A f Pakhomov panel children of the country of the Soviets. From the "Leningrad Chronicle" by Alexei Pakhomov. Painting and book graphics

Alexey Fedorovich Pakhomov - one of the outstanding masters Soviet art. For half a century creative activity he made a lot of new and bright in the development of graphics and painting. Since the 1920s, his works have attracted attention at domestic and foreign exhibitions. A number of his works have been acquired by our major museums, as well as in the collections of Italy, Denmark, the USA and Japan. The books illustrated by the artist are widely known. Readers are familiar with many of his drawings. young years. And this is not surprising, because A. Pakhomov is one of the founders of the Soviet illustrated literature for children and youth. Huge artistic heritage this master does not fit into one area of ​​book graphics. Alexey Pakhomov is the author of monumental murals, bright paintings, easel graphics: drawings, watercolors, numerous prints, among which an important place is occupied by sheets of the series "Leningrad in the days of blockade and war", amazing drama and truth of life. The beginning of the artistic path of Alexei Pakhomov is associated with painting. The events of the war and revolution interrupted his studies at the Stieglitz School. Education in Petrograd at VKhUTEIN was replaced by service in the Red Army. Returning, A. Pakhomov continued his studies, became interested in a new idea - "art - in production." In the early 1920s, A. Pakhomov painted the “Red Oath” for the military barracks. The surviving cardboards and murals reveal a great vitality of the images, but without everyday earthiness and detailing. Another great work of A. Pakhomov was the painting “Haymaking. Help”, written in his native village of Varlamov. There the idea of ​​this canvas arose, and the preparatory material was collected. Although the transition to collective collective farm labor was then a matter of the future, the event itself (helping young peasants to their neighbors), full of the enthusiasm of youth and enthusiasm for work, was already in some ways akin to new trends. Very early, A. Pakhomov revealed his own plastic approach, based on a careful attitude to the plane. He was attracted by the alternation of volumes and planes, not passing into an illusory space. This task was most often solved by the artist in one-figure compositions from life, often of a portrait nature. Such is the “Young Man in a Black Shirt” written in the mid-1920s, distinguished by the subtlety of color relationships. The canvas from the Russian Museum "Worker" (1926) belongs to the works of the artist, clearly revealing the deep originality of his style. This picture-portrait is built on the combination of smooth and soft volumes of the human body inherent in A. Pakhomov with a more rigid texture of clothing. The young painter succeeded here in a monumental form to capture the type of Soviet women - workers. The image of children - important side art by A. Pakhomov. Appeal to this topic was natural for the artist, who highly appreciates the plastic. The natural and sincere reflection of the child's feelings in the plasticity of his movements became the subject of an inquisitive study of the artist. In 1930, the artist traveled to the Seyatel commune in the North Caucasus, one of the largest and most automated collective farms in our country at that time. There were painted dynamic watercolors and the painting "Night Sowing", which is distinguished by an original pictorial solution. An interesting series of canvases about the people of the collective farm "Red Mecha" dates back to 1931. Written from nature in the Oryol region, these works very peculiarly convey the combination of new features in the village with the traditional way of life. peasant life. In parallel with this cycle, the painting "Pioneers at the Sole Farmer" (1931) was painted - a work of monumental choral sound, surprisingly Russian in the imagery of the pictorial language. There is no ostentatious optimism in these works; they reflect the everyday life of the Soviet countryside during its transition to a new path. A. Pakhomov was one