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USSR the best illustrations for children. Unforgettable: Illustrators of Children's Fairy Tales

1.3 Famous illustrators

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

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

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

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

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

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

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

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

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

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

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

Chapter II. Computer graphics in book illustration

Written by Goethe. These problems are only indirectly related to our work. However, there is some connection here as well. The purpose of our work is the automation and testing of psychodiagnostic methods in career guidance work with older students. Literally translated, the word ecology means the science that studies the house, dwelling. In other words, a certain environment. In our case, consider...

The experimental site was chosen 9 A class. There are 29 students in this class: 17 boys and 12 girls. The purpose of the experiment: to identify the psychological and pedagogical conditions for the professional self-determination of students in the process of teaching biology; as well as the formation of a stable positive motivation to study the course of biology and the development of professional self-determination of students when studying the course "General ...

17.01.2012 Rating: 0 Votes: 0 Comments: 23

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

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

Who are they - the authors of the most beloved, beautiful illustrations that have been remembered since childhood and our children like?
Learn, remember, share your opinion.
The article was written using the stories of the parents of today's kids and book reviews on the websites of online bookstores.

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

Boris Alexandrovich Dekhterev(1908-1993, Kaluga, Moscow) - People's Artist, Soviet graphic artist (it is believed that the "School of Dekhterev" determined the development book graphics countries), illustrator. He worked mainly in the technique of pencil drawing and watercolor. old kind illustrations Dekhterev is a whole era in the history of children's illustration, many illustrators call Boris Aleksandrovich their teacher.

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

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

Nikolai Ustinov - People's Artist, illustrator. Tales with his illustrations were published not only in Russia (USSR), but also in Japan, Germany, Korea and other countries. Almost three hundred works illustrated famous artist for publishing houses: "Children's Literature", "Kid", "Artist of the RSFSR", publishing houses of Tula, Voronezh, St. Petersburg and others. He worked in the Murzilka magazine.
Ustinov's illustrations for Russian folk tales remain the most favorite for children: Three Bears, Masha and the Bear, Sister Chanterelle, Frog Princess, Geese 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 Bianchi and other classics of Russian literature.

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

Leonid Viktorovich Vladimirsky(born in 1920, Moscow) is a Russian graphic artist and the most popular illustrator of books about A. N. Tolstoy's Pinocchio and A. M. Volkov's Emerald City, thanks to which he became widely known in Russia and the countries of the former USSR. I painted with watercolors. It is Vladimirsky's illustrations that many recognize as classic for Volkov's works. Well, Pinocchio in the form in which he has been known and loved by several generations of children is undoubtedly his merit.

Viktor Alexandrovich Chizhikov(born in 1935, Moscow) - People's Artist of Russia, author of the image of the bear cub Mishka, the mascot of the 1980 Summer Olympics in Moscow. The illustrator of the magazine "Crocodile", "Funny Pictures", "Murzilka", for many years he drew 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 Magician emerald city), poems by Andrey Usachev, Korney Chukovsky and Agnia Barto and other books.

In fairness, it should be noted that Chizhikov's illustrations are rather specific and cartoony. Therefore, not all parents prefer to buy books with his illustrations, if there is an alternative. For example, the books "The Wizard of the Emerald City" are preferred by many 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 painted for kids with great pleasure. The most his famous book- 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. Stories in pictures were repeatedly reprinted not only in Russia, but also in other countries. On international competition children's book in America in 1938, the book won the 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, "Funny Pictures" magazine. The book with his poems and pictures “Pik, Pak, Pok” is already very loved by any generation of children and parents (Briff, a greedy bear, foals Chernysh and Ryzhik, fifty hares 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 - "Bilibino" - a graphic representation, taking into account the traditions of ancient Russian and folk art, a carefully traced and detailed patterned contour drawing, colored with watercolors. Bilibin's style became popular and began to be imitated.

Fairy tales, epics, images of ancient Rus' for many 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, he liked them. So the “ABC in Pictures” was printed - the first book by V. M. Konashevich. Since then, the artist has become an illustrator of children's books.
From the 1930s, illustrating children's literature became the main business of his life. Konashevich also illustrated adult literature, was engaged in painting, painted pictures in a specific technique he liked - ink or watercolor on Chinese paper.

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

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

Oleg Vladimirovich Vasiliev(born in 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 Erik Vladimirovich Bulatov(Born in 1933, Sverdlovsk, Moscow).
The most famous are the artists' illustrations for fairy tales by Charles Perrault and Hans Andersen, poems by Valentin Berestov and fairy tales by Gennady Tsyferov.

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

Jan Ekholm "Tutta Karlsson the First and Only, Ludwig the Fourteenth and others";
- Selma Lagerlöf "Niels' amazing journey with wild geese»;
- Sergey Aksakov "The Scarlet Flower";
- Hans Christian Andersen's works.

Diodorov has illustrated more than 300 books. His works have been 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".

Evgeny Ivanovich Charushin(1901-1965, Vyatka, Leningrad) - graphic artist, sculptor, prose writer and children's animal writer. Basically, the illustrations are executed in the manner of a free watercolor drawing with a bit of humor. Kids love it, even toddlers. Known for illustrations of animals that he drew for his own stories: "About Tomka", "Volchishko and others", "Nikitka and his friends" and many others. He also illustrated other authors: Chukovsky, Prishvin, Bianki. The most famous book with his illustrations is "Children in a Cage" by Samuil Yakovlevich Marshak.

