Book illustrator Alexei Laptev (1905-1965). Fables of I.A. Krylov in the work of Russian and Soviet artists and domestic animation Illustrations for Krylov's fables artists and dates
Valentin Alexandrovich Serov (January 7, 1865, St. Petersburg - November 22, 1911, Moscow) - Russian painter and graphic artist, portrait master.
Fox and grapes. Paper, graphite pencil. 22.2x35.5 cm.
Among the undoubted masterpieces, which so richly and versatilely represent the pictorial and graphic heritage of Valentin Aleksandrovich Serov, a series of his illustrations for the fables of I. A. Krylov occupies a large and important place.
Quartet. 1895-1898 Paper, graphite pencil. 22.1x35.5 cm.
The artist worked on the series for sixteen years (from 1895 to 1911) and especially intensively in the last years of his life.
Leo in old age
The result of this work was a large number of completely finished works, which, being excellent illustrations for the fables of I. A. Krylov, at the same time have great independent artistic value.
Trishkin caftan. Paper, graphite pencil. 19x30 cm.
The fact that V. A. Serov turned to fables was not a surprise, he was bound to be attracted by their sharp humor, which the artist greatly appreciated in life. In addition, Serov loved animals from childhood, in their behavior he found many similarities with the nature of human behavior. The artist constantly watched them, drew them, as evidenced by numerous sketches in albums of different years.
Lion and wolf. Paper, graphite pencil, ink, pen. 26.8x 42.5 cm.
In 1895, A. I. Mamontov decided to publish the fables of I. A. Krylov with illustrations by V. A. Serov. He kindly offered the artist to make some drawings for this edition. At first, A. I. Mamontov intended to include all the fables in the publication, but then he decided to confine himself to only the most popular ones.
To the fable "Pike". 1896
It was decided to call the publication “Twelve drawings by V. A. Serov on the fables of I. A. Krylov” and make it up from the following twelve sheets: “Convoy”, “Crow and Fox”, “Melnik”, “Wolf and Crane”, “Trishkin caftan”, “Quartet”, “Peasant and Robber”, “Crow”, “Lion and Wolf”, “Donkey and Man”, “Monkey and Glasses”, “Pike”.
Sea of animals. Paper, Italian pencil. 26.7x42.5 cm.
The work on drawings for the fables fascinated Serov, and although the publication was not carried out, the artist made a large number of magnificent sketches and completed illustrations *
"Monkey and Glasses". Paper, graphite and even pencil. 26.7x42.5 cm.
From the very beginning, Serov faced a difficult task - not only to create well-defined artistic images, but also to convey the specifics of the fable narration. And for this, a special artistic language was needed. After all, a fable is a cursory living sketch of reality, which usually contains a moralizing meaning. The writer-fabulist notices everyday curiosities, blunders, funny aspects of life, human vices and shortcomings in life and, pouring it into a fable form, in his own way sharpens them, exaggerates.
In borrowed plumes. To the fable "The Crow". Paper, graphite pencil.
Krylov ridiculed the negative human qualities, transferring them to animals. At the same time, he deliberately exaggerated the colors in order to hurt human pride more painfully, in order to emphasize, strengthen the instructive meaning arising from this or that situation.
It was not by chance that Krylov chose the fable as his weapon in the fight against human vices; the wise simplicity of its content and the humorous device of the narration are accessible to any reader, easily assimilated by him. The language of the fable, close to the folk language of proverbs and sayings, is well remembered.
Crow. V.A. Serov “Drawings for the fables of A.I. Krylov”, Leningrad, 1951
Serov, like no one else, understood the specifics of the fable narrative. As a result of many years of persistent and tireless searching, he found his simple, well-aimed form of the story, enriched with humor and consonant with the language of the fable.
Frogs asking for a king. V.A. Serov “Drawings for the fables of A.I. Krylov"
The artist did not immediately manage to achieve that artistic completeness of form and that semantic capacity that were needed for the fable illustration. Since 1896, he stubbornly strives to find his pictorial "fable language", but finally finds it only in later illustrations.