of the first to understand this important theme in painting. Further steps in its development were taken already in the mid-1930s. Associated with a number of trips to pioneer camps near Leningrad and Artek, the next group of works, completed in the mid-30s, testifies to the consistent development of plastic and plein air tasks by A. Pakhomov. These sketches, united by the title "In the Sun", depict children and teenagers by the sea on the beach, on vacation. The rich material allowed the artist to successfully solve the complex monumental and decorative design of the panel "Children of the Land of the Soviets" for the Soviet pavilion on international exhibition in Paris in 1937. In the 1930s, Alexey Pakhomov began to devote more time to graphics and books, and by the end of the decade he moved away from oil painting. Work on the book in the Leningrad OGIZ under the direction of V.V. Lebedev, an innovator and reformer in the field of book graphics, has become a real school for the young artist. To his the best works drawings belong to R. Kipling's fairy tale "The Cat Walking by itself". The artist is increasingly performing with black and white illustrations. He is looking for an extremely laconic plastic solution in them, an economical use of a line that expresses a large art form, which is clearly seen in the drawings for the works "Loafers and the Cat" (1935), "School Comrades" (1937), "The Story of an Unknown Hero" (1938). It also happened that A. Pakhomov's drawings themselves inspired S. Marshak and S. Mikhalkov to create new works. The persuasiveness of the images in the drawing was facilitated by the tireless search for their prototypes in life. It was during this period, when a pencil drawing with a clear graphic expression, A. Pakhomov turned to the works of the classics of Russian literature. Perfectly illustrated "Bezhin Meadow" by I. Turgenev. The drawings for N. Nekrasov's poem "Frost, Red Nose" are even more expressive. The poetic feeling with which these illustrations are imbued, and the high skill of drawing, made these works of the artist an outstanding event in Soviet book graphics. During the Great Patriotic War, staying in besieged Leningrad, A. Pakhomov treated his duty as an artist with great responsibility. He created a series of lithographs "Leningrad in the days of war and blockade" - for which the artist was awarded the State Prize. Blockade sheets of A. Pakhomov are characterized by simplicity and stinginess of expression. In his prints there are many white color. These clean places, glowing with the whiteness of paper, are the graphic leitmotif of the snowy hungry city. The images of Leningraders are revealed in the tragedy of blockade situations. The artist is far from passively copying nature. In these prints, the truth of the fact is generalized and expressed in the figurative language of art, which gives them the right to preserve for humanity the greatness of the feat of Leningraders. In the 60s, A. Pakhomov, along with lithography, successfully turned to easel works and watercolors. The artist's permanent field of activity was book graphics. A deep sense of the nationality of images, high artistic qualities are distinguished by illustrations for stories from the "ABC" by L. Tolstoy - Pakhomov's largest work in the 60-70s. These works of the artist are very peculiar in terms of techniques and are in tune with his early paintings. The artist moved away from the traditional manner of black and white pencil drawing that had become for him. He subtly, with great skill, introduces color into all sheets, decoratively organizing page spreads. What an outstanding achievement modern graphics drawings by A. Pakhomov for the collection of short stories "Philippok" from L. N. Tolstoy's "ABC" were awarded the USSR State Prize in 1973. And in 1975, the second book of their "ABC" was published - "Three rolls and one bagel" with the latest illustrations made by the master. All these works showed how much higher and wiser the art of the artist has become. The strict and exacting master walked the path of new searches, creatively developing best traditions book art. From an article by V. Matafanov.

