All children love fairy tales: they love to listen to their grandmothers and mothers tell them, and those who can read read them themselves. They read and look at interesting, colorful pictures - illustrations that tell no less about the characters of the book than the text of the fairy tale itself. Who creates these illustrations? Well, of course, artists, illustrators.

Who are illustrators? These are artists who draw illustrations for books, helping to understand the content of the book, to better imagine its characters, their appearance, characters, actions, the environment in which they live...

From the drawing of the fairy tale illustrator, you can guess, even without reading it, evil heroes fairy tales are either kind, smart or stupid. Fairy tales always contain a lot of imagination and humor, so the artist illustrating a fairy tale must be a bit of a wizard, have a sense of humor, love and understand folk art.

Let's meet some children's book illustrators.

Yuri Alekseevich Vasnetsov (1900 – 1973)

He began illustrating books for children in 1929. His book “Ladushki” in 1964 was awarded the highest award - the Ivan Fedorov Diploma, and at the International Exhibition in Leipzig it received a silver medal. Yuri Alekseevich was wonderful artist- a storyteller, his work was characterized by kindness, calmness, and humor. Since childhood, he fell in love with a bright, cheerful Dymkovo toy and did not part with the images inspired by her, transferring them to the pages of books.

In Vasnetsov’s illustrations there is a simple-minded perception of the world, brightness and spontaneity: cats in pink skirts and hares in felt boots walk, a round-eyed bunny dances, lights burn comfortably in huts where mice are not afraid of a cat, where there is such an elegant sun and clouds that look like fluffy pancakes. All kids like his pictures for folk songs, nursery rhymes and jokes (“Ladushki”, “Rainbow-arc”). He illustrated folk tales, fairy tales by Leo Tolstoy, Pyotr Ershov, Samuil Marshak, Vitaly Bianki and other classics of Russian literature.

Evgeny Mikhailovich Rachev (1906-1997)

It is probably difficult to find a person who loves children's books and at the same time is not familiar with the illustrations of Evgeny Mikhailovich Rachev. He can rightfully be called one of the most famous children's book artists of the last century.
Evgeny Mikhailovich - animal artist, author of illustrations for Russian, Ukrainian, Romanian, Belarusian and other folk tales, fairy tales of the peoples of the North, fables of Ivan Krylov and Sergei Mikhalkov, fairy tales of Dmitry Mamin-Sibiryak, works of Mikhail Prishvin, Mikhail Saltykov-Shchedrin, Leo Tolstoy , Vitaly Bianchi, etc.

His bright, kind and funny drawings are remembered immediately and forever. The very first fairy tales of childhood - “Kolobok”, “Ryaba Hen”, “Three Bears”, “Zayushkina’s Hut”, “Dereza Goat” - remain in memory with the illustrations of Evgeny Rachev.

“To make drawings for fairy tales about animals, of course, you need to know nature well. You need to know well what the animals and birds you are going to draw look like,” the artist wrote about his work.

But the animals that Evgeny Mikhailovich painted were not just foxes and wolves, hares and bears. Their images reflect human emotions, characters, and mood. “Because in fairy tales, animals are like different people: good or evil, smart or stupid, mischievous, cheerful, funny” (E. Rachev).

Evgeny Ivanovich Charushin (1901 - 1965)

Evgeny Charushin is a famous artist and writer. In addition to his own books “Volchishko and Others”, “Vaska”, “About the Magpie”, he illustrated the works of Vitaly Bianki, Samuil Marshak, Korney Chukovsky, Mikhail Prishvin and others.

Charushin knew the habits and images of animals well. In his illustrations, he drew them with extraordinary precision and character. Each illustration is individual, each depicting a character with an individual character corresponding to a specific situation. “If there is no image, there is nothing to depict,” said Evgeny Charushin. “I want to understand the animal, convey its behavior, the nature of its movement. I'm interested in his fur. When a child wants to touch my little animal, I am glad. I want to convey the animal’s mood, fear, joy, sleep, etc. All this must be observed and felt.”

The artist has his own method of illustration - purely pictorial. He does not draw in outline, but with extraordinary skill, in spots and strokes. The animal may be depicted simply as a “shaggy” spot, but in this spot one can feel the alertness of the pose, the characteristic movement, and the peculiarity of the texture - the elasticity of the long and stiff hair raised on end, together with the downy softness of the thick undercoat.

The last book by E.I. Charushin became “Children in a Cage” by S.Ya. Marshak. And in 1965 he was posthumously awarded a gold medal at the international children's book exhibition in Leipzig.

May Petrovich Miturich (1925 - 2008)

Mai Miturich is famous, first of all, as an excellent graphic artist and book illustrator. He is not just an artist, but also a traveler. His greatest success was brought to him by his collaboration with Gennady Snegirev. Together they made trips to the North and the Far East, after which stories and drawings for them appeared. The most successful books “About Penguins” and “Pinagor” were awarded diplomas for the best design.

May Petrovich is an excellent draftsman. He draws with wax crayons and watercolors. Miturich chooses a type of illustration in which neither color, nor volume, nor shadows violate the overall harmony of the drawing and the white sheet. He thoughtfully chooses 2-3 colors - yellow, blue, black - and paints without mixing colors. Avoids direct resemblance of color to nature; his color is conditional.

In stories about nature, soft tones and transparent watercolors enhance the feeling of silence and tranquility that a person experiences in nature.

The artist designed about 100 books for children. Among them are illustrations for the works of Korney Chukovsky, Samuil Marshak, Gennady Snegirev, Agnia Barto, Sergei Mikhalkov, Rudyard Kipling, Lewis Carroll, Sergei Aksakov, Homer’s Odyssey, and Japanese Folk Tales.