Hare on the hunt. V.A. Serov “Drawings for the fables of A.I. Krylov"
The artist carefully selects the main thing in the fable and conveys it with stingy artistic means. So, gradually, he completely abandons the tone, chiaroscuro and those details that are found in such initial sheets as "The Wolf and the Shepherds", "Three Men", "The Little Crow". Later, he works only with a pencil, emphasizing and sharpening the details of interest to him, revealing in the drawing the most characteristic features of the nominal images of fables.
Lion and Fox, etching. V.A. Serov “Drawings for the fables of A.I. Krylov"
However, at first, the artist is still quite detailed. He refuses so far only from picturesque techniques in graphics. This is noticeable in the approach to the fable "Three Men", the drawing of which is of a genre nature. An ordinary genre scene (three men are depicted at dinner in a village hut) is also concrete and wordy. The main thing is not emphasized enough in it, the irony is hardly noticeable. The same can be said about the picture "Raven". It is still cumbersome, complex, not concise enough.
Two dogs. V.A. Serov “Drawings for the fables of A.I. Krylov"
The mentioned works convey only the content of the fables. Serov, on the other hand, wanted to ensure that the illustrations also had an independent grotesque expressiveness. And for this, it was necessary to draw easier, more concise and, at the same time, sharper. That is why most of the originally conceived compositions were redrawn many times, becoming more and more simplified and sharpened.
So, gradually being processed, the composition of the Quartet changed radically. In the new composition, Serov arranged the animals in reverse order, from right to left, and such a composition seemed to him more successful. In addition, the artist changed the appearance of each animal, reworked its posture, movement, antics; made it more comical. As a result, not just a genre scene was obtained, but fabled images arose, through which the instructive meaning began to appear most clearly. Serov emphasized in the drawings the most characteristic thing that is generally characteristic of this or that animal. These are already new features of the Serov method, and they determined his further searches.
Razors. V.A. Serov “Drawings for the fables of A.I. Krylov"
Working on fables, Serov constantly used his numerous albums, which already contained sketches of the animals he needed. He loved and knew animals well, and therefore was able to give them quite accurate characteristics. Whether he depicted a wolf (the “Wolf and the Crane” sheet) or a fox near a vine (the “Fox and Grapes” sheet), in any particular case it is noticeable that the artist carefully and for a long time studied the nature of each animal. That is why he so correctly described the animals in the “Peil of Beasts” sheet - a lion, which stands out among other animals with its majestic, proud posture, a fox dodging in front of a lion, grinning wolves and a harmless simple-hearted ox, which the animals “for sins” intend to sacrifice.
Wolf and shepherds. V.A. Serov “Drawings for the fables of A.I. Krylov"
Another sheet (“The Lion and the Wolf”) depicts an angry mighty king of beasts, menacingly looking after a dejectedly weaving wolf, which dared to snatch a piece from its prey. Very sparing means, almost one line characterized the lion and the wolf. Their postures are expressive.
No less convincing and interesting in its own way is the sheet “The Fox and the Grapes”. The cunning little fox, coquettishly bent, quietly fawns on the vine. The cheat looks expectantly at the bunch of grapes, hanging, alas, too high.
The images of all these animals failed the artist immediately. With the help of thin transparent paper, he endlessly transferred the drawing he found from one sheet to another, leaving on the new sheet only those details that, in his opinion, were the most successful. He enhanced these details, simplifying and generalizing the previous composition, honing the line, working on the volume.
Despite the careful study of each drawing, its strokes and lines never gave the impression of dryness. The artist always knew how to hide his hard work behind the seeming ease and freedom of drawing.
This is how Serov worked on the fables “The Wolf and the Crane” (starting with a watercolor fill and a pen drawing and ending with a laconic pencil drawing), “The Lion and the Wolf” (from an early tone watercolor drawing up to the last maximally simplified pencil version), “Trishkin’s caftan” ( from natural sketches to extremely exaggerated image).
The fable "The Crow" (the sheet "The Crow in Peacock Feathers") has undergone the same thorough processing. The artist solves the theme extremely sparingly, depicting a crow dressed up in peacock feathers, walking comically importantly, raising its head high, and peacocks looking at her arrogantly and hostilely, as if they were an impostor in their society. Here, the characteristics of both crows and peacocks are incomparably given.