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

Ivan Maksimovich Semyonov(1906-1982, Rostov-on-Don, Moscow) - People's Artist, graphic artist, cartoonist. Semenov worked in the newspapers " TVNZ”, “Pionerskaya Pravda”, the magazines “Change”, “Crocodile” and others. Back in 1956, on his initiative, the first humorous magazine for young children in the USSR, “Funny Pictures”, was created.
His most famous illustrations: to the stories of Nikolai Nosov about Kolya and Mishka (Dreamers, living hat and others) and drawings "Bobik visiting Barbos".

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

- Vyacheslav Mikhailovich Nazaruk(born in 1941, Moscow) - production designer of dozens animated films: Little Raccoon, Adventures of Leopold the Cat, Mom for a mammoth, Bazhov's tales and illustrator of books of the same name.

- Nadezhda Bugoslavskaya(the author of the article did not find biographical information) - the author of good 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 long stocking» Astrid Lindgren and others.

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

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

- Igor Yulievich Oleinikov(born in 1953, Moscow) - animator, mainly works in hand-drawn animation, book illustrator. Surprisingly, such a talented contemporary artist does not have a special art education.
In animation, Igor Oleinikov is known for his 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 Oleinikov cooperates with publishing houses in Canada, USA, Belgium, Switzerland, Italy, Korea, Taiwan and Japan, participates in prestigious international exhibitions.
The most famous illustrations of the artist for books: "The Hobbit, or There and Back Again" by John Tolkien, "The Adventures of Baron Munchausen" by Erich Raspe, "The Adventures of Despero Mouse" by Kate DiCamillo, "Peter Pan" by James Barry. Recent books with illustrations by Oleinikov: poems by Daniil Kharms, Joseph Brodsky, Andrey Usachev.

Anna Agrova

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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"

Vladimir Grigoryevich Suteev (1903-1993, Moscow) - children's writer, illustrator and animation director. His kind, funny pictures look like frames from a cartoon. Suteev's drawings have turned many fairy tales into masterpieces.

Who said meow?

Boris Alexandrovich Dekhterev (1908-1993, Kaluga, Moscow) - People's Artist, Soviet graphic artist, illustrator. He worked mainly in the technique of pencil drawing and watercolor. The good old illustrations by Dekhterev are a whole era in the history of children's illustration, many illustrators call Boris Aleksandrovich their teacher. Dekhterev illustrated children's fairy tales by A. S. Pushkin, Vasily Zhukovsky, Charles Perrault, Hans Christian Andersen, M. Lermontov, Ivan Turgenev, and William Shakespeare.

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 Bianchi and other classics of Russian literature.

Leonid Viktorovich Vladimirsky (born 1920, Moscow) is a Russian graphic artist and the most popular illustrator of books about A. N. Tolstoy's Pinocchio and A. M. Volkov's Emerald City, thanks to which he became widely known. I painted with watercolors. Pinocchio in the form in which he has been known and loved by several generations of children is undoubtedly his merit.

Viktor Alexandrovich Chizhikov (born 1935, Moscow) is a People's Artist of Russia, the author of the image of the bear cub Mishka, the mascot of the 1980 Summer Olympics in Moscow. The illustrator of the magazine "Crocodile", "Funny Pictures", "Murzilka", for many years he drew 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 Oz), poems by Andrey Usachev, Korney Chukovsky and Agnia Barto and other books .

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 painted for kids with great pleasure. His most famous book is cartoons 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. Stories in pictures were repeatedly reprinted not only in Russia, but also in other countries. At the international children's book competition in America in 1938, the book won second prize.

Alexei 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, "Funny Pictures" magazine. The book with his poems and pictures “Pik, Pak, Pok” is already very loved by any generation of children and parents (Briff, a greedy bear, foals Chernysh and Ryzhik, fifty hares and others)

Ivan Yakovlevich Bilibin (1876-1942, Leningrad) - Russian artist, book illustrator and theater designer. Bilibin illustrated a large number of fairy tales, including Pushkin a. He developed his own style - "Bilibino" - a graphic representation, taking into account the traditions of ancient Russian and folk art, a carefully traced and detailed patterned contour drawing, colored with watercolors. Tales, epics, images of ancient Rus' for many 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. So the “ABC in Pictures” was printed - the first book by V. M. Konashevich. Since then, the artist has become an illustrator of children's books. The main works of Vladimir Konashevich: - illustration of fairy tales and songs of different nations, some of which were illustrated several times; fairy tales by G.Kh. Andersen, the Brothers Grimm and Charles Perrault; - “The Old Man-Year-Old Man” by V. I. Dahl; - works by Korney Chukovsky and Samuil Marshak. The last work of the artist was to illustrate all the fairy tales of A. S. Pushkin a.

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

Oleg Vladimirovich Vasiliev (born in 1931, Moscow) His works are in the collections of many art museums in Russia and the USA, incl. at the State Tretyakov Gallery in Moscow. Since the 1960s, he has been designing children's books for more than thirty years. The most famous are the artists' illustrations for fairy tales by Charles Perrault and Hans Andersen, poems by Valentin Berestov and fairy tales by Gennady Tsyferov.