Lev Alekseevich Tokmakov (1928 - 2010)

The creative activity of Lev Alekseevich Tokmakov is diverse: he not only devotes a lot of time to working with children's books, but also works in easel graphics - he created several dozen autolithographs and many drawings, he often appears in print as a journalist, critic and children's writer. And yet, the main place in the artist’s work is occupied by book illustration - he has been drawing children’s books for more than forty years. On the pages of books appear very strange creatures. Aren't these toys? Silver wolf, bear with balls for ears? The artist paints with a silhouette, a spot of color, and consciously uses the “man-made” technique. His drawings are completely devoid of everyday details and descriptiveness. A little blue paint - a lake, a little dark green - a forest. Another interesting technique of the artist is that his characters do not move, they are frozen in place. They are similar to their prototypes on splints and spinning wheels, which is where the Tokmak animals come from.

A true discovery in the field of children's book art were the illustrations he created for the books: Gianni Rodari "Tales on the Phone", Astrid Lindgren "Pippi Long stocking”, Irina Tokmakova “Rostik and Kesha”, Vitaly Bianki “Like an ant hurried home”, to the works of Valentin Berestov, Boris Zakhoder, Sergei Mikhalkov and many others.

Vladimir Grigorievich Suteev (1903 - 1993)

Vladimir Suteev is one of the first Soviet animators, director and screenwriter of cartoons. From the mid-40s he turned to children's books as an author of drawings and texts. Animation left its mark on the artist’s work: his animals became comical, amusing, amusing. We see a wealth of action. The main thing for him is to show the character of the hero, his mood. The drawings are filled with interesting details that highlight the gentle humor of the fairy tales. Most often, the artist uses part of the page for illustration, organically combining drawing and text.

Thanks to his pen, the reader received beautiful illustrations of Gianni Rodari’s books “The Adventures of Cipollino”, Norwegian writer Alpha Preysena "Jolly" New Year”, Hungarian writer Agnes Balint “Gnome Gnomych and Raisin”, American writer Lilian Muur “Little Raccoon and the one who sits in the pond”.

Vladimir Grigorievich Suteev himself composed his fairy tales. “I write with my right hand and draw with my left. So the right one is mostly free, so I came up with an activity for it.” In 1952, the first book authored by Suteev himself, “Two Tales of Pencil and Paints,” was published. Since then, he has written scripts for cartoons, illustrated books, and acted as a director and screenwriter.

Among the published books with illustrations by Vladimir Suteev, such as: “What kind of bird is this?”, “Chicken and Duckling”, “The Lifesaver”, “Mustachioed-Striped”, “Uncle Styopa”, “ Happy summer"", "Happy New Year", "The Adventures of Pif", "Aibolit", "Apple", "Cockroach", "Ignorant Bear", "Stubborn Frog", "The Kitten Who Forgot How to Ask for Food", "Alone troubles”, “It’s easier to go down”, “Where is it better to be afraid?”, “The middle of the sausage”, “So not fair”, “Well hidden cutlet”, “The shadow understands everything”, “Secret language”, “One morning”, “Daisies” in January”, “How the puppy Tyavka learned to crow”, etc.

Viktor Aleksandrovich Chizhikov (born September 26, 1935)

The artist turned his drawing into some kind of game, where there is not a real, but a conditional world, allowing him to build his fairy-tale country on a sheet of paper. It is impossible not to succumb to the charm of his heroes.

Viktor Aleksandrovich says: “You won’t interest me in color, I’m colorblind, I’m only interested in human character.”

The characters in his drawings always evoke a smile – kind and ironic. Easily recognizable, full of good humor and warmth, Chizhikov’s drawings became known to millions of readers of all ages, and in 1980 he invented and drew the bear cub Misha, the mascot of the Moscow Olympic Games, who immediately became one of the most popular drawn characters in the country.

His illustrations adorned the books of almost all the classics of Soviet children's literature - Agnia Barto, Sergei Mikhalkov, Boris Zakhoder, Samuil Marshak, Nikolai Nosov, Eduard Uspensky and many other both domestic and foreign authors.

Tatyana Alekseevna Mavrina (1902-1996)

Born in Nizhny Novgorod, in 1921 she studied in Moscow at the Higher Art and Technical Workshops and Institute. The only Soviet artist awarded the H.H. Andersen Prize in 1976 for creativity in the field of children's illustration.

A talented and original artist has developed her own pictorial language. Its essence is in the open sound of color, in the ability to see the world broadly and decoratively, in the boldness of design and composition, and the introduction of fairy-tale and fantastic elements. Since childhood, seeing painted spoons and boxes, brightly colored toys, she was fascinated by a completely different, unknown technique, a completely different method of dyeing. Mavrina even includes text in her illustrations (the first and last lines are written by hand, the characters stand out and are outlined with a bright line). Paints with gouache.

Illustrating books for children occupied a special place in her work. The most famous designs of fairy tales by A. S. Pushkin are: “The Tale of the Dead Princess and the Seven Knights”, “Ruslan and Lyudmila”, “Fairy Tales”, as well as the collections “Po pike command", "Russian Fairy Tales", "To Far Far Away Lands". Tatyana Alekseevna Mavrina also acted as an illustrator of her own books: “Fairytale Beasts”, “Gingerbread is baked, but not given to the cat’s paws”, “Fairytale ABC”.

Vladimir Mikhailovich Konashevich (1888-1963)

Fairy tales interested him all his life. He fantasized easily and with pleasure; he could illustrate the same fairy tale several times and each time in a new way.

