Fables of I.A. Krylov in the works of Russian and Soviet artists and domestic animation. School encyclopedia Description of illustrations alexey laptev to krylov's fables
Valentin Aleksandrovich Serov (January 7, 1865, St. Petersburg - November 22, 1911, Moscow) - Russian painter and graphic artist, master of portrait.
Fox and grapes. Lead pencil on paper. 22.2x35.5 cm.
Among the undoubted masterpieces, which so richly and versatile represent the picturesque and graphic heritage of Valentin Aleksandrovich Serov, a series of his illustrations to the fables of I.A.Krylov occupies a large and important place.
Quartet. 1895-1898 Lead pencil on paper. 22.1x35.5 cm.
The artist worked on the series for sixteen years (from 1895 to 1911) and especially intensively in last years life.
Leo in old age
The result of this work was a large number of completely finished works, which, being excellent illustrations for the fables of I.A.Krylov, have at the same time a great independent artistic value.
Trishkin caftan. Lead pencil on paper. 19x30 cm.
The fact that V.A.Serov turned to fables was not a surprise, he must certainly have been attracted by their sharp humor, which the artist greatly appreciated in life. In addition, since childhood, Serov loved animals, in their behavior he found many similarities with the nature of human behavior. The artist constantly watched them, painted them, as evidenced by the numerous sketches in the albums of different years.
Lion and wolf. Lead pencil, ink, pen on paper. 26.8 x 42.5 cm.
In 1895, A. I. Mamontov decided to publish I. A. Krylov's fables with illustrations by V. A. Serov. He kindly invited the artist to make some drawings for this publication. At first, A.I. Mamontov intended to include all the fables in the publication, but then he decided to limit himself to only the most popular ones.
To the fable "Pike". 1896 g.
It was decided to name the publication "Twelve Drawings of V. A. Serov on the Fable of I. A. Krylov" and make it up of the following twelve sheets: "Train", "Crow and Fox", "Miller", "Wolf and Crane", "Trishkin caftan ”,“ Quartet ”,“ Peasant and Robber ”,“ Crow ”,“ Lion and Wolf ”,“ Donkey and Man ”,“ Monkey and Glasses ”,“ Pike ”.
Plague of animals. Italian pencil on paper. 26.7x42.5 cm.
Serov carried away the work on the drawings for the fables, and although the publication was not carried out, the artist made a large number of magnificent sketches and completed illustrations *
"Monkey and glasses". Lead and even pencil on paper. 26.7x42.5 cm.
From the very beginning, Serov was faced with a difficult task - not only to create quite definite artistic images, but also convey the specifics of the fable narration. And this required a special artistic language... After all, a fable is a cursory living sketch of reality, which usually contains a moral sense. The fabulist notices everyday curiosities, blunders, funny sides of life, human vices and shortcomings in life and, pouring into a fable form, sharpens them in his own way, exaggerates them.
In borrowed plumes. To the fable "The Crow". Lead pencil on paper.
Krylov ridiculed negative human qualities, transferring them to animals. At the same time, he deliberately thickened the colors in order to hurt human pride more painfully, in order to emphasize, strengthen the edifying meaning arising from a particular situation.
It was not by chance that Krylov chose the fable as his weapon in the fight against human vices; the wise simplicity of its content and the humorous method of storytelling are available to any reader, easily assimilated by him. The language of the fable, close to folk language proverbs and sayings are well remembered.
Voronenok. V.A. Serov “Drawings for the fables of A.I. Krylova ", Leningrad, 1951
Serov, like no one else, understood the specifics of the fable narration. As a result of many years of persistent and tireless searches, he found his simple, well-aimed story form, enriched with humor and consonant with the language of the fable.
Frogs begging for the king. V.A. Serov “Drawings for the fables of A.I. Krylov "
The artist did not immediately succeed in achieving the artistic completeness of the form and the semantic capacity that were needed for the fable illustration. Beginning in 1896, he stubbornly strives to find his pictorial "fable language", but finally finds it only in later illustrations.