The “Monkey and glasses” sheet turned out to be even more successful. It seems impossible to solve the problem more acutely, more economically. The monkey, who “disposed” her glasses in such a peculiar way, is the only figure that is depicted on the sheet.
Drawings by V. A. Serov for the fables of I. A. Krylov are truly outstanding works, which, starting from the literary talent of Krylov the fabulist, have acquired a deeply independent meaning. They are valuable in and of themselves. In visual form, the artist revealed in them what the writer wanted to say in words. Serov also conveyed the deeply folk humor of Krylov's fables, which embodies the sharpness and accuracy of the vision of life and the features of the Krylov language, which is close to colloquial speech - all that makes Krylov's fables truly folk literary works.
V. Takhtareva
* In this edition of postcards, only some of these sheets are reproduced, as well as those that were not intended for the Mammoth edition. These drawings were made at different times, from 1895 to 1911.
Design work on the literature of a student of 5 V class MBOUG No. 1 Skipina Christina.
Project work on literature. Can be used when studying the work of I.A. Krylov
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Heroes of I.A. Krylov's fables in illustrations. Design work on the literature of a student of 5 V class MBOUG No. 1 Skipina Christina. Teacher: Kulikova O.A.
We know that the characters (heroes) of fables (animals, plants, things, sometimes people) usually personify human qualities. Each hero was the bearer of some distinctive feature: the fox - cunning; donkey - nonsense; wolf - greed; hare - cowardice. Ivan Andreevich Krylov is considered the best fabulist. Many popular expressions from his fables entered the speech of every person. We take pictures from memory, say: “Elephant and Pug”, “Swan, cancer and pike”, “Wolf and lamb” ... and immediately everything is clear.
On February 24, 1809, a thin book was issued on bluish paper without any decorations. The book contained 23 fables by I.A. Krylov. The second book appeared on March 8, 1811. Printed as modestly as the first. The first illustrated book of Krylov's fables appeared in 1815. All fables were accompanied by drawings and engravings.
Illustration has always been closely associated with literature. Many great artists offered their own vision of what they read. Often a work of art became the impetus for painting paintings, which later became masterpieces of fine art. Illustrations for works of art can raise the level of their perception by several orders of magnitude and significantly enhance the impact they have on the reader. Many famous artists were happy to draw illustrations for their favorite literary works, very often without even planning to use them for text design - just like that, for the soul, succumbing to the enchanting action of words.
Although the illustrations for Krylov's fables were made by different artists, his characters are easily recognizable.
Valentin Serov's illustrations for I. Krylov's fables have become an independent and significant work of art. The artist succeeded in using extremely limited means to convey almost “verbatim” the exact meaning laid down in the fables by their author. He loved and knew animals well, and therefore was able to give them quite accurate characteristics. Whether he depicted a wolf (“The Wolf and the Crane”) or a fox near the vine (“The Fox and the Grapes”), in any particular case it is noticeable that the artist carefully and for a long time studied the nature of each beast. Illustrations by artist V.A. Serov
Illustration for I. Krylov's fable "The Lion in Old Age"
Illustration for I. Krylov's fable "Quartet"
Illustration for I. Krylov's fable "The Fox and the Grapes"
Illustration for I. Krylov's fable "The Lion and the Wolf"
Interesting illustrations by the artist of the early XIX century Alexander Orlovsky "Demyanova's ear" "Horse and Rider"
The history of these drawings is interesting. They were accidentally found by members of the Circle of Lovers of Russian Fine Editions in the collection of E. G. Schwartz, who inherited it from the collector of the first half of the 19th century. A. R. Tomilova - a friend of the artist Orlovsky. "Dog Friendship" "Quartet"
And now let's look at different illustrations for the fables of I.A. Krylov performed by the artist A.M. Laptev. "The strong always blame the weak" "The Wolf and the Lamb"
“And you, friends, no matter how you sit down, You are not good at musicians” “Quartet”
“When there is no agreement among the comrades, their business will not work out” “Swan, cancer and pike”
“The ignoramus, also in blindness, scolds science and learning, And all learned works, Not feeling that he eats their fruits” “Pig under the oak”
"Did you sing along? This is the case: So come on, dance!” "Dragonfly and Ant"
"Hey Moska! To know she is strong, What barks at the Elephant! "Elephant and Pug"
“Unfortunately, the same thing happens with people: No matter how useful a thing is, without knowing its price, the Ignorant about it tends to the worst; And if the ignorant is more knowledgeable, So he also drives her "" Monkey and Glasses "
Illustration for the fable "The Peasant and Death" Artist A. A. Daineka
Illustrations by the artist I. A. Petelina "Monkey and Glasses" "Dragonfly and Ant"
"Quartet"
"Elephant and Pug" "Swan, crayfish and pike"
Illustrations by artist E. Rachev "Swan, crayfish and pike" "Crow and fox" "Wolf and Lamb"
Illustrations by artists A. Bazhenov M.A. Taranov "Dragonfly and Ant" "Wolf and Crane"
FABLES I.A. KRYLOVA IN ART
For the first time, the fables of I.A. Krylov began to be illustrated about 200 years ago. So, books with baths, decorated with beautiful illustrations, saw the light of day. Later, when cinema and animation appeared, the pictures for the fables came to life. Thanks to this, our whole country was able to get acquainted with the work of I.A. Krylov!