Boris Arkadyevich Diodorov (born in 1934, Moscow) - People's Artist. Favorite technique - color etching. Author of illustrations for many works of Russian and foreign classics. The most famous are his illustrations for fairy tales: - Jan Ekholm "Tutta Karlsson the First and Only, Ludwig the Fourteenth and others"; - Selma Lagerlöf "Niels' Amazing Journey with Wild Geese"; - Sergei Aksakov "The Scarlet Flower"; - works by Hans Christian Andersen. Diodorov has illustrated more than 300 books. His works have been 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".

Evgeny Ivanovich Charushin (1901-1965, Vyatka, Leningrad) - graphic artist, sculptor, prose writer and children's writer-animalist. Basically, the illustrations are executed in the manner of a free watercolor drawing, with a little humor. Kids love it, even toddlers. Known for illustrations of animals that he drew for his own stories: "About Tomka", "Volchishko and others", "Nikitka and his friends" and many others. He also illustrated other authors: Chukovsky, Prishvin, Bianki. The most famous book with his illustrations is "Children in a Cage" by Samuil Yakovlevich Marshak.

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

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, the children's illustration of Russia (USSR)
there is an exact year of birth - 1925. This year
a department of children's literature was created in the Leningrad
State Publishing House (GIZ). Before this book
with illustrations specially for children were not published.

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

Boris Alexandrovich Dekhterev(1908-1993, Kaluga, Moscow) - People's Artist, Soviet graphic artist (it is believed that the Dekhterev School determined the development of the country's book graphics), illustrator. He worked mainly in the technique of pencil drawing and watercolor. The good old illustrations by Dekhterev are a whole era in the history of children's illustration, many illustrators call Boris Aleksandrovich their teacher.

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

Nikolai Ustinov - People's Artist, illustrator. Tales with his illustrations were published not only in Russia (USSR), but also in Japan, Germany, Korea and other countries. Almost three hundred works were illustrated by the famous artist for publishing houses: "Children's Literature", "Kid", "Artist of the RSFSR", publishing houses of Tula, Voronezh, St. Petersburg and others. He worked in the Murzilka magazine.
Ustinov's illustrations for Russian folk tales remain the most favorite for children: Three Bears, Masha and the Bear, Sister Chanterelle, Frog Princess, Geese 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 Bianchi and other classics of Russian literature.

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

Leonid Viktorovich Vladimirsky(born in 1920, Moscow) is a Russian graphic artist and the most popular illustrator of books about A. N. Tolstoy's Pinocchio and A. M. Volkov's Emerald City, thanks to which he became widely known in Russia and the countries of the former USSR. I painted with watercolors. It is Vladimirsky's illustrations that many recognize as classic for Volkov's works. Well, Pinocchio in the form in which he has been known and loved by several generations of children is undoubtedly his merit.

Viktor Alexandrovich Chizhikov(born in 1935, Moscow) - People's Artist of Russia, author of the image of the bear cub Mishka, the mascot of the 1980 Summer Olympics in Moscow. The illustrator of the magazine "Crocodile", "Funny Pictures", "Murzilka", for many years he drew 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 Oz), poems by Andrey Usachev, Korney Chukovsky and Agnia Barto and other books .

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 painted for kids with great pleasure. His most famous book is cartoons 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. Stories in pictures were repeatedly reprinted not only in Russia, but also in other countries. At the international children's book competition in America in 1938, the book won 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, "Funny Pictures" magazine. The book with his poems and pictures “Pik, Pak, Pok” is already very loved by any generation of children and parents (Briff, a greedy bear, foals Chernysh and Ryzhik, fifty hares 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 - "Bilibino" - a graphic representation, taking into account the traditions of ancient Russian and folk art, a carefully traced and detailed patterned contour drawing, colored with watercolors. Bilibin's style became popular and began to be imitated.

Fairy tales, epics, images of ancient Rus' for many 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, he liked them. So the “ABC in Pictures” was printed - the first book by V. M. Konashevich. Since then, the artist has become an illustrator of children's books.
From the 1930s, illustrating children's literature became the main business of his life. Konashevich also illustrated adult literature, was engaged in painting, painted pictures in a specific technique he liked - ink or watercolor on Chinese paper.

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

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

Oleg Vladimirovich Vasiliev(born in 1931, Moscow). His works are in the collections of many art museums in Russia and the USA, incl. at the State Tretyakov Gallery in Moscow. Since the 1960s, for more than thirty years he has been designing children's books in collaboration with Erik Vladimirovich Bulatov (born in 1933, Sverdlovsk, Moscow).
The most famous are the artists' illustrations for fairy tales by Charles Perrault and Hans Andersen, poems by Valentin Berestov and fairy tales by Gennady Tsyferov.

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

- Jan Ekholm "Tutta Karlsson the First and Only, Ludwig the Fourteenth and others";
- Selma Lagerlöf "Niels' amazing journey with wild geese";
- Sergey Aksakov "The Scarlet Flower";
- Hans Christian Andersen's works.