Fishing hare. V.A. Serov “Drawings for the fables of A.I. Krylov "
The artist carefully selects the main thing in the fable and conveys it with avaricious artistic means... So, gradually, he completely abandons tone, chiaroscuro and those details that are found in such initial pages as "The Wolf and the Shepherds", "Three Men", "Voronenok". Later, he works only with a pencil, accentuating and sharpening the details of interest to him, identifying the most specific traits common noun images of fables.
Lion and fox, etching. V.A. Serov “Drawings for the fables of A.I. Krylov "
However, at first the artist is still quite detailed. He refuses so far only from pictorial techniques in graphics. This is noticeable in the approach to the fable "Three Men", the drawing of which is of a genre nature. An ordinary genre scene (three men are depicted at dinner in a village hut) is also specific and verbose. The main thing is not emphasized enough in it, the irony is hardly noticeable. The same can be said about the drawing "Voronenok". It is still cumbersome, complex, not laconic enough.
Two dogs. V.A. Serov “Drawings for the fables of A.I. Krylov "
The mentioned works convey only the content of the fables. Serov, however, wanted to ensure that the illustrations also had an independent grotesque expressiveness. And for this, it was necessary to draw easier, more concisely and, at the same time, sharper. That is why most of the originally conceived compositions were redrawn many times, becoming more simplified and sharpened.
So, gradually being reworked, the composition of the Quartet has radically changed. In the new composition, Serov arranged the animals in reverse order, from right to left, and such a composition seemed to him more successful. In addition, the artist changed the appearance of each animal, reworked its posture, movement, antics; made it more comical. The result was not just a genre scene, but fable images through which the edifying meaning began to emerge most clearly. Serov emphasized in the drawings the most characteristic, something that is generally characteristic of this or that animal. These are already new features of the Serov method, and they determined his further searches.
Razors. V.A. Serov “Drawings for the fables of A.I. Krylov "
Working on the fables, Serov constantly used his numerous albums, which already contained sketches of the animals he needed. He loved and knew animals well, and therefore was able to give them fairly accurate characteristics. Whether he portrayed a wolf ("Wolf and Crane" leaf) or a fox near a vine ("Fox and Grapes" leaf) - in any particular case, it is noticeable that the artist carefully and for a long time studied the character of each animal. That is why he so correctly depicted the animals in the sheet of "Plague of Beasts" - a lion that stands out among other animals with its majestic, proud posture, a fox dodging in front of the lion, grinning wolves and a harmless simple-minded ox, which animals "for sins" intend to sacrifice.
The wolf and the shepherds. V.A. Serov “Drawings for the fables of A.I. Krylov "
Another sheet ("The Lion and the Wolf") depicts an angry, mighty king of beasts, looking menacingly after the wandering wolf, who dared to snatch a piece from his prey. With very meager means, the lion and the wolf are characterized by almost one line. Their poses are expressive.
No less convincing and interesting in its own way is the "Fox and Grapes" leaf. The cunning fox, bending coquettishly, quietly clings to the vine. The cheat looks expectantly at a bunch of grapes hanging, alas, too high.
The artist did not immediately succeed in the images of all these animals. He endlessly transferred with the help of thin transparent paper the drawing he found from one sheet to another, leaving on a new sheet only those details that, in his opinion, were the most successful. He amplified these details, simplifying and generalizing the previous composition, honing the line, working on the volume.
Despite the careful study of each drawing, its strokes and lines never gave the impression of being dry. The artist has always been able to hide his hard work behind the seeming ease and freedom of drawing.
This is how Serov worked on the fables "The Wolf and the Crane" (starting with watercolor fill and feather drawing and ending with a laconic pencil drawing), "The Lion and the Wolf" (from an early-toned watercolor drawing up to the last maximally simplified pencil version), "Trishkin's caftan" ( from a full-scale sketch to an extremely exaggerated image).