There are a large number of mass editions of the fables of I.A. Krylov with illustrations by artists of various styles and trends. More than 50 artists illustrated them in the 20th century. Among them: N.I.Altman, I.Ya.Bilibin, Yu.A.Vasnetsov, A.A.Deineka, M.V.Dobuzhinsky, I.S.Efimov, V.M.Konashevich, Kukryniksy, B.M. .Kustodiev... and that's it - the most famous names!
I.A. Krylov created more than 200 fables, more than half of them are illustrated. The first place in terms of the number of illustrations can be given to the fable "The Fox and the Grapes" - 31.
So let's get started with the artists.
Engraver Andrey Petrovich Sapozhnikov (1795-1855)
A.P. Sapozhnikov was an amateur artist, drawing in his spare time. By profession, he was an officer and was in the service of the engineering corps. For a long time he attended drawing classes at the Academy of Arts, and in 1834 he even compiled the “Elementary Drawing Course” and presented it to the Academy, along with samples (models and gypsum), for distribution to students during exams. Sapozhnikov left a unique mark in various fields: he is both a military engineer, and a painter, and a graphic artist and sculptor, as well as a publisher, collector, teacher, author of the first Russian textbook on the theory and practice of drawing for general educational institutions, which is still used today.
In 1834 Sapozhnikov began illustrating Krylov's fables. He illustrated 93 fables in total. His drawings are distinguished by accuracy and everyday authenticity, they are marked by fine craftsmanship and expressiveness, but most importantly, they convey the originality, the Russian national character of Krylov's fabled creativity. Sapozhnikov's people are Russian people, be it a stupid peasant or a curious gentleman; they are surrounded by a Russian rural landscape; his animals are quite realistic, strong and weak, cunning and simple-hearted, good and evil. But A.P. Sapozhnikov was not an animal painter, so not all animals were successful for him, for example, his cats are far from perfect. Despite this, engravings by A.P. Sapozhnikova, according to contemporaries, was very much liked by I.A. Krylov. Warmly spoke about them and V.G. Belinsky: “How much ... talent, originality, life! What a Russian flavor in every feature!.
Now let's turn to another illustrator.
The great Russian painter Valentin Aleksandrovich Serov (1865-1911)
Serov turned to fables, because he was always attracted by their sharp humor, which he greatly appreciated in life. In addition, Serov loved animals from childhood, in their behavior he found many similarities with the nature of human behavior, watching them and drawing, as evidenced by numerous sketches in the albums of his different years.
In 1895, Savva Mamontov conceived Krylov's fables with illustrations by Valentin Serov. Or rather, first of all, Mamontov wanted to publish illustrations: the album was to be called “Twelve drawings by V.A. Serov on the fables of I.A. Krylov”: “Convoy”, “Crow and Fox”, “Miller”, “Wolf and Crane ”, “Trishkin’s caftan”, “Quartet”, “Peasant and Robber”, “Crow”, “Lion and Wolf”, “Donkey and Man”, “Monkey and Glasses”, “Pike”. Serov set to work with enthusiasm. And, although the book was never published, the artist worked on illustrations for Krylov's fables until the end of his days - for him, a latent animal painter, this idea became a creative outlet. Over the years, his drawings became more concise and sharper. Serov was looking for an intonation that would allow him to convey Krylov's humor with a minimum of means. An illustrative example of such creative quests is the illustrations that he made for the Quartet fable: not heeding Krylov's morality, the artist nevertheless transplanted the musicians in a different order.