Evgeny Ivanovich Charushin(1901-1965, Vyatka, Leningrad) - graphic artist, sculptor, prose writer and children's writer-animalist. Basically, the illustrations are executed in the manner of a free watercolor drawing, with a little humor. Kids love it, even toddlers. Known for illustrations of animals that he drew for his own stories: "About Tomka", "Volchishko and others", "Nikitka and his friends" and many others. He also illustrated other authors: Chukovsky, Prishvin, Bianki. The most famous book with his illustrations is "Children in a Cage" by Samuil Yakovlevich Marshak.

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

Ivan Maksimovich Semyonov(1906-1982, Rostov-on-Don, Moscow) - People's Artist, graphic artist, cartoonist. Semenov worked in the newspapers Komsomolskaya Pravda, Pionerskaya Pravda, the magazines Smena, Krokodil, and others. Back in 1956, on his initiative, the first humorous magazine for young children in the USSR, “Funny Pictures”, was created.
His most famous illustrations are for Nikolai Nosov's stories about Kolya and Mishka (Dreamers, Living Hat and others) and drawings "Bobik visiting Barbos".

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

- Vyacheslav Mikhailovich Nazaruk(born in 1941, Moscow) is a production designer for dozens of animated films: Little Raccoon, The Adventures of Leopold the Cat, Mom for a mammoth, Bazhov's tales and illustrator of books of the same name.

- Nadezhda Bugoslavskaya(the author of the article did not find biographical information) - the author of good 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) - a contemporary artist, author of bright, well-drawn illustrations for books: "The Adventures of Baron Munchausen" by Rudolf Raspe, "The Little Humpbacked Horse" by Pyotr Ershov, fairy tales by the Brothers Grimm and Hoffmann, fairy tales about Russian heroes

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

- Igor Yulievich Oleinikov (born in 1953, Moscow) - animator, mainly works in hand-drawn animation, book illustrator. Surprisingly, such a talented contemporary artist does not have a special art education.
In animation, Igor Oleinikov is known for his films: The Secret of the Third Planet, The Tale of Tsar Saltan, Sherlock Holmes and I, and others. He worked with children's magazines "Tram", "Sesame Street" "Good night, kids!" and others.
Igor Oleinikov cooperates with publishing houses in Canada, USA, Belgium, Switzerland, Italy, Korea, Taiwan and Japan, participates in prestigious international exhibitions.
The most famous illustrations of the artist for books: "The Hobbit, or There and Back Again" by John Tolkien, "The Adventures of Baron Munchausen" by Erich Raspe, "The Adventures of Despero Mouse" by Kate DiCamillo, "Peter Pan" by James Barry. Recent books with illustrations by Oleinikov: poems by Daniil Kharms, Joseph Brodsky, Andrey Usachev.
A m I didn’t really want to introduce you to illustrators, to remember our childhood with you and recommend it to young parents.

(text) Anna Agrova

You will also be interested in:

E.M. Rachev. Illustrations for Russian fairy tales

Brave cats. Artist Alexander Zavaliy

Artist Varvara Boldina

The artistic heritage of the master is not limited to book graphics. A.F. Pakhomov is the author of monumental murals, paintings, easel graphics: drawings, watercolors, numerous prints, among which are the exciting sheets of the Leningrad in the days of the blockade series. However, it so happened that in the literature about the artist there was an inaccurate idea of true scale and the duration of his activity. Sometimes the coverage of his work began only with the works of the mid-30s, and sometimes even later - with a series of lithographs of the war years. Such a limited approach not only narrowed and curtailed the idea of the original and vibrant heritage of A.F. Pakhomov, created over the course of 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-1930s. Naturally, only a part of the works was considered in it. Despite this and some limitations in understanding the traditions inherent in that time, the work of the first biographer V.P. Anikieva retained its value from the factual side, and also (with necessary adjustments) conceptually. In the essays about the artist published in the 1950s, the scope of material from the 1920s and 1930s turned out to be narrower, and the coverage of the work of subsequent periods was more selective. Today, the descriptive and evaluative side of the works about A.F. Pakhomov, two decades distant from us, seem to have lost their credibility in many ways.

In the 60s, A.F. Pakhomov wrote the original book "About his work." The book clearly showed the fallacy of a number of common ideas about his work. The artist's thoughts about time and art expressed in this work, as well as the extensive material of the 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 paintings and drawings. Without claiming to cover them exhaustively, the author of the monograph considered it his task to give an idea of the main aspects creative activity masters, about her wealth and originality, about teachers and colleagues who contributed to the formation of the art of A.F. Pakhomov. Citizenship, deep vitality, 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.