The fable "The Crow" (the sheet "The Crow in Peacock Feathers") underwent the same thorough revision. The artist decides the topic extremely sparingly, depicting a crow dressed up in peacock feathers, walking comically importantly, holding his head high, and peacocks looking at her arrogantly and hostilely, like an impostor in their society. Here the characteristics of both crows and peacocks are incomparably given.
The "Monkey and Glasses" sheet turned out to be even more successful. It seems that it is impossible to solve the problem more acutely, more economically. The monkey, who "disposed of" his glasses in such a peculiar way, is the only figure depicted on the sheet.
V. A. Serov's drawings to the fables of I. A. Krylov are truly outstanding works, which, starting from the literary talent of Krylov the fabulist, acquired a deeply independent meaning. They are valuable in and of themselves. In visual form, the artist revealed in them what the writer wanted to say in words. Serov also conveyed the deeply popular humor of the Krylov fables, which contains the sharpness and accuracy of the vision of life and the peculiarities of the Krylov language, which is close to colloquial speech, - everything that makes Krylov's fables truly folk literary works.
V. Takhtareva
* In the present edition of the postcards, only some of these sheets are reproduced, as well as those that were not intended for the Mamontov edition. These drawings were made in different time from 1895 to 1911.
Description of the presentation for individual slides:
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Project Artists - illustrators of fables by Ivan Andreevich Krylov Teacher primary grades Shapovalova Ekaterina Vladimirovna
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Who has not heard his living word? Who in life has not met his own? Immortal Creations of Krylov Every year we love more and more M. Isakovsky
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The purpose of the project: to get acquainted with the illustrators of the fables of I. A. Krylov. Project objectives: Look in the dictionary and encyclopedia who illustrators are, how they differ from artists. Visit the library, look at books with fables by I.A.Krylov and illustrations for them. Turn to the computer and look for information about the most famous illustrators of Krylov's fables. Make a presentation on the results of the project and introduce classmates to the artists - illustrators of Krylov's fables
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Since childhood, we love to look at pictures for fairy tales, stories, poems, etc. Illustrations help us to imagine the heroes, the situation in which they find themselves, to connect our imagination, to introduce certain images into the description of events that will help us to further deeper understand the author's intention, form your attitude to an event or problem. Illustration - a drawing, photograph, engraving or other image that explains text. Illustrator is an artist who illustrates books. (Explanatory dictionary of the Russian language by S. I. Ozhegov)
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Ivan Andreevich Krylov Born on February 2 in Moscow, he read a lot and was considered one of the most enlightened people of his time. Because of the family's poverty, from the age of ten, Krylov had to work as a scribe in the Tverskoy court. At the age of 11, he wrote his first fable. Since 1786 he writes plays, publishes the satirical magazine "Mail of Spirits", but fables are the main works of the writer. Nine books include over 200 fables. In 1812 he became a librarian of the newly opened Public Library, where he served for 30 years, retiring in 1841. He worked a lot on the compilation of bibliographic indexes and the Slavic-Russian dictionary. Krylov died on November 9, 1844 at the age of 75. Buried in St. Petersburg. From the biography of the writer
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Many artists undertook to illustrate the fables of Ivan Andreevich Krylov. The most famous of them are Valentin Serov, Alexei Laptev, Francois Rouillet, Evgeny Rachev, Irina Petelina. Let's get to know these artists and compare their illustrations.
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Valentin Aleksandrovich Serov Valentin Aleksandrovich Serov is a famous Russian portrait painter and one of the greatest masters of the 19th century. In addition to achievements in portrait painting, he managed to leave great amount no less significant works in such genres as: antique and historical painting, animal painting, book illustrations and Russian landscape. Being the owner of a quiet and modest character, Serov managed to achieve indisputable authority among the famous masters of his era.