The artist carefully followed the text of the work, selected the main thing in the fables and conveyed it with stingy artistic means, without adding anything from himself. Gradually, he completely abandoned tone, chiaroscuro and worked only with a pencil, emphasizing and sharpening the details of interest to him, revealing in the drawing the most characteristic features of the nominal images of fables. The animals in Serov's drawings are very similar to ordinary lions and bears, foxes and crows, but at the same time they have all the character traits of literary heroes. V.A. Serov worked on illustrations for the fables of I.A. Krylov for a long time, about 15 years, and especially intensively - in the last years of his life. In 1934 and 1944 The publishing house "Detgiz" published two editions of I.A. Krylov's fables with his illustrations.
Created illustrations for the fables of I.A. Krylov and other animal painterIvan Semyonovich Efimov (1878-1959).
I.S. Efimov, a student of V.A. Serov, was a graphic artist, theater artist, illustrator of children's books, teacher, the largest master of easel and monumental sculpture. Honored Artist of the RSFSR, People's Artist of the RSFSR. Together with his wife, N.Ya. Simonovich-Efimova (1877-1948), created the first Soviet puppet theater. Originally illustrated children's books. His animals both in sculpture and in illustration are especially plastic and expressive. I.S. Efimov was called "the king of animals". The artist worked a lot with watercolors, and in the 1930s he found a new material for drawing - soft lithographic and Italian pencils. And his attitude to sculptural materials contributed to the convergence of plastic and arts and crafts.
In his works, the animal world becomes recognizable and close, thanks to the artist's love for the subject of the image. This is also illustrated by more than 50 drawings and sketches on paper and tracing paper for the fables of I.A. Krylov, created in the 1910s - 1940s.
Sketches of illustrations for fables created in the 1910s: "The Wolf and the Fox", "The Wolf and the Lamb", "The Crow and the Fox", "The Frog and the Ox", are made with graphic and Italian pencils. Most of all, the artist was inspired by the fable "The Fox and the Grapes", 30 sketches of illustrations were created for it (8 color watercolors and 22 Italian and graphic pencils).
Vladimir Mikhailovich Konashevich (1888-1963)
One of the most famous masters of book illustration, who created a large number of illustrations for the fables of I.A. Krylov in the Soviet era. V.M.Konashevich studied at the Moscow School of Painting, Sculpture and Architecture (1908-1913) under K.A.Korovin, S.V.Malyutin. As an illustrator of children's books, he began to work actively since 1922, he was one of the leading artists of Detgiz. He made his drawings in watercolor, black ink, pen, pencil, denoting the contours of objects, the silhouettes of people. There were almost no landscapes in the composition. The color scheme was limited to three or four colors, and multicolor was created through the use of many shades. The artist was very precise in details. His work is sometimes distinguished by a penchant for a decorative manner, dating back to the graphics of the "World of Art", of which he was a member in 1922-1924. Since the 1930s, V.M. Konashevich devoted himself almost entirely to illustrating children's books.
Evgeny Mikhailovich Rachev (1906-1997) - Soviet animal artist, known for his work in the field of book graphics. The name of the artist is inextricably linked with fairy tales, especially fairy tales with animal characters. For thirty years of creative activity, E.M. Rachev created hundreds of illustrations. In 1958-1959 for the exhibition "Soviet Russia" he performed a large series of drawings for the fables of I.A. Krylov.
In 1973, E.M. Rachev became the Laureate of the State Prize. In later illustrations, E.M. Rachev to the fables of I.A. Krylov, many animals and beasts are “dressed” like people, in human clothes, thereby the artist shows that real life and real human relationships are hidden behind a fairy-tale plot and fairy-tale images. Rachev's color drawings are elegant, colorful, and decorative. The artist worked in watercolor, which he laid in a thin transparent layer, gouache and charcoal. He always chose for his illustrations the most acute and dramatic or comical moments, plots, in order to reveal the essence of the work to the child.