Vladimir Konashevich drew illustrations for fairy tales of different nations: Russian, English, German, Chinese, African.

The first book with his illustrations, “The ABC in Pictures,” was published in 1918. It turned out by chance. The artist painted different things for his little daughter funny pictures. Then he began to draw pictures for each letter of the alphabet. One of the publishers saw these drawings, they liked them and were published.

Looking at his drawings, you feel how the artist himself laughs with the children.

He handles the book page very boldly, without destroying its plane, he makes it limitless, and depicts real and the most fantastic scenes with amazing skill. The text does not exist separately from the drawing; it lives in the composition. In one case it is marked with a frame of flower garlands, in another it is surrounded by a transparent small pattern, in the third it is subtly connected with surrounding color spots on a colored background. His drawings awaken not only imagination and humor, but also form an aesthetic sense and artistic taste. There is no deep space in Konashevich’s illustrations; the drawing is always close to the viewer.

The books that Konashevich designed were bright, festive and brought great joy to children.

Ivan Yakovlevich Bilibin (1876-1942)

The artist paid great attention to the art of book design. He was one of the first who began to draw illustrations for Russian folk tales and epics.

He worked on small books, the so-called “notebook books,” and designed them so that everything in these books: text, drawings, ornaments, cover – formed a single whole. And the illustrations were given as much space as the text.

Ivan Yakovlevich Bilibin developed a system of graphic techniques that made it possible to combine illustrations and design in one style, subordinating them to the plane of the book page.

Characteristic features of the Bilibin style: beauty of patterned design, exquisite decorativeness color combinations, subtle visual embodiment of the world, a combination of bright fabulousness with a sense of folk humor, etc.

He made illustrations for Russian folk tales “The Frog Princess”, “The Feather of Finist-Yasna Falcon”, “Vasilisa the Beautiful”, “Marya Morevna”, “Sister Alyonushka and Brother Ivanushka”, “White Duck”, and 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” and many others.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

- Igor Egunov(the author of the article did not find biographical information) - 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 of the Brothers Grimm and Hoffmann, tales of Russian heroes.

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

- Igor Yulievich Oleynikov(b. 1953, Moscow) - artist-animator, mainly works in hand-drawn animation, book illustrator. Surprisingly, such a talented contemporary artist does not have a special art education.
In animation, Igor Oleynikov is known for the films: “The Secret of the Third Planet”, “The Tale of Tsar Saltan”, “Sherlock Holmes and I” and others. Worked with children's magazines "Tram", "Sesame Street" Good night, kids! and others.
Igor Oleynikov collaborates with publishing houses in Canada, the USA, Belgium, Switzerland, Italy, Korea, Taiwan and Japan, and participates in prestigious international exhibitions.
The artist’s most famous illustrations for books: “The Hobbit, or There and Back Again” by John Tolkien, “The Adventures of Baron Munchausen” by Erich Raspe, “The Adventures of Despereaux the Mouse” by Kate DiCamillo, “Peter Pan” by James Barrie. Latest books with illustrations by Oleinikov: poems by Daniil Kharms, Joseph Brodsky, Andrei Usachev.

Anna Agrova

Writers illustrating their books (lesson 2)

Target: give students an idea of ​​book graphics and its features. To introduce the work of writers who illustrate their works and their books, to achieve their recognition creative manner. To introduce students to the world of lines and colors created by artists, to teach them to see beauty, to raise their level artistic perception, enrich creative imagination, fantasy. Instill a love of reading.

Material and equipment: books with illustrations, TSO - presentation.

During the classes

Slide1. Epigraph.

“Reading is a second life”

Guys, do you know any writers who illustrated their books?

Students' answers.

Today you will learn a lot of interesting things about the work of these wonderful writers and artists.

Slide 2. I'm sure you've all known it since early childhood. Evgeniy Ivanovich Charushin . He devoted all his creativity to nature. in the ancient northern city of Vyatka.

The boy grew up next to the taiga, and, of course, the house was always full of different animals. Zhenya carried his love for them throughout his life. He grew up, became an artist, and his drawings were populated by a variety of animals and birds.

Slide 3. Guys, what do you call an artist who draws animals? (Animal painter)

That's right, animalist, from the Latin word animal - animal. And Charushin depicted animals as, perhaps, no one before him. He observed animals, often visited the zoo and made many drawings from life. After all, in order to truthfully portray an animal, you need to study it well, know not only the appearance of the animal, but also its movements, habits and even character.

Soon his furry little animals appeared in the children's books of S. Marshak and V. Bianki - active, flexible, wary or trusting, and children immediately fell in love with them. Charushin especially liked to draw cubs of a variety of animals - wolf cubs, fox cubs, bear cubs, lion cubs, chickens, kittens.

Slide 4. Here are illustrations for S. Marshak’s book “Children in a Cage”. These drawings are some of Charushin's best works (1935). Look at the giraffe, which, funnyly spreading thin legs and stretching out his long neck, he tries to reach the flower, exactly as in the poem by S. Marshak:

Picking flowers is easy and simple

Small children.

But to the one who is so tall,

It's not easy to pick a flower!

The child is not allowed to eat!

He ate this morning

Only two of these buckets.

Slide 5. Here, look at the amazingly touching bear cub. He is still so small that much of nature is unfamiliar to him. But he liked the raspberries.

Slide 6. And here is the surprised kitten Tyupa. He lived at Charushin's house, and he was nicknamed Tyupa because he moved his lips funny, as if he were talking. Guys, let's read this story. (Reading a story). Look at the illustrations for this story. How accurately the artist depicted a fluffy kitten - Tyupa hid, watching the butterfly, ears erect, eyes wide open. How much curiosity is in his gaze! You can't help but smile looking at him.