"Alexey Fedorovich Pakhomov (1900-1973) - a brilliant draftsman and an excellent master of lithography. His bright artistic talent manifested itself already in early childhood when he began to portray relatives. The popular prints hung in his father's house in the Vologda province had a great influence on him. At the insistence of art lover V.Yu. Zubov, a young artist, was sent to study in 1915 in Petrograd, at the School of Technical Drawing of Baron Stieglitz. There he enthusiastically painted gypsum, tried his hand at the technique of Italian pencil and ink...

The children's theme in Pakhomov's work did not appear by chance: making sketches from life, he often depicted children, caught in hisThe figures show interesting poses and movements in plastic. "Graphic painting" in the artist's works turns into "pictorial graphics". For the new task of book design, Pakhomov chooses the technique of sketching from nature, rarely using color. He strives to individualize the image, focuses the reader's attention on the gestures and facial expressions of the hero...

Pakhomov's children's images are still touching and direct. Illustrations for the works of S.V. Mikhalkov, V.A. Oseeva, L.N. Tolstoy in the 1950s and 70s demonstrate not only the artist's subtle powers of observation, but also an amazing knowledge of child psychology. For several generations of children, the books illustrated by Pakhomov became the first guide to life. Easy-to-remember heroes of children's books drew them into the world of poetry and prose of the Soviet era." / N. Melnikova /

Alexei Tolstoy "Nikita's Childhood". Artist A. Pakhomov. Detgiz - 1959.

And also very interesting . here is an excerpt..

".. In the book graphics class with S. Chekhonin, I was completelynot for long. But one piece of his advice made a big impression on me. The artist suggested writing fonts (it was about a book cover) immediately with a brush, by eye, without preliminary marking with a pencil (“like an address on an envelope”). It was necessary to develop such accuracy of the eye in order to accurately fit into the allotted space and accurately determine the size of the first letter with a sniper. The unshakable law of an art school is to start drawing from the general silhouette of an object and successively move on to large, and then small parts, details of the general. Chekhonin's advice to start with a detail (with a letter), and even with a brush and ink, when a mistake cannot be erased and corrected, seemed unexpected and bold to me.

Gradually, I developed such an eye that, starting with the eye, I could depict the whole figure and composition in the allotted space ... "

A series of lithographs by Alexei Fedorovich Pakhomov "Leningrad in the days of blockade and war (Leningrad chronicle)" was created in those war years. The artist did not leave besieged Leningrad.

Seeing off to the front. 1941.

For water. 1942.

At the site of injury. 1942.

To the hospital. 1942.

Cleaning up the city in 1942. 1942.

Calm on the Champ de Mars. 1943 1944.

Bricklayers (On the Kryukov Canal). 1944.

BASED ON THE BOOK:

ALEXEY FYODOROVICH PAKHOMOV: Exhibition of paintings and drawings: catalogue. - M.: Visual arts, 1981. - 95 p.
Circulation 4000 copies.

FROM THE MEMORIES OF A. PAKHOMOV:

"While working on the blockade series, I made very few sketches from nature. I observed and memorized more. At first there was no permission to sketch, and when permission was received, it was not so easy to dare to draw. The population attacked the painter with such distrust and anger seeing in him a saboteur and a spy, that drawing turned into a continuous explanation. Some military man would come up and reassure the distrustful that the certificate for the sketches was real, and not fake. But the military man and the reassured people left, new passers-by appeared, and again it was necessary explain and fight back. But the main reason, of course, was not these difficulties. It was just that the events were so significant that, it seemed to me, they should be reflected not in light sketches, but in the most monumental form (within the limits of graphic art): in detailed large-format print...
Through observation and reflection, one or another idea of ​​the composition arose, and without preliminary sketches I began to implement it. And already in the process of execution, I turned to nature to make actors and landscape alive and convincing...
I wanted to portray everything new that the war and the blockade brought with it. The view of the Leningrad streets was unusual, trams, buses, cars disappeared, there were few passers-by, snowdrifts appeared; where the asphalt was always swept, people appeared with children's sleighs carrying various luggage, people in fur coats and felt boots on bicycles ... "

An excerpt from A. Pakhomov's book "About my work" (L., 1971) was published in the journal "Children's Literature" (1975. - No. 5.)

Alexey Fedorovich Pakhomov - graphic artist and painter. WITH early years showed the ability to draw. With the active assistance of representatives of the local nobility (the son and father of the Zubovs), he was sent first to the Primary School in the city of Kadnikov, and then in 1915 to Petrograd at the Drawing School of Baron Stieglitz. At the school, A. Pakhomov entered the workshop of N. A. Tyrsa, and after serving in the army, he moved to the workshop of V. V. Lebedev.

In the 1920s he was a member of the Leningrad art association Circle of Artists. As a painter, Pakhomov created many significant works who took their place in the history of Leningrad art of the 20th century. Among them: "The Reaper" (1928, Russian Museum), "Girl in Blue" (1929, Russian Museum), "Archery" (1930, Russian Museum), "Portrait of the drummer Molodtsova" (1931, Russian Museum).