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Alexey Mikhailovich Laptev Graphic artist, well-known children's illustrator and book designer. Lived and worked in Moscow, graduated from high school. Studied at the Moscow school-studio of F. I. Rerberg in 1923–1924, at the preparatory department. Worked in the children's magazine "Vesyolye Kartinki" from the moment of its foundation. Illustrated books for children: "The Adventures of Dunno and His Friends" by N. Nosov, "Fables" by I. A. Krylov. The works of A.M. Laptev were exhibited at personal exhibitions in Moscow (1940, 1949). He took part in exhibitions of Soviet art in the cities of the USSR and abroad: in the USA, India, and European countries. In 1966, a memorial exhibition of works by A.M. Laptev was organized in Moscow.
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Rachev Evgeny Mikhailovich Born in Tomsk, spent his childhood in the village with his grandmother. Since childhood, he was fond of drawing, wrote poetry, the desire for creativity led him to the Kuban Artistic Pedagogical College in Krasnodar, which he graduated with honors. In 1960, Rachev became the chief artist of the children's publishing house "Malysh", and worked in this position for almost twenty years. Evgeny Rachev devoted more than sixty years to his children's book creative life; with his illustrations, many books have been published, including "The Pantry of the Sun" by M. Prishvin, "My Animals" by Lev Durov, "Alenushka's Tales" by D. Mamin-Sibiryak, " Satirical tales»M. Saltykov-Shchedrin, Krylov's fables, works by V. M. Garshin, I. Ya. Franko, L. Tolstoy, S. Mikhalkov, V. V. Bianki and a huge number of folk tales.
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Irina Andreevna Petelina Irina Andreevna Petelina (1964) is a Moscow illustrator. She graduated from the design faculty of the Moscow Architectural Institute, then courses for animators under the direction of F. Khitruk. Since 1990 he has been book graphics... Has illustrated more than 30 books, including "Puss in Boots" and "Little Red Riding Hood" by Ch. Perrault, Russian folk tales, works of the brothers Grimm, S.Ya. Marshak, S.V. Mikhalkov and the fables of I.A.Krylov.
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François Rouillet François Rouillet Worldwide famous artist illustrator, among his works there are more than 200 books for children. He was born in France and studied in Strasbourg.
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This is how different artists "QUARTET" see the heroes of the same fable VALENTIN SEROV ALEXEY LAPTEV EVGENY RACHEV FRANCO ROYER
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Illustration has always been closely associated with literature. Many great artists have suggested their own vision of what they read.
Often a work of art became the impetus for writing canvases, which later became masterpieces. visual arts... Illustrations to works of art are able to raise the level of their perception by several orders of magnitude and significantly increase the influence they have on the reader.
Many famous artists gladly made illustrations for the ones you liked literary works, very often without even planning to use them to design texts - just like that, for the soul, succumbing to the enchanting effect of words.
V. Serov. Illustration for the fable by I. Krylov "Quartet"
The great Russian portrait painter, painter, graphic artist Valentin Aleksandrovich Serov left a legacy to the descendants of many paintings of a very different orientation. His work influenced not only his contemporaries, but also many future generations. It seemed that there was no such direction in painting that was beyond his control. He managed to translate pencil drawing into a self-sufficient work of art.
Illustrations by V. Serov, executed in oil, charcoal or pencil, amaze with the perfection of style and execution. Among his many works, illustrations to the fables of the famous Russian writer Ivan Andreevich Krylov are a real masterpiece. Valentin Serov worked on a series of illustrated images for instructive stories in poetry for over fifteen years - from 1895 to 1911.
V. Serov. Illustration for the fable by I. Krylov "The Lion and the Wolf". Lead pencil, ink, pen on paper. 26.8 x 42.5 cm
Since childhood, Valentin Aleksandrovich adored every "animal". He loved to observe animals, to notice the peculiarities of behavior and similarities with people. The artist painted them a lot and willingly, therefore, when in 1895 Moscow publisher, typographer, entrepreneur Anatoly Ivanovich Mamontov, brother of the famous Russian philanthropist Savva Mamontov, invited him to make a series of illustrations for Ivan Krylov's fables, V. Serov did not hesitate for a second. The original plan was to publish a book containing a dozen of the most popular fables, tentatively titled Twelve Drawings. But the artist was so carried away by the work that as a result, many sketches, sketches and completed paintings on the theme of Krylov's fables appeared.