Slide 7. Who do you see in this illustration for the story “Forest Kitten”? (Rysenka)

Now the little lynx is very busy, what do you think he is going to do? (Jump)

That’s right, Charushin depicted the animal’s pose in such a way that we immediately understood that the lynx was preparing to jump. And to find out what happened next, you need to read the story.

Slide 8. Do you recognize this kid? (This is a wolf cub)

This illustration is for the story "Wolf". If you look carefully at the drawing, you can notice his frightened eyes, it seems that he is whining quietly. No, he is not capricious at all. He's just small. His mother wolf went hunting, and he was left alone, and he became scared. After reading the story, you can find out what happened to him later.

Slide 9. In the book “Big and Small,” Evgeniy Ivanovich tells you guys about how animals and birds teach their children to get food and save themselves (reading the stories “Hares” and “Woodpeckers with Chicks”).

Slide Meet me! This dog's name is Tomka. Do you think he is evil or good? (Students' answers)

The owner loves Tomka very much because he is an understanding dog. One hot summer day Tomka was taken hunting. It was very beautiful and fun on the small lawn: butterflies and dragonflies were flying, grasshoppers were jumping. I wonder if the dog Tomka will be able to catch someone during the hunt or not? And you can find out this, and about other adventures of this cute dog, by reading the stories “About Tomka”.

Slide 12. Evgeniy Ivanovich Charushin worked a lot with children - he taught them to draw. His son Nikita Charushin, having become an artist, also illustrates children's books. His granddaughter Natasha also became an illustrator.

Slide 13. Charushin wrote, as if addressing his young readers: “Enter the world of nature! Enter attentive and inquisitive, kind and brave. Learn more, know more. This is why we exist, so that nature turns into a great homeland for you...

But the Motherland is the smell of pine and spruce, and the aroma of fields, and the creaking of snow under skis, and the blue frosty sky... And if all this cannot be expressed in the words of a writer, the artist’s brush comes to the rescue.”

Slide 14. So happily two skills, two talents – a storyteller and a draftsman – were combined in one person. And both of them are given to you - the children. It is not without reason that Evgeniy Ivanovich Charushin's books have been translated into many foreign languages. And this is a symbol of well-deserved recognition in world children's literature. His drawings were exhibited in many cities around the world - London, Copenhagen, Athens, Sofia, Beijing, Paris, etc. For outstanding services in the development of Soviet fine art, he was awarded the title of Honored Artist of the Russian Federation in 1945.

After graduating from school, he entered the Institute of Civil Engineering, where he managed to complete three courses before the war. In 1941, after completing military engineering courses, he was sent to the front.

Slide 38. He graduated from the war with the rank of senior lieutenant.

After the war, he entered the first year of the art department of the Institute of Cinematographers in the animation department, from which he graduated with honors.

Slide 39. He was sent to the "Diafilm" studio, where he drew 10 children's filmstrips, including "The Adventures of Pinocchio" (1953) based on a fairy tale.

The drawn image of this wooden man with a sly smile has long won the love of children and has become a classic. It is used in cinema, theater, and serves as a model for making dolls. The image of Pinocchio has become firmly established in popular consciousness that few people think about who painted it...

Slide 40. In 1956, the book “The Golden Key or the Adventures of Pinocchio” was published with illustrations by Vladimirsky. And from that time on, the artist began to engage only in illustrating books for children.

Slide 41. Did you know that the striped cap and red jacket of Pinocchio were invented by Leonid Vladimirsky? After all, Tolstoy’s Buratino jacket is brown, and his cap is completely white. Leonid Viktorovich says that Pinocchio came to him in a dream and asked him to draw a red cap and a red jacket. In order not to “offend” either the writer or the hero, the artist had to make the cap striped. Entire generations have become accustomed to this type of Pinocchio.

Slide 42–44. L. Vladimirsky says about his drawings that they are something between a book and a movie. This is a filmstrip on paper. All illustrations are interconnected. He is, first and foremost, a cartoonist. Therefore, looking at the pictures, you can easily tell the plot of the book. Let's try…

Slide 45. The artist’s second famous work, which brought him national recognition, is illustrations for six fairy tales by A. Volkov.

Slide 46. The first book, “The Wizard of the Emerald City,” was published in 1959. Since then, with drawings by Vladimirsky, it has been republished more than 110 times.

And it all started like this... After Pinocchio, the artist wanted to illustrate some good children's book and he went to the library and asked for something interesting. So Vladimirsky received a small green book “The Wizard of the Emerald City”, printed on poor paper and with black and white illustrations. Leonid Viktorovich really liked the book, and he decided to find the writer A. Volkov. It turned out that he lived in the next entrance. With A. Volkov, Vladimirsky created a color book, which was a great success. The book was simply impossible to get. People stood in queues at night to subscribe to it. The guys took them from friends, copied them by hand, and copied pictures. Vladimirsky keeps several such handwritten copies. And then letters came from children asking them to write a sequel. This is how this series was born. For twenty years the writer and artist worked in perfect harmony.

Slide 47. This is how the writer A. Volkov assessed the artist’s work: “I can admit that I was lucky: the fairy-tale characters drawn by L. Vladimirsky for my books became close to millions of young readers. I now imagine the Straw Man Scarecrow, Tin Woodman, Ellie and other heroes of my fairy tales exactly as the artist created them.”