In the late 1920s. A.F. Pakhomov began work in book graphics. In 1936, with the spread of offset printing, Pakhomovu tried to make an offset printing plate from pencil drawings. As a result, the book “School Comrades” by S. Marshak with illustrations by Pakhomov was published. After that, Pakhomov began to illustrate books mainly in his favorite pencil style. At this time, he also collaborated in the children's magazines "Chizh" and "Hedgehog".

Pakhomov survived the war in besieged Leningrad. The result was a dramatic series of lithographs "Leningrad in the days of the blockade" (1942-1944). In 1944, he took part in an exhibition of five artists who worked during the blockade in the Russian Museum (V. M. Konashevich, V. V. Pakulin, A. F. Pakhomov, K. I. Rudakov and A. A. Strekavin).

Since 1942, he taught at the Ilya Repin Institute of Civil Aviation. By the early 1960s, having achieved high degrees of official recognition, Pakhomov nevertheless felt the need to update his pictorial language. The impetus for this was the jubilee solo exhibition held at the State Russian Museum in 1961, at which A.F. Pakhomov. After that, he decides to use color again in illustration, returns to some of his own techniques developed in the 20s. As a result, books with color illustrations are published - "Lipunyushka" by L. N. Tolstoy (colored pencil), "Grandmother, granddaughter and chicken" (watercolor) and others.

Works by Alexey Pakhomov

At Peter and Paul Fortress. 1934, oil on canvas 72.5x52

Senkos. 1925, oil on canvas

Reaper. 1928, oil on canvas

Girl in blue. 1929

Poultry house. 1931

Milkmaid Molodtsova. 1931

Peasant boy. 1929

Portrait of Sarah Lebedeva. 1940s

Worker (Portrait in blue). 1927

Young archer. 1930

Boy on skates. 1927, oil on canvas

Aircraft modeler. 1930s

CM. Kirov among aircraft modellers. 1936

Aeromodellers. 1935

Young naturalists in Artek. 1930s col. lithography

Sisters 1934

Girl in the sun x., m. 53x66.5

In the sun(?). 1934

Pioneers rest by the sea. ser. 1930s

Pioneer Line. 1934

Pioneers at sea. 1934

Sunbathing. 1934

Bathing of the Red Navy from the ship. 1933

Drawing Lenin 1939

Landscape 1939

Gorodoki. 1927 paper, aq. 20x18.3

Mowers. Illustration. 1924-1925 paper, watercolor, ink 27x21

Bride. 1967

Murzilka. 1964

Murzilka 1951 (Kardashov A. We live well)

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» Pakhomov Alexey Fedorovich

Creativity and biography - Pakhomov Alexey Fedorovich

In the Vologda region, near the city of Kadnikov, on the banks of the Kubena River, the village of Varlamov is located. There, on September 19 (October 2), 1900, a boy was born to a peasant woman, Efimiya Petrovna Pakhomova, who was named Alexei. His father, Fyodor Dmitrievich, came from "specific" farmers who did not know the horrors of serfdom in the past. This circumstance played an important role in the way of life and the prevailing character traits, developed the ability to behave simply, calmly, with dignity. The traits of special optimism, breadth of views, spiritual directness, and responsiveness were also rooted here. Alexei was brought up in a working environment. They lived poorly. As in the whole village, there was not enough of their own bread until spring, they had to buy it. Additional income was required, which was done by adult family members. One of the brothers was a stonemason. Many fellow villagers were carpenters. "And yet young Alexei remembered the early life 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 "to state account and to state food" to the higher primary school in the city of Kadnikov. The time of classes there remained in the memory of A. F. Pakhomov as very difficult and hungry. “Since then, my carefree childhood in my father’s house,” he said, “began to seem to me the happiest and most poetic time , and this poeticization of childhood later became the main motive in my work". Alexei's artistic abilities manifested themselves early, although where he lived, there were no conditions for their development. But even in the absence of teachers, the boy achieved certain results. Neighboring landowner V. Zubov paid attention to his talent and presented Alyosha with pencils, paper and reproductions from paintings by Russian artists. what later, being enriched by professional skill, will become characteristic of his work. The little artist was fascinated by the image of a person and, above all, a child. He draws brothers, sister, neighborhood kids. It is interesting that the rhythm of the lines of these artless pencil portraits echoes the drawings of his mature pores.