V. Serov. Illustration for the fable by I. Krylov "The Lion in Old Age"
As Valentin Serov's contemporaries recalled, the most difficult thing in his work was to "fit" into the specific rhythm of the fable narration. He wanted the result of his work to be not a banal picture to the text, but a frozen moralizing, lively display of the moment. Ivan Krylov ridiculed the vices of people, transferring them to representatives of the animal world. His "weapon" hit human weaknesses with a force that surpassed a real cannon.
V. Serov. Illustration for I. Krylov's fable "The Monkey and Glasses". Lead and even pencil on paper. 26.7x42.5 cm
V. Serov's ideas were clear and close to I. Krylov. Far from the first time, but he managed to find the very semantic, complete form of his own pictorial "fable language". He tried to find the most important thing in each story and convey this to the reader and viewer in an artistic way available to him. Over time, Valentin Aleksandrovich abandoned the details and many of the techniques that can be seen in the early illustrations for the fables "Three Men", "The Wolf and the Shepherds", "Voronenok". His later works were performed mainly in pencil, with a bright emphasis on small details and the most common features of the characters.
V. Serov. Illustration for I. Krylov's fable "The Fox and the Grapes". Lead pencil on paper. 22.2 x 35.5 cm
Stingy black and white lines without retouching, chiaroscuro and tones, devoid of bulkiness, despite their maximum brevity, incredibly accurately convey the most important thing, exuding a barely noticeable haze of irony. V. Serov redraws his sketches many times, simplifying them more and more. Gradually, many of the original designs were completely reworked.
The artist spent a long time thinking and studying the characters of not only fable characters, but also real prototypes - animals. He often referred to his sketchbooks. As a result, with literally one single line, V. Serov managed to characterize the heroes, to give them convexity and reality.
Valentin Serov's illustrations to the fables of I. Krylov became independent and significant work art. With extremely limited means, the artist managed to convey almost literally the exact meaning laid down in the fable by their author.
FALLS I. A. KRYLOVA IN FINE ARTS
For the first time, the fables of I.A. Krylov began to be illustrated about 200 years ago. So, books with baths, decorated with beautiful illustrations, were published. Later, when cinematography and animation appeared, pictures for fables came to life. Thanks to this, the whole of our country was able to get acquainted with the work of I.A. Krylov!
There are a large number of mass editions of I.A. Krylov with illustrations by artists of the most different styles and directions. In the 20th century, they were illustrated by more than 50 artists. Among them: N. I. Altman, I. Ya. Bilibin, Yu. A. Vasnetsov, A. A. Deineka, M. V. Dobuzhinsky, I. S. Efimov, V. M. Konashevich, Kukryniksy, B. M. .Kustodiev ... and all - the most famous names!
I.A. Krylov created more than 200 fables, more than half of them are illustrated. The first place in terms of the number of illustrations can be assigned to the fable "The Fox and the Grapes" - 31.
So, let's start getting to know the artists.
Engraver artist Andrey Petrovich Sapozhnikov (1795-1855)
A.P. Sapozhnikov was an amateur painter, drawing in his spare time. By profession, he was an officer and was in the service of the engineering corps. For a long time he attended drawing classes of the Academy of Arts, and in 1834 year even compiled an "Initial Drawing Course" and presented it to the Academy, along with samples (models and plaster casts), to distribute to students for exams. Sapozhnikov left a unique mark in various fields: he is simultaneously a military engineer, and a painter, and a graphic artist and a sculptor, as well as a publisher, collector, teacher, author of the first Russian textbook on the theory and practice of drawing for general educational institutions, which is still used today.