Slide 48. The artist himself will tell us how the images of the Scarecrow and the Tin Woodman were born: “I came up with a sheaf of hair - this is a good find. U American artists Baum's fairy tales "The Wise Man of Oz" The Scarecrow. They go from his destination. And I - from character. My Scarecrow is kind and cute. It was very difficult to “match” his and the Tin Woodman’s noses. The American Scarecrow has a hole instead of a nose. Of course, I was indignant and put a patch on it in this place. My Scarecrow is small and fat, the Tin Woodman is tall and thin. Based on the principle of contrast. And if one has a patch, then the other should have a long nose. I draw a long woodcutter sharp nose- it turns out to be an iron Pinocchio! It turned out to be very difficult to find the small round chip that you see on the tip of his nose.”

Slide 49. The artist also suffered with Arachne, the evil sorceress from “The Yellow Fog.” After all, according to the book, this is a rude, primitive giantess who released a yellow fog onto magical land. The writer did not like everything that the artist brought and showed. He said that this was not a sorceress, but Baba Yaga. Trying to “see” this heroine, Leonid Viktorovich spent days on the subway, making sketches, sitting at train stations for hours... nothing worked, all the wrong images! And then one day Leonid Viktorovich was climbing the stairs in his entrance, and a neighbor was walking towards him. And he realized - here she is Arachne! He immediately took up a pencil, drew it and went to the “trial” with Volkov. He liked it and the children saw a new book and a new heroine.

Slide 50-51. And for a long time and painfully, Vladimirsky searched for the image of Lyudmila from the poem “Ruslan and Lyudmila”. He painted it for 40 years. And all the time I didn’t like something, I couldn’t find the final version. In the end, I decided that, first of all, Pushkin himself should have liked Lyudmila. The artist placed in front of him a portrait of Natalie Goncharova, the wife of Alexander Sergeevich, and, looking at her, finally drew that same Lyudmila.

Leonid Vladimirsky illustrated many fairy tales.

Slide 52. This is “Three Fat Men” by Yu. Olesha,

Slide 53.“The Adventures of Parsley” by M. Fadeeva and A. Smirnov,

Slide 54.“Defeated Karabas” by E. Danko,

Slide 55.“Journey of the Blue Arrow” by J. Rodari,

Slide 56."Russian Fairy Tales" and many other books.

Until now, we have talked to you about L. Vladimirsky only as an artist, but he also wanted to become a writer. Vladimirsky is very fond of the mischievous wooden boy Pinocchio and he depicted him many, many times, as soon as a piece of paper falls into his hand, his hand again and again draws a long nose, a mouth to the ears, a striped cap with a tassel... There was a whole folder of these drawings. The restless boy became bored in it. I wanted to get into a beautiful book, and as the artist himself says, he asked Pinocchio to compose a fairy tale for him about his new, very amazing adventures.

Slide 57. This is how the book “Pinocchio is looking for treasure” was born - a real children's thriller. And then the artist and writer Vladimirsky came up with the idea of ​​introducing Buratino to his other favorite hero, the Scarecrow. And how to do it? That's how.

Slide 58. a fairy tale in which he sent dad Carlo, the dolls and Artemon to the Magic Land in the Emerald City. When all the heroes met there, it turned out that they had a lot in common. Many miracles happened in the new fairy tale, which you will learn about by reading this book and looking at the magnificent illustrations.

Slide 59. Leonid Viktorovich is 87 years old, but he is full of energy and creative ideas. He dreams of making a cartoon based on his book “Pinocchio is looking for treasure.” He is one of the organizers of the All-Russian family club “Friends of the Emerald City,” which is now successfully expanding its activities. Vladimirsky has his own website on the Internet.

Slide 60. Leonid Viktorovich Vladimirsky - Honored Artist of the Russian Federation, laureate of the All-Russian children's reading competition "Golden Key". In 2006, the artist was awarded the Order of Buratino: “For courage and presence of mind shown on the fronts of the Great Patriotic War, for loyalty to the ideals of childhood, for the creation of the classic image of Pinocchio and works of art that instill in children purity of thoughts, inner freedom and self-confidence.”

Slide 61. The story about this talented man can be completed with his own poems, in which he states: “Kindness will win.”

The final part of the lesson

Slide 62. Guys, let's remember which writers you met in class today, illustrating their books?

– Which of them can be classified as animal artists and why?

– Which of the writers and artists you already know is called “Russian Disney” and why?

– Which artist came up with the image of Pinocchio in the very form to which we are all so accustomed that we consider it classic?

– Which of them became the founder of a dynasty of children’s book illustrators?

– Name the artist who loved the heroes of the two (which?) fairy tales he illustrated so much that he decided to become a writer as well, in order to come up with a sequel in which all these heroes would meet and become friends (what is the name of this new fairy tale?).

Slide 63. Who came up with and drew a comic about Pif?

Slide 64. It took E. Charushin a long time to choose his “hunting assistant.” Who did he choose?

Slide 65. In front of you are cards with text. These are excerpts from famous work(what and who is the author?). And on the screen there are illustrations for these passages. After reading the text, match it with the heroine. What can you tell us about each of them? In what order do sorceresses appear in the book?

Gingema - ruled the Munchkins in the Blue Country, an evil sorceress.

Villina is a good sorceress, ruler of the Yellow Country.

Bastinda, the evil ruler of the Violet Country of the Migunov, was afraid of water.

Stella is the forever young good sorceress of the Pink Country of Chatterboxes.