As one of the greatest masters Soviet art, A.F. Pakhomov, throughout his long life and creative path, carried an ardent love for the Motherland, for its people. High humanism, truthfulness, figurative richness make his works so soulful, 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 Varlamov is located. There, on September 19 (October 2), 1900, a boy was born to a peasant woman, Efimiya Petrovna Pakhomova, who was named Alexei. His father, Fyodor Dmitrievich, came from "specific" farmers who did not know the horrors of serfdom in the past. This circumstance played an important role in the way of life and the prevailing character traits, developed the ability to behave simply, calmly, with dignity. The traits of special optimism, breadth of views, spiritual directness, and responsiveness were also rooted here. Alexei was brought up in a working environment. They lived poorly. As in the whole village, there was not enough of their own bread until spring, they had to buy it. Additional income was required, which was done by adult family members. One of the brothers was a stonemason. Many of the villagers were carpenters. And yet the early time of life was remembered young Alexei as the most joyful. After a two-year study at a parochial school, and then two more years at a zemstvo school in a neighboring village, he was sent "at state expense and on state food" to a higher primary school in the city of Kadnikov. The time of classes there remained in the memory of A.F. Pakhomov as very difficult and hungry. "Since then, my carefree childhood in father's house, - he said, - forever began to seem to me the happiest and most poetic time, and this poeticization of childhood later became the main motive in my work. Artistic ability Alexei appeared 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 presented Alyosha with pencils, paper and reproductions from paintings by Russian artists. Pakhomov's early drawings, which have survived to this day, reveal what 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 brothers, sister, neighborhood kids. It is interesting that the rhythm of the lines of these artless pencil portraits echoes the drawings of his mature pores.

In 1915, by the time he graduated from the school of the city of Kadnikov, at the suggestion of the district marshal of the nobility Yu. Zubov, local art lovers announced a subscription and sent Pakhomov to Petrograd to the school of A. L. Stieglitz with the money raised. With the revolution, changes also came to 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. A short training under the guidance of a great master of drawing Shukhaev gave him a lot of value. These lessons laid the foundation for understanding the structure human body. He strove for a deep study of anatomy. Pakhomov was convinced of the need not to copy the environment, but to represent it meaningfully. When drawing, he got used not to be dependent on light and shade conditions, but, as it were, to “illuminate” nature with his own eye, leaving light close parts of the volume and darkening those that are more distant. “True,” the artist remarked at the same time, “I did not become a faithful Shukhaevite, that is, I did not begin to draw with sanguine, smearing it with an elastic band so that the human body looked spectacular.” Pakhomov admitted that the lessons of the most prominent book artists, Dobuzhinsky and Chekhonin, were useful. He especially remembered the advice of the latter: to achieve the ability to write fonts on a book cover immediately with a brush, without preparatory basting with a pencil, "like an address on an envelope." According to the artist, such a development of the necessary eye subsequently helped in sketches from nature, 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 became impossible, Pakhomov left for his homeland, enrolling as an art teacher at a school in Kadnikovo. These months were of great benefit to the completion of his education. After lessons in the classes of the first and second stage, he read voraciously, as long as the lighting allowed and his eyes did not get tired. “All the time I was in an excited state, I was seized by a fever of knowledge. The whole world opened before me, which, it turns out, I hardly knew, - Pakhomov recalled 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, I began to truly understand the essence of the events that took place.

The treasures of science and literature opened up before the young man; quite natural was his intention to continue his interrupted studies in Petrograd. In a familiar building in Salt Lane, he began to study with N. A. Tyrsa, who was then the commissioner of the former Stieglitz school. “We, the students of Nikolai Andreevich, were very surprised by his costume,” Pakhomov said. - The commissars of those years wore leather caps and jackets with a belt and a revolver in a holster, and Tyrsa walked with a cane and in a bowler hat. But his talks about art were listened to with bated breath. The head of the workshop wittily refuted outdated views on painting, acquainted students with the achievements of the Impressionists, with the experience of post-impressionism, unobtrusively 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 worked in his workshop: write as you feel. In 1919, Pakhomov was drafted into the Red Army. He closely recognized the previously unfamiliar military environment, 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, Pakhomov, demobilized after an illness, 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. Of the works of Pakhomov, made at this time, little has survived. Such, for example, is "Still Life" (1921), which is distinguished by a subtle sense of texture. In it, one can see the desire learned from Lebedev to achieve “madeness” in the works, to look not for superficial completeness, but for a constructive pictorial organization of the canvas, not forgetting the plastic qualities of the depicted.

The idea of a new great work Pakhomov - paintings "Haymaking" - originated in his native village of Varlamov. There, material was collected for it. The artist depicted not an ordinary everyday scene at the 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 enthusiasm for work, was already in some ways akin to new trends. Etudes 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 catch the rhythm of movements contributed to the dynamism of the composition. For this picture, the artist went 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 “Killing the Scythes” (1924) shows two young peasants at work. They were sketched by Pakhomov from nature. Then he went through this sheet with a brush, generalizing the image without observing his models. Good plastic qualities, combined with the transmission of strong movement and the general picturesqueness of the use of ink, are visible in the earlier work of 1923 "Two Mowers". With a 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 has skillfully used ink wash. Landscape surroundings are hinted at. The texture of cut and standing grass is palpable, which brings rhythmic diversity to the drawing.

Among the considerable number of developments in the color of the "Haymaking" plot, the watercolor "Mower in a pink shirt" should be mentioned. In it, in addition to pictorial washes with a brush, scratching on a wet paint layer was used, which gave a special sharpness to the image and was introduced into the picture in a different technique (in oil painting). colorful big leaf"Haymaking", painted in watercolor. In it, the scene seems to be seen from a high point of view. This made it possible to show all the figures of the mowers going 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 built the picture in the same way, and then did not forget it in the future. Pakhomov achieved the picturesqueness of the general range and conveyed the impression of a morning haze pierced by sunlight. The same theme is solved differently in the oil painting “On the Mowing”, depicting working mowers and a horse grazing near the cart to the side. The landscape here is different than in other sketches, variants and in the picture itself. Instead of a field, there is a bank of a fast river, which is emphasized by the jets of the current and a boat with a rower. The color of the landscape is expressive, built on various cold green tones, only warmer shades are introduced in the foreground. A certain decorative effect was found in the combination of figures with the environment, which enhanced the overall color sound.