In 1834 Sapozhnikov began to illustrate Krylov's fables. In total, he illustrated 93 fables. His drawings are notable for their accuracy and everyday authenticity, are marked by exquisite skill and expressiveness, but most importantly, they convey the originality, the Russian national character of Krylov's fable creativity. Sapozhnikov's people are Russian people, be they a stupid man or a curious gentleman; they are surrounded by a Russian rural landscape; his animals are quite realistic, strong and weak, cunning and simple-minded, kind and evil. But A.P. Sapozhnikov was not an animal painter, so not all animals were successful for him, for example, his cats are far from perfect. Despite this, engravings by A.P. Sapozhnikov, according to contemporaries, liked I.A. Krylov. V.G. Belinsky: “How much ... talent, originality, life! What a Russian flavor in every line! ".
Now let's turn to another illustrator.
Great Russian painter Valentin Alexandrovich Serov (1865-1911)
Serov turned to fables, because he was always attracted by their sharp humor, which he very much appreciated in life. In addition, since childhood, Serov loved animals, in their behavior he found many similarities with the nature of human behavior, observing and drawing, as evidenced by numerous sketches in the albums of his different years.
In 1895, Savva Mamontov conceived Krylov's fables with illustrations by Valentin Serov. Rather, first of all, Mamontov wanted to publish illustrations: the album was supposed to be called "Twelve Drawings of V.A.Serov on the Fable of I.A.Krylov": "Carriage", "Crow and Fox", "Miller", "Wolf and Crane "," Trishkin Caftan "," Quartet "," Peasant and Robber "," Crow "," Lion and Wolf "," Donkey and Man "," Monkey and Glasses "," Pike ". Serov got down to business with enthusiasm. And, although the book was never published, the artist worked on illustrations for Krylov's fables until the end of his days - for him, a latent animal painter, this idea became a creative outlet. Over the years, his drawings became more laconic and sharper. Serov was looking for an intonation that would allow him to convey Krylov's humor with a minimum of funds. An illustrative example of such creative pursuits- illustrations that he made for the fable "Quartet": not heeding Krylov's morality, the artist nevertheless transplanted the musicians in a different order.
The artist carefully followed the text of the work, selected the main thing in the fables and conveyed it with scant artistic means, without bringing anything from himself. Gradually, he completely abandoned tone, chiaroscuro and worked only with a pencil, accentuating and sharpening the details of interest to him, revealing in the drawing the most characteristic features of the common images of fables. The animals in Serov's drawings are very similar to ordinary lions and bears, foxes and crows, but at the same time they have all the character traits of the heroes of literary works. V.A.Serov worked on illustrations for the fables of I.A.Krylov for a long time, about 15 years, and especially intensively - in the last years of his life. In 1934 and 1944. Publishing house "Detgiz" published two editions of IA Krylov's fables with his illustrations.
Created illustrations for the fables of I.A. Krylov and other animal painterIvan Semyonovich Efimov (1878-1959).
I.S.Efimov, a student of V.A.Serov, was a graphic artist, theater artist, illustrator of children's books, teacher, the greatest master of easel and monumental sculpture. Honored Artist of the RSFSR, folk artist RSFSR. Together with his wife, N. Ya. Simonovich-Efimova (1877-1948), created the first Soviet puppet theater. Illustrated children's books in a peculiar way. His animals, both in sculpture and in illustration, are especially plastic and expressive. IS Efimov was called "the king of animals". The artist worked a lot with watercolors, and in the 1930s he found a new material for drawing for himself - soft lithographic and Italian pencils. And his attitude to sculptural materials contributed to the convergence of plastic and decorative and applied arts.
In his works animal world becomes recognizable and close, thanks to the artist's love for the subject of the image. This is illustrated by the more than 50 drawings and sketches on paper and tracing paper for the fables of I.A. Krylov, created in the 1910s - 1940s.