FABLES OF I.A. KRYLOV IN ANIMATION
Modern children are difficult to captivate with the classics. It is difficult for them to read novels and stories, poems and novels. But they enjoy watching movies and cartoons. This tendency of children to visualize can be used to broaden their horizons. Colorful animation, bright characters, fascinating plots will certainly awaken in them the desire to get to know the writers' work better.
In the fables of I.A. Krylov there are no boring and tedious moralizing, but there are only truths that are always relevant. And in our time, they are needed more than ever! Therefore, fables easily turned into animation.
Watching and listening to Krylov's fables is a pleasure. Most of the animated films were made back in the Soviet era - a period when the media, books and films were all about raising children and instilling in them a sense of camaraderie, respect, duty and responsibility. Perhaps that is why they are so popular today.
Early cartoons are notable for their bright musicality. Jazz trends that were fashionable at that time were used. In later cartoons, perhaps, there is no longer such lightness (and musical, including), but, on the other hand, their technical performance has significantly improved.
Krylov's Fables - videos for kids and adults, everyone will find something necessary and significant for themselves.
The first cartoons were created in black and white.
BLACK AND WHITE CARTOONS :
QUARTET. 1935(lost). A replay was filmed in 1947. The authors of the cartoon were A. Ivanov and P. Sazonov.
Film historian Semyon Ginzburg wrote about this cartoon: “ The content of the film echoed the new reality in which the film was created. This gave it real relevance. The film enjoyed outstanding success not only among young, but also among adult viewers. His ideological merits were accompanied by artistic merits. The film was distinguished by a good pace, clarity of plot development. The movement, facial expressions of the characters revealed their characters.
Alexander Vasilyevich Ivanov (1899 - 1959)- Soviet director-animator, animator, one of the founders of the Soviet graphic animation. In 1919 he graduated from the Tambov Teachers' Institute, in 1922 - the Tambov Art Workshops. After moving to Moscow, he studied at VKHUTEMAS. In 1926, he organized an animation workshop at the Sovkino film factory, where he began to shoot short propaganda films. In 1927, he created his first feature-animated film "Cockroach" - the first adaptation based on the fairy tale by K. I. Chukovsky. Since 1936, he worked as a director at the Soyuzmultfilm film studio, where he was a member of the artistic council of the film studio. Member of the CPSU since 1955. Created 33 cartoons.
Sazonov Panteleimon Petrovich (1895-1950).
He also studied at VKhUTEMAS, but first at Moscow University at the Faculty of Law and even worked as an investigator in various institutions of Lipetsk, Tambov and Moscow. At the same time he worked in various art studios. In animation since 1929. Until 1936 he worked with A.V. Ivanov, then on his own. Participated in the development and application of the method of drawn sound "Ivvoston".
Worked in 1936-1950 - at the film studio "Soyuzmultfilm" (with a break from 1943 to 1948 - at the film studio "Voentekhfilm"). The son and daughter also became cartoon directors. My wife also worked at the Soyuzmultfilm studio as an editor.
Emmanuil Yakovlevich Dvinsky(writer's pseudonym - A. Volodin; 1910-1985) - a well-known Soviet journalist, film director and screenwriter; Muscovite historian, author of numerous guides to Moscow and its architectural monuments. He was the screenwriter of several cartoons, including The Fox the Builder and The Quartet. Later he worked together with Ivanov and Sazonov on the new cartoon "Quartet" (1947) - color version.
A CROW AND A FOX. 1937. P.P. Sazonov independently shot a cartoon based on Krylov's fable - a free adaptation of the famous fable.
EAGLE AND MOLE. 1944. P.P. Sazonov.
QUARTET. 1947.
A. Ivanov, P. Sazonov, E. Dvinsky.
FOX BUILDER. 1950.
Together with Ivanov, Fyodor Khitruk (1917-2012) created this cartoon. (Khitruk is known for his cartoons "The Story of a Crime", "Toptyzhka", "Winnie the Pooh", etc.)
A CROW AND A FOX. CUCKOO AND COCK.1953
F. Khitruk and V. Kotyonochkin (1927-2000), who later became famous animators, worked with A. Ivanov. (We know Kotenochkin as the director of the animated series “Well, wait a minute!”, And as an artist, he created many cartoons based on Mikhalkov’s fables and numerous fairy tales.)