In 1915, by the time he graduated from the school of the city of Kadnikov, at the suggestion of the district marshal of the nobility Yu. Zubov, local art lovers announced a subscription and sent Pakhomov to Petrograd to the school of A. L. Stieglitz with the money raised. With the revolution, changes also came to the life of Alexei Pakhomov. Under the influence of new teachers who appeared at the school - N. A. Tyrsa, M. V. Dobuzhinsky, S. V. Chekhonin, V. I. Shukhaev - he seeks to better understand the tasks of art. A short training under the guidance of a great master of drawing Shukhaev gave him a lot of value. These classes laid the foundations for understanding the structure of the human body. He strove for a deep study of anatomy. Pakhomov was convinced of the need not to copy the environment, but to represent it meaningfully. When drawing, he got used not to be dependent on light and shade conditions, but, as it were, to “illuminate” nature with his own eye, leaving light close parts of the volume and darkening those that are more distant. “True,” the artist remarked at the same time, “I did not become a faithful Shukhaevite, that is, I did not begin to draw with sanguine, smearing it with an elastic band so that the human body looked spectacular.” Useful were, as Pakhomov admitted, the lessons of the most prominent artists of the book - Dobuzhinsky and Chekhonin. He especially remembered the advice of the latter: to achieve the ability to write fonts on a book cover immediately with a brush, without preparatory basting with a pencil, "like an address on an envelope." According to the artist, such a development of the necessary eye subsequently helped in sketches from nature, where he could, starting with some detail, place everything depicted on the sheet.

In 1918, when living in cold and hungry Petrograd without permanent income became impossible, Pakhomov left for his homeland, enrolling as an art teacher at a school in Kadnikovo. These months were of great benefit to the completion of his education. After lessons in the classes of the first and second stage, he read voraciously, as long as the lighting allowed and his eyes did not get tired. “All the time I was in an excited state, I was seized by a fever of knowledge. The whole world opened up before me, which, it turns out, I almost did not know, - Pakhomov recalled this time. “I accepted the February and October revolutions with joy, like most of the people around me, but only now, reading books on sociology, political economy, historical materialism, history, I began to truly understand the essence of the events.”

The treasures of science and literature opened up before the young man; quite natural was his intention to continue his interrupted studies in Petrograd. In a familiar building in Salt Lane, he began to study with N. A. Tyrsa, who was then the commissioner of the former Stieglitz school. “We, the students of Nikolai Andreevich, were very surprised by his costume,” Pakhomov said. - The commissars of those years wore leather caps and jackets with a belt and a revolver in a holster, and Tyrsa walked with a cane and in a bowler hat. But his talks about art were listened to with bated breath. The head of the workshop wittily refuted outdated views on painting, acquainted students with the achievements of the Impressionists, with the experience of post-impressionism, unobtrusively drew attention to the searches that are visible in the works of Van Gogh and especially Cezanne. Tyrsa did not put forward a clear program for the future of art; he demanded spontaneity from those who worked in his workshop: write as you feel. In 1919, Pakhomov was drafted into the Red Army. He closely recognized the previously unfamiliar military environment, understood the truly popular character of the army of the Land of Soviets, which later affected the interpretation of this topic in his work. In the spring of the following year, Pakhomov, demobilized after an illness, arrived in Petrograd and moved from the workshop of N. A. Tyrsa to V. V. Lebedev, deciding to get an idea of ​​the principles of cubism, which were reflected in a number of works by Lebedev and his students. Of the works of Pakhomov, made at this time, little has survived. Such, for example, is "Still Life" (1921), which is distinguished by a subtle sense of texture. In it, one can see the desire learned from Lebedev to achieve “madeness” in the works, to look not for superficial completeness, but for a constructive pictorial organization of the canvas, not forgetting the plastic qualities of the depicted.

