above the elbows, reveal muscular large arms with “smart” and “nervous” brushes. Everything together leaves the impression of composure, readiness to work, and most importantly - it corresponds to the nature of the graphics shown at the exhibition, internally tense, almost gambling, sometimes ironic and as if clad in the armor of a slightly cooling graphic technique. The artist entered the post-revolutionary era with posters for "Windows of GROWTH". As in “The Ironers” (1920), created at the same time, they imitated the style of color collage. However, in posters this technique, coming from Cubism, acquired a completely new meaning, expressing with the lapidary nature of a sign the pathos of defending the revolution (“ On guard of October ", 1920) and the will to dynamic work ("Demonstration", 1920). One of the posters ("I have to work - the rifle is nearby", 1921) depicts a worker with a saw and at the same time is perceived as a kind of firmly put together object. The orange, yellow and blue stripes that make up the figure are unusually firmly connected to block letters, which, unlike cubist inscriptions, have a specific semantic meaning. With with what expressiveness the diagonal formed by the word “work”, the saw blade and the word “must”, and the sharp arc of the words “rifle nearby” and the lines of the worker’s shoulders intersect each other. The same atmosphere of the direct entry of the drawing into reality characterized Lebedev’s drawings at that time! for children's books. In Leningrad in the 1920s, a whole direction in illustrating books for children was formed. V. Ermolaeva and N. Tyrsa worked together with Lebedev. , N. Lapshin, and the literary part was headed by S. Marshak, who was then close to the group of Leningrad poets - E. Schwartz, N. Zabolotsky, D. Kharms, A. Vvedensky. In those years it was completely established special image books, different from the one cultivated in those years by the Moscow illustration led by V. Favorsky. While in the group of Moscow woodcuts or bibliophiles an almost romantic perception of the book reigned, and the work on it itself contained something “severely ascetic”, Leningrad illustrators created a kind of “toy book”, putting it directly into the hands of a child, for which it was intended. The movement of imagination “into the depths of culture” was replaced here by cheerful efficiency, when you could twirl a colored book in your hands or even crawl around it lying on the floor, surrounded by toy elephants and cubes. Finally, the “holy of holies” of Favorsky’s woodcut - the gravity of black and white elements of the image into the depth or from the depth of the sheet - gave way here to a frankly flat fingering, when the drawing appeared as if “under the hands of a child” from pieces of paper cut with scissors. The famous cover for R. Kipling's "Baby Elephant" (1926) is formed as if from a heap of scraps randomly scattered on a paper surface. It seems that the artist (and perhaps the child himself!) moved these pieces on the paper until he got a complete composition in which everything “goes like a wheel” and where, meanwhile, nothing can be moved even a millimeter: in in the center is a baby elephant with a curved long nose, around it are pyramids and palm trees, on top is a large inscription “Baby Elephant,” and below is a crocodile that has suffered complete defeat.

    But the book is even more passionately executed"Circus"(1925) and "How a plane made a plane", in which Lebedev’s drawings were accompanied by S. Marshak’s poems. On the spreads depicting clowns shaking hands or a fat clown on a donkey, the work of cutting out and sticking green, red or black pieces is literally “in full swing”. Here everything is “separate” - black shoes or red noses of clowns, green trousers or the yellow guitar of a fat man with a crucian carp - but with what incomparable brilliance it is all connected and “glued together”, permeated with the spirit of lively and cheerful initiative.