DRAGONFLY AND ANT.1961
This cartoon has already been shot by the son of the animator P.P. Sazonov - Anatoly Panteleimonovich Sazonov(1920-1991) - Animation film artist, Honored Artist of the RSFSR (1972), teacher, candidate of art history, professor, screenwriter.
AND YOU, FRIENDS, HOW YOU SIT ...(no words, just music). 1972
(1927-2016) , Soviet animator, animator, screenwriter. He worked mainly in mixed technology: puppet and hand-drawn animation, translation.
IN THE WORLD OF FABLES. 1973
Cartoon filmed Andrei Khrzhanovsky (born 1939) in the technique of translation based on the fables of Ivan Andreevich Krylov "The Curious", "The Donkey and the Nightingale", "The Cuckoo and the Rooster". The cartoon used the painting "Parade on the Field of Mars", as well as drawings by Alexander Sergeevich Pushkin. The chamber ensemble "Madrigal" under the direction of Leo Marquis took part in the musical arrangement. A. Khrzhanovsky made "Pushkiniana" - cartoons based on the work of A.S. Pushkin.
I would like to believe that at the present time - the time of the latest technologies and new opportunities - there will be masters: artists, film directors, screenwriters who will resume the demonstration of the great fabulist's fables in a new creative way. This is essential for the next generation.
Chemodurova Olga Leonidovna , poet, prose writer, chairman of the Ivanteevsky regional branch of the Commonwealth of Creative Forces, member of the Union of Journalists of the Moscow Region
Alexei Mikhailovich Laptev is a graphic artist, book illustrator, poet. Corresponding member of the Academy of Arts of the USSR. Honored Art Worker of the RSFSR.
Lived in Moscow. He studied at the school-studio of F.I. Rerberg (1923) in Moscow, with P.I. Lvov and N.N. From 1925 he worked as an illustrator in a number of magazines. Collaborated with book publishers in Moscow. Author of textbooks for art universities. In 1944 he was awarded a diploma of the 1st degree by the Committee for Arts under the Council of People's Commissars of the USSR for the series of drawings "Military Series" 1942-1943. Exhibition participant: incl. many republican, all-Union, foreign; personal: 1938, 1949 - Moscow. Member of the Union of Artists. Awarded with medals of the USSR. Author of illustrations for works of classical Russian and Soviet literature, including books for children. He worked in the field of easel graphics on modern and historical themes, as well as in small sculpture. He wrote poetry and published several children's books with his own illustrations. The last time one of the books of A. M. Laptev was republished in 2010.
It was to him that Dunno for the first time allowed himself to be drawn. And the portrait turned out to be so similar to the original that all subsequent “portrait painters” only repeated and played with the image created by A. M. Laptev.
The pen and watercolor drawings by A. M. Laptev not only adorned the first two parts of the Nosov trilogy, they, as Yury Olesha accurately noted in a review of The Adventures of Dunno and His Friends, emphasized “her lightness, her joyful, summer, we would say , field color. In the same review, the line from which we have just quoted, Yu. Olesha noted that the whole book resembles a round dance: "a whole round dance of adventures, jokes, inventions." This association arose in the reviewer, no doubt, thanks to the illustrations of A. M. Laptev. They are multi-figured and incredibly mobile. Images constantly “change places, configuration, crash into the text, cross it diagonally” (L. Kudryavtseva), not allowing our eyes to tear themselves away from the magnificent, bright, diverse round dance of funny and cute shorties. Alexei Mikhailovich's illustrations are “tender, lyrical, fragile… with touching warmth and at the same time captivating “seriousness”, realism” (A. Lavrov) in detail, step by step, draw the world of little men. And these creatures in Laptev, although they resemble children (they are childishly dressed, they have childish habits), “but not children, not a parody, not a caricature of a child, and not dolls, but fabulous little men” (L. Kudryavtseva).
The artist's works are in many regional museums, as well as in private collections in Russia and abroad.
N. Gogol. Evenings on a Farm Near Dikanka
Laptev A. Funny kids. Rice. and text by A. Laptev. M. Soviet artist, 1949
Gogol N. Dead Souls
One two Three
A. Chekhov. stories
I. Krylov. fables
N. Nosov. Adventures of Dunno and his friends
Different books...