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

The drawing “Killing the Scythes” (1924) shows two young peasants at work. They were sketched by Pakhomov from nature. Then he went through this sheet with a brush, generalizing the image without observing his models. Good plastic qualities, combined with the transmission of strong movement and the general picturesqueness of the use of ink, are visible in more early work 1923 "Two mowers". With a deep truthfulness, and one might say, the severity of the drawing, here the artist was interested in the alternation of plane and volume. The sheet has skillfully used ink wash. Landscape surroundings are hinted at. The texture of cut and standing grass is palpable, which brings rhythmic diversity to the drawing.

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

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

The works of A.F. Pakhomov are notable for their monumental solutions. In the early Soviet wall painting, the artist's works are among the most striking and interesting. In the cardboards "Red Oath", paintings and sketches "Round dance of children of all nations", paintings about reapers, as well as in general in best creatures Pakhomov's painting, there is a palpable connection with the great traditions of the ancient national heritage, which is part of the treasury of world art. The coloristic, figurative side of his murals, paintings, portraits, as well as easel and book graphics is deeply original. The brilliant success of plein air painting is demonstrated by the series "In the Sun" - a kind of hymn to the youth of the Land of the Soviets. Here, in the depiction of the naked body, the artist acted as one of the great masters who contributed to the development of this genre in Soviet painting. Pakhomov's color searches were combined with the solution of serious plastic problems. It must be said that in the person of A.F. Pakhomov, art had one of the largest draftsmen of our time. The master masterfully mastered various materials. Works in ink and watercolor, pen and brush side by side with brilliant graphite pencil drawings. His achievements go beyond the limits of domestic art and become one of the outstanding creations of world graphics. It is not difficult to find examples of this in a series of drawings made at home in the 1920s, and among sheets made in the next decade on trips around the country, and in cycles about pioneer camps. The contribution of A.F. Pakhomov to graphics is enormous. His easel and book works dedicated to children are among the outstanding successes in this area. One of the founders of Soviet illustrated literature, he introduced a deep and individualized image of the child into it. His drawings captivated readers with vitality and expressiveness. Without teachings, vividly and clearly, the artist conveyed thoughts to children, aroused their feelings. And important topics of education and school life! None of the artists solved them as deeply and truthfully as Pakhomov. For the first time in such a figurative and realistic way he illustrated the poems of V. V. Mayakovsky. An artistic discovery was his drawings for the works of Leo Tolstoy for children. The considered graphic material clearly showed that the work of Pakhomov, an illustrator of modern and classical literature, it is wrong to limit it to only the area of ​​a children's book. The artist's excellent drawings for the works of Pushkin, Nekrasov, Zoshchenko testify to the great success of Russian graphics in the 1930s. His works contributed to the establishment of the method of socialist realism.

The art of A.F. Pakhomov is distinguished by citizenship, modernity, and relevance. During the most difficult trials of the Leningrad blockade, the artist did not interrupt his work. Together with the masters of art of the city on the Neva, he, as once in his youth in civil war, worked on assignments from the front. Pakhomov's series of lithographs "Leningrad in the days of the siege", one of the most significant works of art of the war years, reveals the unparalleled valor and courage of the Soviet people. The author of hundreds of lithographs, A.F. Pakhomov should be named among those enthusiastic artists who contributed to the development and dissemination of this type of printed graphics. Possibility of contacting a wide range spectators, the mass character of the address of the circulation print attracted his attention.

His works are characterized by classical clarity and conciseness of visual means. A.F. Pakhomov is deeply original, great and completely immersed in the reflection of the life of his people, but at the same time he has absorbed the achievements of world art. The work of Pakhomov, a painter and graphic artist, is a significant contribution to the development of Soviet artistic culture.

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