Bibliography

1. Vladimirsky L. Kindness will win!: poems // Reader. – 2007. – No. 2. – p. 21

2. Where does Papa Carlo live?: photo report from the opening of the exhibition // Reader. – 2006. – No. 11. – p. 4–5.

3. How the Scarecrow appeared // Reader. – 2006. – No. 8. – p. 36–37.

4. Bredikhina E. Book creators: extracurricular reading, fine arts.

6. How old is Pinocchio? The artist is 85 years old. // Murzilka. – 2005. – No. 10. – p. 6–7.

7. Kurochkina about book graphics /. – SPb.: DETSTVO-PRESS, 2004. – p. 181–184.

8. Doronova about art: educational and visual aid for children of middle preschool age /. – M.: Education, 2003.

9. Vladimirsky L. Pinocchio is looking for treasure / L. Vladimirsky, drawings by the author. – Nazran: “Astrel”, 1996. – 120 p.

10. Vladimirsky L. Pinocchio in the Emerald City / L. Vladimirsky, drawings by the author. – Nazran: “Astrel”, 1996. – 120 p.

11. A lifesaver book for extracurricular reading: Tutorial for the second grade of a three-year primary school / Comp. . Vol. 5. – M.: New school, 1995. – p. 20–22.

12. Valkova house / , . – M.: Book Chamber, 1990. – p. 64.

13. Animals and birds by Evgeny Charushin: a set of postcards /Auth. text
G. P. Grodnensky. – M.: Soviet artist, 1989.

Material provided by the publishing house "Uchitel"

CD “Library lessons and activities.

(1918-1998)

Graphic artist, poster artist, caricaturist, at Krokodil since 1938, children's master book illustration. He illustrated a huge number of books for children, his drawings for the works of N. Nosov (in particular “Dunno on the Moon”) are especially memorable.

Vedernikov Evgeniy Alimpievich (1918, Perm province)

People's Artist RSFSR, cartoonist and poster artist. He studied in the workshop of S.M. Seidenberg in Leningrad (1935 - 1938), at the Institute for Advanced Training of Artists in Moscow (1940 - 1941) with N.N. Vysheslavtseva, M.A. Dobrov. Participant of exhibitions since 1941. Even before the war, he was known as the author of political and everyday cartoons for the magazines Krokodil, Smena, Ogonyok and the newspaper Pravda. During the war years he worked for the front-line newspaper “To defeat the enemy.” In peacetime, he continued to work as an illustrator of printed publications: “Funny Pictures”, etc., many books, incl. "The Adventures of the Good Soldier Schweik."

Vinokur Vladimir Isaakovich (b. 1927, Moscow).

He studied at the Moscow Secondary Art School (1939-1946) and the Moscow State Institute. V. I. Surikov (1946-1952) with B. A. Dekhterev and M. S. Rodionov.

Lebedev Vladimir Vasilievich (1891 - 1967)

1891, May 14(27).
Born in St. Petersburg.
1910
For the first time he exhibits his works at the Exhibition of Graphics and Drawings at the Academy of Arts.
1910- 1911
Draws animals in the battle workshop of F. Roubaud. 1912-1915
He studies in the private studio of the artist M. D. Bernstein. 1912
Admitted to the Academy of Arts.
1911- 1913
Prints his drawings in children's magazine"Galchonok." Since that time he has been working in the satirical magazines “Satyricon”, “New Satyricon”, “Argus”, etc.
1914-1916
Military service - drawing work in the aeronautical park.
1917
Illustrates the first book for children - the Arabic fairy tale “The Lion and the Bull” (Published “Lights”, Pg. 1918). 1918
Participates in festive decoration Petrograd - project for decorating the Police Bridge.
1918-1921 Professor of the Petrograd Vkhutemas.
1920-1921
Deputy Head of the Propaganda and Poster Department of the ROSTA Bureau of the Northern Region. Performs "Windows of ROSTA". Graphic series "Laundresses". "1921
Illustrates “The Elephant’s Child” by R. Kipling and completes the book “The Adventures of Chuch-lo” with his own text (both in the “Epoch” publishing house, Pg., 1922).
1923
Illustrates Russian folk tales for the Mysl publishing house (Pg., 1924).
1924-1926
Beginning of collaboration with the poet S. Marshak on children's books “Circus”, “Ice Cream”, “Yesterday and Today”, “Poodle” and others for the publishing house “Rainbow”.
1924-1933
Editor-artist of the Leningrad branch of the State Publishing House, heads the art editorial office of the children's department. 1924-1927
Satirical drawings for the magazines “Smekhach”, “Beach”, “Buzoter-Beach”.
1928
Personal exhibition in the halls of the Russian Museum in Leningrad. Works from 1920-1928 are exhibited - paintings, easel and magazine graphics, original illustrations for children's books, "Windows of GROWTH".
1933-1941
Chief artist of the Leningrad branch of Detgiz.
1941- 1942
Executive editor of Izogiz. Working on posters.
1942-1945 Works in Moscow at TASS Windows.
1945, December 6
Awarded the title of Honored Artist of the RSFSR.
1947
Drawings for " Multicolored book» S. Marshak.
1948 - 1950s-1960s New (watercolor) versions of illustrations for children's books by S. Marshak (“Luggage”, “The Tale of a Stupid Mouse”, etc.).
1966, April 30
Awarded the title of People's Artist of the RSFSR.
1967, November 21 Died in Leningrad

Lemkul Fedor Viktorovich (1914-1995)