Sketches of illustrations for the fables, created in the 1910s: "The Wolf and the Fox", "The Wolf and the Lamb", "The Crow and the Fox", "The Frog and the Ox", were made with graphic and Italian pencils. Most of all, the artist was inspired by the fable "The Fox and the Grapes", 30 sketches of illustrations were created for it (8 color watercolors and 22 with Italian and graphic pencils).
Vladimir Mikhailovich Konashevich (1888-1963)
One of famous masters book illustration, who created a large number of illustrations for the fables of I.A. Krylov in Soviet times. V.M. Konashevich studied at the Moscow School of Painting, Sculpture and Architecture (1908-1913) under K.A. Korovin, S.V. Malyutin. As an illustrator of children's books, he began to work actively in 1922, was one of the leading artists in Detgiz. He performed his drawings with watercolors, black ink, pen, pencil, indicating the contours of objects, silhouettes of people. There were almost no landscapes in the composition. The color gamut was limited to three or four colors, and multicolor was created through the use of many shades. The artist was very precise in details. His works are sometimes distinguished by a penchant for decorative style, which goes back to the graphics of the "World of Art", of which he was a member in 1922-1924. Since the 1930s V.M. Konashevich almost completely devoted himself to illustrating children's books.
Evgeny Mikhailovich Rachev (1906-1997) - Soviet animal painter, known for his work in the field of book graphics. The artist's name is inextricably linked with fairy tales, especially fairy tales with animal heroes. For thirty years creative activity EM Rachev created hundreds of illustrations. In 1958-1959 for the exhibition "Soviet Russia" he performed a large series of drawings for the fables of I.A.Krylov.
In 1973, E.M. Rachev became the Laureate of the State Prize. In later illustrations, E.M. Rachev to the fables of I.A. Krylov, many animals and animals are "dressed" as people, in human clothing, thus, the artist shows that behind a fairy tale plot and fairy-tale images are hidden real life and real human relationships. Rachev's colored drawings are smart, colorful and decorative. The artist worked with watercolors, which he laid with a thin transparent layer, gouache and charcoal. He always chose for his illustrations the most poignant and dramatic or comic moments, plots in order to reveal the very essence of the work to the child.
BASNI I. A. KRYLOVA IN MULTIPLICATION
It is difficult to captivate modern children with classics. It is difficult for them to read stories and stories, poems and novels. But they enjoy watching films and cartoons. This visual propensity of children can be used to broaden their horizons. Colorful animation, vivid characters, fascinating plots will certainly awaken in them the desire to get to know the work of the writers better.
In the fables of I.A. Krylov there are no boring and tedious lectures, but there are only truths that are always relevant. And in our time, they are, more than ever, necessary! Therefore, the fables easily turned into animation.
It is a pleasure to watch and listen to Krylov's fables. Most of the animated films were shot during the Soviet era - a period when the media, books and films were involved in raising children and fostering a sense of camaraderie, respect, duty and responsibility. This is probably why they are so popular today.
The early cartoons are highly musical. Jazz trends, fashionable at that time, were used. In later cartoons, perhaps, there is no longer such lightness (and musical, as well), but, on the other hand, their technical performance has improved significantly.
Krylov's Fables is a video for kids and adults, everyone will find something useful and meaningful for themselves.
The first cartoons were created in black and white.
BLACK & WHITE CARTOONS :
QUARTET. 1935(lost). A replay was filmed in 1947. The authors of the cartoon were A. Ivanov and P. Sazonov.
Film historian Semyon Ginzburg wrote about this cartoon: “ The content of the film echoed the new reality in the setting of which the film was created. This gave it real relevance. The film enjoyed outstanding success not only among young people, but also among adult audiences. His ideological merit was accompanied by artistic merit. The film was distinguished by a good pace, clarity of plot development. The movement, facial expressions of the characters revealed their characters. "
Alexander Vasilievich Ivanov (1899 - 1959)- Soviet director-animator, animation artist, one of the founders of Soviet graphic animation. In 1919 he graduated from the Tambov Teachers' Institute, in 1922 - from the Tambov art workshops. After moving to Moscow, he studied at VKHUTEMAS. In 1926 he organized an animation workshop at the Sovkino film factory, where he began to shoot short propaganda films. In 1927 he creates his first animated feature film "Cockroach" - the first adaptation based on the tale of K. I. Chukovsky. Since 1936 he worked as a director at the Soyuzmultfilm studio, where he was a member of the artistic council of the film studio. Member of the CPSU since 1955. Created 33 cartoons.