One of Pakhomov's paintings on sports in the 1920s is Boys Skating. 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 be. In contrast, another figure is shown in the distance, introducing rhythmic diversity and completing the compositional idea. In this picture, along with an 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 graphics of the artist. Starting from the mid-1920s, Pakhomov's deep understanding and creation of images of the children of the Land of the Soviets was Pakhomov's outstanding contribution to art. Studying great pictorial and plastic problems, the artist also solved them in works on this new important topic. At the exhibition of 1927, the canvas "Peasant Girl" was shown, which, although it had something in common with the portraits discussed above, was also of independent interest. The artist's attention was focused on the image of the girl's head and hands, painted with great plastic feeling. The type of a young face is captured in an original way. Close to this canvas in terms of immediacy of sensation is “Girl Behind Her Hair”, exhibited for the first time in 1929. It differed from the chest image of 1927 in a new, more detailed composition, including almost the entire figure in full growth, transmitted in a more complex movement. The artist showed the relaxed pose of a girl fixing her hair and looking into a small mirror lying on her knee. Sound combinations of a golden face and hands, a blue dress and a red bench, a scarlet sweater and ocher-greenish log walls of the hut contribute to the emotionality of the image. Pakhomov subtly captured the ingenuous expression of a child's face, the touching posture. Bright, unusual images stopped the audience. Both works were part of foreign exhibitions of Soviet art.

Throughout his half-century creative activity, A.F. Pakhomov was in close contact with the life of the Soviet country, and this saturated his works with inspired conviction and the power of vital truth. His artistic personality developed early. 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 belonged to the number of masters who innovatively approached the rich classical heritage. His works are characterized by a modern feeling in solving both pictorial and graphic tasks.

Pakhomov’s mastering of new themes in the canvases “1905 in the Village”, “Riders”, “Spartakovka”, in a cycle of paintings about children is important for the development of Soviet art. The artist played a prominent role in creating the image of a contemporary, his series of portraits is a clear evidence of this. For the first time, he introduced such vivid and vital images of young citizens of the Land of Soviets into art. This side of his talent is exceptionally valuable. His works enrich and expand ideas about the history of Russian painting. Since the 20s major museums countries acquired Pakhomov's canvases. His work has received international recognition in big exhibitions in Europe, America, Asia.

A.F. Pakhomov was inspired by socialist reality. His attention was attracted by the testing of turbines, the work of weaving mills and new things in life. Agriculture. His works reveal topics related to collectivization, and with the introduction of equipment into the fields, and with the use of combines, and with the work of tractors at night, and with 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 at the Sovereign Farmer”, a series about the commune “The Sower” and portraits from “Beautiful Swords” are among the most profound works of our artists about changes in the countryside, about collectivization.

The works of A.F. Pakhomov are notable for their monumental solutions. In the early Soviet wall painting, the artist's works are among the most striking and interesting. In the Red Oath cardboards, paintings and sketches of the Round Dance of Children of All Nations, paintings about reapers, as well as in the best creations of Pakhomov’s painting in general, 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, figurative side of his murals, 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 the 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. Master masterfully owned various materials. Works in ink and watercolor, pen and brush side by side with brilliant drawings graphite pencil. His accomplishments go beyond domestic art and become one of the outstanding creations of world graphics. It is not difficult to find examples of this in a series of drawings made at home in the 1920s, and among sheets made in the next decade on trips around the country, and in cycles about pioneer camps.

The contribution of A.F. Pakhomov to graphics is enormous. His easel and book works dedicated to children are among the outstanding successes in this area. One of the founders of Soviet illustrated literature, he introduced a deep and individualized image of the child into it. His drawings captivated readers with vitality and expressiveness. Without teachings, vividly and clearly, the artist conveyed thoughts to children, aroused 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 in such a figurative and realistic way he illustrated the poems of V. V. Mayakovsky. An artistic discovery was his drawings for the works of Leo Tolstoy for children. The considered graphic material clearly showed that the work of Pakhomov, an illustrator of modern and classical literature, it is wrong to limit it to only the area of a children's book. The artist's excellent drawings for the works of Pushkin, Nekrasov, Zoshchenko testify to the great success of Russian graphics in the 1930s. 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 most difficult trials of the Leningrad blockade, the artist did not interrupt his work. Together with the masters of art of the city on the Neva, he, as once in his youth in 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 works of art of 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, the mass nature of the address of the circulation print attracted his attention.

His work is characterized by classical clarity and conciseness. visual means. The image of a person is his main goal. An extremely important side of the artist's work, which makes him related to 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 who is completely immersed in the reflection of the life of his people, but at the same time he has absorbed 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 - 11.21.1967, Leningrad

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

He worked in St. Petersburg in the studio of F. A. Roubaud 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", "New Satyricon". One of the organizers Windows ROSTA" in Petrograd.