    All these Lebedev pictures, addressed to ordinary child readers, including such masterpieces as lithographs for the book “Hunting” (1925), were, on the one hand, a product of a refined graphic culture, capable of satisfying the most demanding eye, and on the other hand, art revealed into living reality. The pre-revolutionary graphics of not only Lebedev, but also many other artists, did not yet know such open contact with life (despite even the fact that Lebedev painted for the magazine "Satyricon" in the 1910s) - those "vitamins" were missing, or rather, those “yeasts of vitality” on which Russian reality itself “fermented” in the 1920s. Lebedev’s everyday drawings revealed this connection unusually clearly, not so much intruding into life like illustrations or posters, but rather absorbing it into their figurative sphere. The basis here is a keenly greedy interest in ever new social types that were constantly emerging around. The drawings of 1922-1927 could be united under the title “Panel of the Revolution”, with which Lebedev entitled only one series of 1922, which depicted a string of figures of a post-revolutionary street, and the word “panel” indicated that this was most likely foam whipped up by rolling along these streets with a stream of events. The artist paints sailors with girls on Petrograd crossroads, traders with stalls or dandies dressed in the fashion of those years, and especially Nepmen - these comic and at the same time grotesque representatives of the new “street fauna”, whom he enthusiastically painted in those same years and V. Konashevich and a number of other masters. The two Nepmen in the drawing “Couple” from the series “New Life” (1924) could pass for the same clowns that Lebedev soon depicted on the pages of “Circus”, if not for the harsher attitude of the artist himself towards them. Lebedev’s attitude towards this kind of characters cannot be called either “stigmatizing”, much less “flagellation”. Before these Lebedev drawings, it was no coincidence that P. Fedotov was remembered with his no less characteristic sketches of street types of the 19th century. What was meant was the living inseparability of the ironic and poetic principles that marked both artists and which made their images especially attractive for both. We can also recall Lebedev’s contemporaries, writers M. Zoshchenko and Y. Olesha. They have the same indivisibility of irony and smile, ridicule and admiration. Lebedev, apparently, was somehow impressed by both the cheap chic of a real sailor’s gait (“The Girl and the Sailor”), and the provocative dash of the girl, with a shoe fixed on the bootblack’s box (“The Girl and the Bootblack”), he was even somewhat I was also attracted by that zoological or purely plant innocence with which, like mugs under a fence, all these new characters climb up, demonstrating miracles of adaptability, such as, for example, talking ladies in furs at a store window ("People of Society", 1926) or a bunch of NEPmen on the evening street ("Nepmans", 1926). Particularly striking is the poetic beginning in Lebedev’s most famous series, “The Love of Hopsies” (1926-1927). What a fascinating vitality breathing in the drawing “At the Ice Rink” are the figures of a guy with a sheepskin coat open on his chest and a girl sitting on a bench in a bonnet with a bow and bottle-like legs pulled into high boots. If in the “New Life” series one can perhaps talk about satire, here it is almost imperceptible. In the drawing "Rash, Semyonovna, add some, Semyonovna!" - the height of the revelry. In the center of the sheet there is a couple dancing hotly and youthfully, and the viewer seems to hear the palms splashing or the guy’s boots clicking in time, feels the serpentine flexibility of his bare back, the lightness of his partner’s movements. From the “Panel of the Revolution” series to the “Love of Hogs” drawings, Lebedev’s style itself has undergone a noticeable evolution. The figures of the sailor and the girl in the 1922 drawing are still composed of independent spots - ink spots of various textures, similar to those in “The Ironers,” but more generalized and catchy. In "New Life" stickers were added here, turning the drawing no longer into an imitation of a collage, but into a real collage. The plane completely dominated the image, especially since, in the opinion of Lebedev himself, good drawing must first of all “fit well on paper”. However, in the sheets of 1926-1927, the paper plane was increasingly replaced by depicted space with its chiaroscuro and objective background. Before us are no longer spots, but gradual gradations of light and shadow. At the same time, the movement of the drawing did not consist in “cutting and pasting,” as was the case in “NEP” and “Circus,” but in the sliding of a soft brush or in the flow of black watercolor. By the mid-1920s, many other draftsmen were moving towards increasingly free, or painterly, as it is usually called, drawing. N. Kupreyanov with his village “herds”, and L. Bruni, and N. Tyrsa were here. The drawing was no longer limited to the effect of “taking”, a sharpened grasp “at the tip of the pen” of ever new characteristic types, but as if it itself was drawn into the living flow of reality with all its changes and emotionality. In the mid-20s, this refreshing flow already swept over the sphere of not only “street” but also “home” themes and even such traditional layers of drawing as drawing in a studio from a naked human figure. And what a new drawing it was in its entire atmosphere, especially if you compare it with the ascetically strict drawing of the pre-revolutionary decade. If we compare, for example, the excellent drawings from N. Tyrsa’s nude model of 1915 and Lebedev’s drawings of 1926-1927, one will be struck by the spontaneity of Lebedev’s sheets and the strength of their feeling.