Sazonov Panteleimon Petrovich (1895-1950).
He also studied at VKHUTEMAS, but first at Moscow University at the Faculty of Law and even worked as an investigator in various institutions in Lipetsk, Tambov and Moscow. At the same time he studied in various art studios. In animation since 1929. Until 1936 he worked with A.V. Ivanov, then independently. Participated in the development and application of the "Ivvoston" method of drawn sound.
He worked in 1936-1950 - at the Soyuzmultfilm film studio (with a break from 1943 to 1948 - at the Voentekhfilm film studio). The son and daughter also became cartoon production designers. My wife also worked at the Soyuzmultfilm studio as an editor.
Emmanuil Yakovlevich Dvinsky(pseudonym for writer - A. Volodin; 1910-1985) - famous Soviet journalist, film director and screenwriter; Moscow expert, author of numerous guidebooks to Moscow and its architectural monuments. He was a screenwriter for several cartoons, including "The Fox the Builder" and "The Quartet". Later he worked with Ivanov and Sazonov on a new cartoon "Quartet" (1947) - a color version.
A CROW AND A FOX. 1937. P.P. Sazonov independently shot a cartoon based on Krylov's fable - a free adaptation of the famous fable.
EAGLE AND MOLE. 1944... P.P. Sazonov.
QUARTET. 1947.
A. Ivanov, P. Sazonov, E. Dvinsky.
FOX BUILDER. 1950.
Together with Ivanov, this cartoon was created by Fyodor Khitruk (1917-2012). (Khitruk is known for his cartoons "The Story of a Crime", "Toptyzhka", "Winnie the Pooh", etc.)
A CROW AND A FOX. CUCKOO AND COCK.1953
The famous animators F. Khitruk and V. Kotyonochkin (1927-2000) worked with A. Ivanov. (We know Kotenochkin as the director of the animated series "Well, wait!", And as an artist, he created many cartoons based on Mikhalkov's fables and numerous fairy tales.)
DRAGONFLY AND ANT.1961
This cartoon has already been shot by the son of animation artist P.P. Sazonov - Anatoly Panteleimonovich Sazonov(1920-1991) - film artist of animation films, Honored Artist of the RSFSR (1972), teacher, candidate of art history, professor, screenwriter.
AND YOU, FRIENDS, HOWEVER SIT ...(no words, only music). 1972
(1927-2016) , Soviet director-animator, animator, screenwriter. He worked mainly in mixed technology: puppet and hand-drawn animation, transfer.
IN THE WORLD OF BASEN. 1973
Cartoon filmed Andrey Khrzhanovsky (born 1939) in the transfer technique based on the fables of Ivan Andreevich Krylov "Curious", "Donkey and Nightingale", "Cuckoo and Rooster". The cartoon uses the painting "Parade on the Champ de Mars", as well as drawings by Alexander Sergeevich Pushkin. V musical arrangement the chamber ensemble "Madrigal" under the direction of Lev Marquis took part. A. Khrzhanovsky shot "Pushkiniana" - cartoons based on the works of A.S. Pushkin.
I would like to believe that at the present time - the time of the latest technologies and new opportunities - there will be masters: artists, filmmakers, screenwriters who will resume the demonstration of the fables of the great fabulist in a new creative way. This is necessary for the younger generation.
Olga Chemodurova , poet, prose writer, chairman of the Ivanteevsk regional branch of the "Commonwealth of Creative Forces", member of the Union of Journalists of the Moscow Region
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