Fyodor Lemkul received his initial artistic education at the Moscow Printing College, which at that time trained book artists - this was on the eve of the war; then he joined the army, where he also worked as an artist. He considers his main teacher to be the wonderful Soviet graphic artist P. A. Alyakrinsky, who gave a lot to a young artist both in terms of professional skill and understanding of art.
The artist began by working in children's magazines "Murzilka" and "Pioneer". The first works that attracted attention were the design of the books by S. Baruzdin “The Tale of the Tram” and M. Karem “My Serpent” (1956 - 1958). Lehmkuhl's great success was the design of K. Chukovsky's book "Jack the Giant Slayer" (M., 1966).
Lemkul was one of the first, after a long break, to illustrate children's poems by Daniil Kharms. The artist devoted a lot of effort to the design of the works of classics of children's literature - S. Marshak and S. Mikhalkov. In working on books that were illustrated by many of our artists, Lehmkuhl finds his own individual colors. A notable milestone in the work of F. Lehmkuhl was the design of "Fairy Tales" in the processing of A. Nechaev (M., 1977). First of all, the book attracts with its intense colorfulness. The artist gives close-ups of the characters' figures. With great humor, he draws funny and stupid kings, obsequious and cunning courtiers, simple-minded peasants, and makes fun of the naive princess. The characters' personalities are recreated vividly and convincingly. The artist's style is free and relaxed, color is in full force, style is expressed and easily recognizable. The short fairy tale by the Polish writer K. Makushinsky “Pan Thread” (M., 1973) is also framed with inexhaustible sparkling humor and imagination.

Migunov Evgeniy Tikhonovich (1921-2004)

In 1939 he entered the art department of VGIK.
In 1941, after the start of the Great Patriotic War, he joined the militia. In the fall of 1941 he resumed his studies.
In 1943 he graduated from VGIK and came to the Soyuzmultfilm film studio. He worked as a production designer (until 1946 - together with A. P. Sazonov) in the film crews of I. P. Ivanov-Vano, A. V. Ivanov, the Brumberg sisters, M. S. Pashchenko, V. G. Suteev, L.A. Amalrik and V.I. Polkovnikov. For about a year he headed the drawing department.
In 1949 and 1951 he used animation for the first time oil paints for making backgrounds (films “Polkan and Shavka”, “Forest Travelers”). He was a co-author of a methodological program for training animators and draftsmen in courses at the studio, and taught character design.
In 1954, he made his debut as a director, becoming one of the pioneers of the resumption of the production of puppet animated films in the USSR. Together with mechanic S.I. Etlis, he patented and applied new technical techniques in the production of cartoons - an original way of attaching a doll to a model, making a shell of foam latex, improving the doll’s articulated frames. Participated in the organization technical base for time-lapse photography of three-dimensional objects, he created a technological note on the basics of the production process of shooting a puppet cartoon.
He participated in the development of the satirical animated film magazine “Woodpecker”, equipped it with poetic texts and reworked the proposed plots.
Prepared titles and designs for a number of game titles feature films. He was a member of the artistic council of the Soyuzmultfilm film studio, from which he was fired in 1960. During his time at Soyuzmultfilm, he made 343,000 drawings, which amounted to 22 films, four of which received international awards.
In 1961-1966, he worked under a contract in the editorial offices of the magazines “Funny Pictures” and “Crocodile”, edited a series of brochures “Crocodile Library”, later worked in book and magazine graphics, drew cartoons and filmstrips.
Illustrated series by Alexander Volkov about the Emerald City, Kira Bulychev about Alisa Selezneva, Evgeny Veltistov about Electronics and the book by the Strugatskys “Monday Begins on Saturday.” He transferred one of the main properties of his illustrations from animation to printing - dynamism: almost all the characters are in motion.
Author of memoirs and essays on caricature, cartooning and animation.
He was awarded the Order of the Patriotic War, II degree, and medals.
In 1983 he was awarded a Gold Medal for participation in the exhibition “Satire in the Struggle for Peace.”

Miturich May Petrovich (1925 - 2009)

People's Artist of Russia, full member of the Russian Academy of Arts.
After participating in the Great Patriotic War and serving in the army, he entered the Moscow Printing Institute.
After graduating in 1953, he began working in the field of book illustration.
From the mid-1950s to the end of the 1980s, Mai Miturich designed about 100 books for children. Among them are illustrations for the works of K. Chukovsky, D. Kharms, S. Marshak, G. Snegirev, A. Barto, S. Mikhalkov, R. Kipling, L. Carroll, S. Aksakov, Homer’s “Odyssey”, “Japanese folk fairy tales." M. Miturich’s illustrations were awarded numerous diplomas from the All-Union and All-Russian book art competitions, medals International exhibition book art in Leipzig and the international biennale of illustration in Bratislava, an international diploma named after H. H. Andersen. The books designed by him were repeatedly published abroad.
For the design of the collection "Japanese Folk Tales" Mai Miturich was awarded the Order of the Rising Sun - the second most important state award in Japan. Among the master’s other awards are the State Prize of the RSFSR and Russian Federation.
The works of May Miturich-Khlebnikov, which received the highest praise from professionals and spectators, are kept in the collections of the State Tretyakov Gallery, the Russian Museum, the State Museum of Fine Arts named after A.S. Pushkin, the largest foreign museums and private collections in Russia and abroad.

Panov Vladimir Petrovich (1937 - 2007)

Graphic artist, book artist. Studied at Moscow State Art Institute (1950s) with B.A. Dekhtereva. Illustrated S. Aksakov's "The Scarlet Flower" (1961), H. C. Andersen's "Fairy Tales" (1971, 1978, 2002), P. Bazhov's "Ural Tales" (1957, six reprints), etc.