    This spontaneity of Lebedev’s sketches from the model forced other art critics to recall the techniques of impressionism. Lebedev himself was deeply interested in the Impressionists. In one of his best drawings in the “Acrobatic” series (1926), a brush soaked in black watercolor seems to be creating energetic movement models. A confident brushstroke is enough for an artist to throw aside left hand, or one sliding touch to point forward in the direction of the elbow. In the “Dancer” series (1927), where light contrasts are weakened, the element of moving light also evokes associations with impressionism. “From a space permeated with light,” writes V. Petrov, “like a vision, the outlines of a dancing figure appear,” it is “barely outlined by light blurry spots of black watercolor,” when “the form turns into a picturesque mass and imperceptibly merges with the light-air environment.”

    It goes without saying that this Lebedev impressionism is no longer equal to classical impressionism. Behind him you can always feel the “training in constructiveness” recently completed by the master. Both Lebedev and the Leningrad direction of drawing itself remained themselves, not for a minute forgetting either the constructed plane or the texture of the drawing. In fact, when creating a composition of drawings, the artist did not reproduce space with a figure, as Degas did, but rather this figure alone, as if merging its form with the format of the drawing. It barely noticeably cuts off the top of the head and the very tip of the foot, which is why the figure does not rest on the floor, but is rather “hooked” on the lower and upper edges of the sheet. The artist strives to bring the “figured plan” and the image plane as close as possible. The pearly stroke of his wet brush therefore belongs equally to the figure and the plane. These disappearing light strokes, conveying both the figure itself and, as it were, the warmth of the air warmed near the body, are simultaneously perceived as a uniform texture of the drawing, associated with the strokes of Chinese ink drawings and appearing to the eye as the most delicate “petals”, subtly smoothed to the surface of the sheet. Moreover, in Lebedev’s “Acrobats” or “Dancers” there is the same chill of a confident, artistic and slightly detached approach to the model that was noted for the characters in the “New Life” and “NEP” series. In all these drawings there is a strong generalized classical basis, which so sharply distinguishes them from Degas’s sketches with their poetry of specificity or everyday life. Thus, in one of the brilliant sheets, where the ballerina is turned with her back to the viewer, with her right foot placed on her toe behind her left (1927), her figure resembles a porcelain figurine with penumbra and light sliding across the surface. According to N. Lunin, the artist found in the ballerina “a perfect and developed expression of the human body.” “Here it is - this subtle and plastic organism - it is developed, perhaps a little artificially, but it is verified and precise in movement, capable of “saying about life” more than any other, because in it there is less of everything that is formless, unmade, unsteady by chance." The artist was, in fact, not interested in ballet itself, but in the most expressive way of “saying to life.” After all, each of these SHEETS is like a lyrical poem dedicated to a poetically valuable movement. The ballerina N. Nadezhdina, who posed for the master for both series, obviously helped him a lot, stopping in those “positions” she had studied well, in which the vital plasticity of the body was revealed most impressively.

    The artist’s excitement seems to break through the artistic correctness of confident skill, and then involuntarily is transmitted to the viewer. In the same magnificent sketch of a ballerina from the back, the viewer watches with fascination as a virtuoso brush not only depicts, but creates a figure instantly frozen on its toes. Her legs, drawn by two “petals of strokes”, easily rise above the fulcrum, higher up - like a disappearing penumbra - the wary scattering of a snow-white tutu, even higher - through several gaps, giving the drawing an aphoristic brevity - an unusually sensitive, or “very hearing” back dancer and the no less “hearing” turn of her small head over the wide span of her shoulders.

    When Lebedev was photographed at the 1928 exhibition, a promising road seemed to lie ahead of him. Several years of hard work seem to have lifted him to the very top graphic art. At the same time, both in the children's books of the 1920s and in "Dancers" such a degree of complete perfection was perhaps achieved that from these points, perhaps, there was no longer any path of development. And in fact, Lebedev’s drawing and, moreover, Lebedev’s art reached their absolute peak here. In subsequent years, the artist was very actively involved in painting, illustrating children’s books a lot for many years. And at the same time, everything he did in the 1930-1950s could no longer be compared with the masterpieces of 1922-1927, and the master, of course, did not try to repeat the discoveries he had left behind. In particular, Lebedev’s drawings of the female figure remained unattainable not only for the artist himself, but also for all the art of subsequent years. If the subsequent era could not be attributed to the decline in drawing from the nude model, it was only because it was not at all interested in these topics. Only for last years as if there is a turning point in the attitude towards this most poetic and most creatively noble sphere of drawing, and if this is so, then V. Lebedev may be destined for new glory among the draftsmen of the new generation.