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Details Category: Russian fine art and architecture at the turn of the 19th and 20th centuries Published on 12.03.2019 17:54 Views: 442Illustration has always been closely associated with literature. Many great artists offered their own vision of what they read.
Often a work of art became the impetus for painting paintings, which later became masterpieces of fine art. Illustrations for works of art can raise the level of their perception by several orders of magnitude and significantly enhance the impact they have on the reader.
Many famous artists were happy to make illustrations for their favorite literary works, very often without even planning to use them for text design - just like that, for the soul, succumbing to the enchanting effect of words.
V. Serov. Illustration for I. Krylov's fable "Quartet"
The great Russian portrait painter, painter, graphic artist Valentin Aleksandrovich Serov left many paintings of various kinds as a legacy to his descendants. His work influenced not only his contemporaries, but also many future generations. It seemed that there was no such direction in painting that would be beyond his control. He managed to translate a pencil drawing into the status of a self-sufficient work of art.
Illustrations by V. Serov, executed in oil, charcoal or pencil, amaze with the perfection of style and execution. Among his many works, illustrations for the fables of the famous Russian writer Ivan Andreevich Krylov are a real masterpiece. Valentin Serov worked on a series of illustrated images for instructive poetic stories for more than fifteen years - from 1895 to 1911.
V. Serov. Illustration for I. Krylov's fable "The Lion and the Wolf". Paper, graphite pencil, ink, pen. 26.8 x 42.5 cm
From childhood, Valentin Aleksandrovich adored any "animal". He loved to observe animals, to notice the peculiarities of behavior and similarities with people. The artist painted them a lot and willingly, so when in 1895 the Moscow publisher, printer, businessman Anatoly Ivanovich Mamontov, brother of the famous Russian philanthropist Savva Mamontov, suggested that he make a series of illustrations for Ivan Krylov's fables, V. Serov did not hesitate for a second. It was originally planned to publish a book containing a dozen of the most popular fables under the working title "Twelve Drawings". But the work fascinated the artist so much that as a result, many sketches, sketches and finished paintings on the theme of Krylov's fables appeared.
V. Serov. Illustration for I. Krylov's fable "The Lion in Old Age"
As Valentin Serov's contemporaries recalled, the most difficult thing for him in his work was to "fit" into the specific rhythm of the fable narration. He wanted the result of his work to be not a banal picture to the text, but a frozen moralizing, live display of the moment. Ivan Krylov ridiculed the vices of people, transferring them to representatives of the animal world. His "weapon" hit human weaknesses with a force that surpassed a real cannon.
V. Serov. Illustration for I. Krylov's fable "The Monkey and Glasses". Paper, graphite and even pencil. 26.7x42.5 cm
V. Serov I. Krylov's ideas were understandable and close. Far from the first time, but he managed to find the very semantic, complete form of his own pictorial "fable language". He tried to find the most important thing in each story and convey it to the reader and viewer in an artistic way that was accessible to him. Over time, Valentin Alexandrovich abandoned the details and many techniques that can be seen in the early illustrations for the fables "Three Men", "The Wolf and the Shepherds", "The Little Crow". His later work is mostly done in pencil, with a strong emphasis on small details and the most common features of the characters.
V. Serov. Illustration for I. Krylov's fable "The Fox and the Grapes". Paper, graphite pencil. 22.2 x 35.5 cm
Spacious black-and-white lines without retouching, chiaroscuro and tones, devoid of bulkiness, despite their maximum conciseness, incredibly accurately convey the most important thing, exuding a barely noticeable haze of irony. Many times V. Serov redraws his sketches, simplifying them more and more. Gradually, many of the original designs were completely redesigned.
The artist thought for a long time and studied the characters of not only fable characters, but also real prototypes - animals. He often referred to his sketchbooks. As a result, with just one single line, V. Serov managed to characterize the heroes, give them salience and reality.
Valentin Serov's illustrations for I. Krylov's fables have become an independent and significant work of art. The artist succeeded in using extremely limited means to convey almost “verbatim” the exact meaning laid down in the fables by their author.