Skobelev Mikhail Alexandrovich (1930 - 2007)

Cartoonist, children's book illustrator.
Born on July 17, 1930. Worked for a short time at the Soyuzmultfilm film studio as a production designer (in the mid-1950s).
Studied with F. Bogorodsky, G. Shegal, Yu. Pimenov, A. Sazonov.
People's Artist Russian Federation (2000).
Painter, theater artist, book illustrator. Graduated from the Moscow Polygraphic Institute. He continued his education at the art department of the All-Union Institute of Cinematography. Designed performances at the Sovremennik Theater: “Two Brothers”, “Always on Sale”, “Five Evenings”, etc. Author of many popular caricatures Soviet period. Illustrated books until 1970. together with A. M. Eliseev. He worked at the film studio “Soyuzmultfilm”, in the magazines “Crocodile”, “Youth”, “Murzilka”, “Funny Pictures”. Illustrated A. Tolstoy's "The Golden Key or the Adventures of Buratino" (1980, in subsequent years - new versions), V. Mayakovsky, D. Kharms. M. Skobelev's works are kept in museums in Russia, as well as in private collections in the USA, Israel, France, and Russia.

Tauber Viktor Isaevich (1901 - 1990)

Graphic artist, book artist, studied at VKHUTEIN (1922 - 1923). Drew for the magazine "Murzilka". Illustrated fairy tales by H.K. Andersen, fairy tales by the Brothers Grimm, created picture books and a number of excellent autolithographs based on the plots of fairy tales. In the 1950s, the book “Puss in Boots” by Charles Perrault with his amazing drawings went through numerous reprints. The last years of his life he worked on illustrations for “The Master and Margarita” by M. Bulgakov.

Tokmakov Lev Alekseevich (1928 - 2010)

People's Artist of Russia (1998). Honored Artist of the RSFSR (1981)
Born in the city of Yekaterinburg (Sverdlovsk).
He studied from 1945 to 1951 at the Moscow Higher Institute of Arts and Industry (named after Count Stroganov). His teachers were Pavel Kuznetsov and Alexander Kuprin.
In 1958 he began collaborating with the magazine "Murzilka".
1980 - L. Tokmakov’s name was included in the Honorary List of H. C. Andersen.
1984 - received a gold medal from the government of the Yemen Arab Republic for a series of works about the YAR.
1985 - gold medal at the BIB in Bratislava for illustrations to the book by O. Preusler "Krabat".
1988 - honorary diploma of H.K. Andersen for illustrations to I. Tokmakova’s book “Carousel”.

Traugot Valery Georgievich (1936-2009)

During the Great Patriotic War, he was evacuated from a boarding school to a Siberian village, where his first teacher was the sculptor G. A. Schultz, who accompanied the children and was wounded on the Leningrad Front; then Valery Traugot, together with other children of St. Petersburg artists (V.V. Proshkin, V.G. Petrov and K.I. Suvorova), returned to Leningrad.
He graduated from the Secondary Art School (SHS) at the Academy of Arts, continued his studies in Moscow, at the Surikov Institute (in the sculpture department), then graduated from the Leningrad Higher Art and Industrial School. IN AND. Mukhina (1960). He considered his father, Georgy Nikolaevich Traugot, to be his main teacher.
He made his debut in the field of children's book illustration in 1956. The first books were illustrated together with my father and brother, the drawings were signed with the perky, memorable monogram G.A.V. - Georgy, Alexander, Valery (these initials were present on children's books for a long time as a tribute to memory and after tragic death G. N. Traugota). In total, artists participated in the illustration of more than 200 books. The book “686 Funny Transformations” was especially popular; fairy tales by G.H. Andersen's works in their design were reprinted 17 times, and their total circulation exceeded three million.
He also took part in the illustration of the following works: “Tales of Mother Goose”, “Fairy Tales” by Charles Perrault, Bluebeard” by Charles Perrault, “Cuban Tales”, “Tales of Cambodia”, “Iliad” and “Odyssey” by Homer, “The Science of Loving” Ovid, "The Golden Ass" by Apuleius.
At all-Russian competitions, the Traugott brothers received more than 30 diplomas, 14 of which were first degree (including diplomas from the Press Committees of the USSR and the Russian Federation for illustrations to fairy tales by Hans Christian Andersen).
Artists regularly participated in exhibitions of books and illustrations (book graphics) in Russia, Germany, Italy, the Czech Republic, Slovakia, Poland, Japan, and France.
The works of the brothers A. and V. Traugot are in museums in Moscow (including the Tretyakov Gallery), St. Petersburg, Tver, Arkhangelsk, Petrozavodsk, Vologda, Irkutsk, Krasnoyarsk, Ryazan, Kaliningrad; abroad: in Japan, Germany, the Czech Republic, etc., as well as in many private collections in Europe, the USA, Israel, Russia.

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

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

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

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

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

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

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

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

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

The idea for Pakhomov’s new major work, the painting “Haymaking,” arose in his native village of Varlamov. There the material for it was collected. The artist depicted an unusual everyday scene in the mowing, and the help of young peasants to their neighbors. Although the transition to collective, collective farm labor was then a matter of the future, the event itself, showing the enthusiasm of youth and passion for work, was in some ways already akin to new trends. Sketches and sketches of figures of mowers, fragments of the landscape: grass, bushes, stubble testify to the amazing consistency and seriousness of the artistic concept, where bold textural searches are combined with the solution of plastic problems. Pakhomov’s ability to capture the rhythm of movements contributed to the dynamism of the composition. The artist worked on this painting for several years and completed many preparatory works. In a number of them he developed plots close to or accompanying the main theme.

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

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

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

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

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

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

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

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

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

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

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

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

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

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VLADIMIR VASILIEVICH LEBEDEV

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

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

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