In 1928, a personal exhibition of Vladimir Vasilyevich Lebedev, one of the brilliant graphic artists of the 1920s, was arranged at the Russian Museum in Leningrad. He was then photographed against the backdrop 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 look and not letting you 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 brushes "smart" and "nervous". All together leaves the impression of composure, readiness for work, and most importantly - corresponds to the nature of the graphics shown at the exhibition, internally tense, almost gambling, sometimes ironic and as if clad in armor of a slightly cooling graphic technique. The artist entered the post-revolutionary era with posters for the ROSTA Windows. As in the "Ironers" created at the same time (1920), they imitated the style of a colored collage. However, in the posters, this technique, coming from cubism, acquired a completely new meaning, expressing with the lapidarity of the sign and the pathos of defending the revolution (" On Guard for October ", 1920) and the will to dynamic work ("Demonstration", 1920). One of the posters ("You have to work - a rifle is nearby", 1921) depicts a worker with a saw and at the same time he himself is perceived as a kind of firmly knocked together object. The orange, yellow and blue stripes that make up the figure are extremely firmly connected to block letters, which, unlike cubist inscriptions, have a specific semantic meaning. 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 at that time Lebedev's drawings for children's books. In Leningrad, in the 1920s, a whole trend in illustrating books for children was formed. V. Ermolaeva, 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, a very special image of the book was affirmed, different from the one cultivated in those years by the Moscow illustration headed by V. Favorsky. While an almost romantic perception of the book reigned in the group of Moscow woodcutters or bibliophiles, and the very work on it contained something “severely ascetic”, the Leningrad illustrators created a kind of “toy book”, gave it directly into the hands of the child, for which it was intended. The movement of the imagination “into the depths of culture” was replaced here by cheerful effectiveness, when a colored book could be turned in hands or at least crawled around it, lying on the floor surrounded by toy elephants and cubes. Finally, Favorsky's "holy of holies" woodcuts of Favorsky - the gravitation of black and white elements of the image into the depth or from the depth of the sheet - gave way here to frankly flat fingering, when the drawing arose as if "under the hands of a child" from pieces of paper trimmed with scissors. The famous cover for "The Baby Elephant" by R. Kipling (1926) is formed as if from a pile of patches randomly scattered over the paper surface. It seems that the artist (and perhaps even the child himself!) moved these pieces over the paper until a finished composition was obtained, in which everything "goes by the wheel" and where, meanwhile, nothing can be moved even a millimeter: in in the center - a baby elephant with a curved long nose, around it - pyramids and palm trees, on top - a large inscription "Elephant", and below a crocodile that suffered a complete defeat.

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

All these Lebedev pictures, addressed to ordinary child readers, among which such masterpieces as lithographs for the book "The Hunt" (1925), were, on the one hand, the product of a refined graphic culture capable of satisfying the most demanding eye, and on the other, art, revealed in living reality. The pre-revolutionary graphics not only of Lebedev, but also of many other artists, did not yet know such an open contact with life (despite even the fact that Lebedev painted for the Satyricon magazine in the 1910s) - those “vitamins” or, rather, those "yeasts of vitality" on which Russian reality itself "wandered" in the 1920s. Lebedev's everyday drawings revealed this contact with unusual clarity, not so much invading life as illustrations or posters, but taking it into their figurative sphere. At the heart of this is a keenly greedy interest in all the new social types that constantly arose around. The drawings of 1922-1927 could be combined with the name "Panel of the Revolution", with which Lebedev titled 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 by the flow of events. The artist draws sailors with girls at Petrograd crossroads, merchants with stalls or dandies dressed up in the fashion of those years, and especially Nepmen - these comical and at the same time grotesque representatives of the new "street fauna", whom he painted with enthusiasm 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 portrayed on the pages of "Circus", if not for the sharper attitude of the artist himself towards them. Lebedev's attitude to such characters cannot be called either "stigmatizing" or, even more so, "scourging." 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. This meant that living inseparability of the ironic and poetic principles, which both artists were noted for and which, for both, made up the special attractiveness of the images. One can also recall Lebedev's contemporaries, the writers M. Zoshchenko and Yu. Olesha. They have the same inseparability of irony and smiles, ridicule and admiration. Apparently, Lebedev was somehow impressed by the cheap chic of a real sailor's walk ("The Girl and the Sailor"), and the defiant dashing of the girl, with the shoe approved on the cleaner's box ("The Girl and the Bootstrapper"), his even something I was also attracted by that zoological or purely vegetal innocence with which, like burdock under a fence, all these new characters climb up, demonstrating miracles of adaptability, such as, for example, conversing ladies in furs at a shop window (People of Society, 1926) or a bunch of Nepmen on the evening street ("Nepmen", 1926). In particular, the poetic beginning in the most famous Lebedev series "Love of the punks" (1926-1927) is striking. What a fascinating life force breathing in the drawing "On the skating rink" are the figures of a guy with a sheepskin coat open on his chest and a girl in a bonnet with a bow and bottle-shaped legs tucked into high boots crouched on a bench. If in the series "New Life", perhaps, one can also talk about satire, then here it is almost imperceptible. In the picture "Rash, Semyonovna, sprinkle, Semyonovna!" - the height of the spree. In the center of the sheet there is a hot and young dancing couple, and the viewer seems to hear how the palms of his hands splash or the guy's boots snap off to the beat, he feels the serpentine flexibility of his bare back, the ease of movement of his partner. From the series "Panel of Revolution" to the drawings "Love of the punks", Lebedev's style itself has undergone a noticeable evolution. The figures of the sailor and the girl in the drawing of 1922 are still made up of independent spots - spots of carcass 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 image was completely dominated by the plane, especially since, according to Lebedev himself, nice drawing should be above all "well-fitting in the paper". However, in the sheets of 1926-1927, the paper plane was increasingly replaced by the depicted space with its chiaroscuro and subject 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 flowing of black watercolor. By the mid-1920s, many other draftsmen were also advancing along the path towards increasingly free, or pictorial, as it is commonly called, drawing. There were also N. Kupreyanov with his village "herds", and L. Bruni, and N. Tyrsa. The drawing was no longer limited to the effect of "taken", pointed grasping "at the tip of the pen" of ever new characteristic types, but as if it was itself involved in the living stream of reality with all its changes and emotionality. In the mid-1920s, this refreshing flow 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 we compare it with the ascetically strict drawing of the pre-revolutionary decade. If we compare, for example, the excellent drawings from the nude model of N. Tyrsa in 1915 and Lebedev's drawings of 1926-1927, one will be struck by the immediacy of Lebedev's sheets, the strength of their feelings.

This immediacy of Lebedev's sketches from the model made other art historians recall the techniques of impressionism. Lebedev himself was deeply interested in the Impressionists. In one of his best drawings in the series "Acrobat" (1926), the brush, saturated with black watercolor, seems to create the vigorous movement of the model itself. A confident brushstroke is enough for an artist to put aside left hand, or one sliding touch to push forward the direction of the elbow. In the series "Dancer" (1927), where light contrasts are weakened, the elements of moving light also evoke associations with impressionism. "From the light-permeated space," writes V. Petrov, "like a vision, the outlines of a dancing figure appear," she "is barely outlined by light blurring spots of black watercolor," when "the form turns into a picturesque mass and inconspicuously merges with the light-air environment."

It goes without saying that this Lebedev impressionism is no longer equal to classical impressionism. Behind him you always feel the "learning of constructiveness" recently completed by the master. Both Lebedev and the Leningrad direction of drawing itself remained themselves, not for a moment forgetting either the constructed plane or the pictorial texture. In fact, when creating a composition of drawings, the artist did not reproduce space with a figure, as Degas did, but rather this one figure, 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, due to which the figure does not rest on the floor, but rather is "hooked" on the lower and upper edges of the sheet. The artist strives to bring the "figure plan" and the image plane as close as possible. Pearl stroke of his wet brush in equally therefore belongs to both the figure and the plane. These disappearing light strokes, which convey both the figure itself and, as it were, the warmth of the air warmed around the body, are simultaneously perceived as a uniform texture of the drawing, being associated with strokes of Chinese ink drawings and appearing to the eye as the most delicate "petals", finely smoothed to the surface of the sheet. Moreover, in Lebedev's "Acrobats" or "Dancers" there is, after all, the same chill of a confidently artistic and slightly detached approach to the model, which was noted by the characters of the series "New Life" and "Nep". In all these drawings, a generalized classical basis is strong, which distinguishes them so sharply from Degas's sketches with their poetry of characteristic or everyday life. So, 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 over 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 thin and plastic organism - it is developed, perhaps a little artificially, but it is verified and accurate in movement, capable of "saying about life" more than any other, because it has the least formless, unmade, unsteady chance." The artist was really interested not in the ballet itself, but in the most expressive way of "telling life." After all, each of these SHEETS is, as it were, 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" well studied by her, in which the vital plasticity of the body was revealed most impressively.

The excitement of the artist seems to break through the artistic correctness of confident craftsmanship, and then involuntarily transmitted to the viewer. In the same magnificent sketch of a ballerina from the back, the viewer watches with enthusiasm how a virtuoso brush not only depicts, but creates a figure instantly frozen on her toes. Her legs, drawn by two "petals of strokes", easily rise above the fulcrum, higher - like a disappearing penumbra - a wary expansion of a snow-white pack, even higher - after several gaps, giving the picture an aphoristic brevity - an unusually sensitive, or "very hearing", back dancer and no less "hearing" turn of her small head over the wide span of her shoulders.

When Lebedev was photographed at the 1928 exhibition, he seemed to have a promising road ahead of him. Several years of hard work seem to have raised him to the very top. graphic art. At the same time, both in the children's books of the 1920s and in The Dancers, such a degree of complete perfection was perhaps reached that from these points there was, perhaps, no way of development. And indeed, Lebedev's drawing and, moreover, Lebedev's art reached their absolute pinnacle here. In subsequent years, the artist was very actively engaged in painting, a lot and for many years he illustrated children's books. And at the same time, everything he did in the 1930-1950s could no longer be compared with the masterpieces of 1922-1927, and, of course, the master did not try to repeat his finds left behind. Lebedev's drawings with female figure. If the subsequent era could not be attributed to the decline in drawing from the nude model, it was only because she was not interested in these topics at all. Only for last years as if a turning point is planned in relation to this most poetic and most creatively noble sphere of drawing, and if this is so, then V. Lebedev among the draftsmen of the new generation, perhaps, is destined for another new glory.

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