Illustrations by Russian artists for Russian folk tales. Which artists have illustrated folk tales? Pictures from childhood

Ivan Yakovlevich Bilibin - famous Russian artist, illustrator... Born on August 4, 1876 in the village of Tarkhovka, St. Petersburg province - died on February 7, 1942 in Leningrad. The main genre in which Ivan Bilibin worked is book graphics. In addition, he created various murals, panels and made decorations for theatrical performances, was engaged in the creation of theatrical costumes.

Nevertheless, most of the admirers of the talent of this wonderful Russian know him for what he deserves in the visual arts. I must say that Ivan Bilibin had a good school to study the art of painting and graphics. It all started with the drawing school of the Society for the Encouragement of Arts. Then there was the studio of the artist A. Ashbe in Munich; at the school-workshop of Princess Maria Tenisheva, he studied painting under the guidance of Ilya Repin himself, then, under his guidance, there was the Higher Art School of the Academy of Arts.

IY Bilibin lived most of his life in St. Petersburg. He was a member of the World of Art association. He began to show interest in the ethnographic style of painting after he saw at one of the exhibitions a painting by the great artist Viktor Mikhailovich Vasnetsov "Bogatyrs". For the first time, he created several illustrations in his recognizable Bilibino style after he accidentally ended up in the village of Yegny in the Tver province. The Russian hinterland with its dense untouched forests, wooden houses, similar to the very fairy tales of Pushkin and the paintings of Viktor Vasnetsov, inspired him so much with its originality that he, without hesitation, began to create drawings. It was these drawings that became illustrations for the book "The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf." We can say that it was here, in the heart of Russia, in its distant settlements lost in the forests, that all the talent of this wonderful artist manifested itself. After that, he began to actively visit other regions of our country and write more and more illustrations for fairy tales and epics. It was in the villages that the image of ancient Russia was still preserved. People continued to wear ancient Russian costumes, held traditional holidays, decorated houses with intricate carvings, etc. All this was captured in his illustrations by Ivan Bilibin, making them head and shoulders above the illustrations of other artists thanks to their realism and precisely noticed details.

His work is the traditions of ancient Russian folk art in a modern way, in accordance with all the laws of book graphics. What he did is an example of how modernity and the culture of the past of our great country can coexist. Being, in fact, an illustrator of children's books, he attracted the attention of a much larger public with his art, viewers, critics and connoisseurs of beauty.

Ivan Bilibin illustrated such tales as: "The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf" (1899), "The Tale of Tsar Saltan" (1905), "Volga" (1905), "The Golden Cockerel" (1909) ), "The Tale of the Golden Cockerel" (1910) and others. In addition, he designed the covers of various magazines, including: "World of Art", "Golden Fleece", publications "Rosehip" and "Moscow Book Publishing House".

Ivan Yakovlevich Bilibin is famous not only for his illustrations in the traditional Russian style. After the February Revolution, he drew a two-headed eagle, which at first was the coat of arms of the Provisional Government, and from 1992 to this day it has been decorating the coins of the Bank of Russia. The great Russian artist died in Leningrad during the blockade on February 7, 1942 in a hospital. The last work was an illustration for the epic "Duke Stepanovich". He was buried in the mass grave of the professors of the Academy of Arts near the Smolensk cemetery.

The ingenious words of Ivan Yakovlevich Bilibin: “Only quite recently, like America, was discovered the old artistic Russia, crippled by Vandals, covered with dust and mold. But even under the dust it was beautiful, so beautiful that the first momentary impulse of those who discovered it is quite understandable: to return it! return!".

Ivan Bilibin paintings

Baba Yaga. Illustration for the fairy tale Vasilisa the Beautiful

White rider. Fairy tale Vasilisa the Beautiful

Illustration for the epic Volga

Illustration for the fairy tale White duck

Fairy tale Marya Morevna

Illustration for the Tale of the Golden Cockerel

The Tale of Tsar Saltan

Illustration for the Tale of Tsar Saltan

The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf

Illustration for the Tale of Ivan Tsarevich, the Firebird and the Gray Wolf

Illustration for the fairy tale Feather of Finist Clear Falcon

The artistic heritage of the master is not limited to book graphics. AF Pakhomov is the author of monumental paintings, paintings, easel graphics: drawings, watercolors, numerous prints, including exciting sheets of 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 the coverage of his work began only with the works of the mid-30s, and sometimes even later - with a series of lithographs of the war years. Such a limited approach not only narrowed and curtailed the idea of ​​the original and striking heritage 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 has long ripened. The first monograph about him appeared in the mid-1930s. Naturally, only a part of the works was considered in it. Despite this and some limited understanding of the traditions inherent in that time, the work of the first biographer V.P. Anikieva retained its value from the factual point of view, as well as (with the necessary adjustments) conceptually. In the essays about the artist published in the 50s, the coverage of the material of the 1920s and 1930s turned out to be narrower, and the coverage of the work of subsequent periods was more selective. Today, the descriptive and evaluative side of the works about A.F. Pakhomov, two decades distant from us, seem to have largely lost their credibility.

In the 60s AF 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 the extensive material of the recordings of conversations with Alexei Fedorovich Pakhomov, made by the author of these lines, helped to create the monograph offered to readers.

A.F. Pakhomov owns an extremely large number of paintings and graphics. Without pretending to exhaustive coverage, the author of the monograph considered it his task to give an idea of ​​the main aspects of the master's creative activity, its wealth and originality, the teachers and colleagues who contributed to the formation of A.F. Pakhomov's art. Citizenship, deep vitality, realism, characteristic of the artist's works, made it possible to show the development of his work in constant and close connection with the life of the Soviet people.

As one of the greatest masters of Soviet art, A.F. Pakhomov carried on his entire long life and creative path an ardent love for the Motherland, for its people. High humanism, truthfulness, imaginative saturation make his works so sincere, sincere, full of warmth and optimism.

In the Vologda Region, near the town of Kadnikov, on the banks of the Kubena River, there is the village of Varlamove. There, on September 19 (October 2), 1900, a boy was born to a peasant woman, Efimia 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 particular optimism, open-mindedness, spiritual directness, and responsiveness were also rooted here. Alexey was brought up in a working environment. They did not live well. As in the whole village, there was not enough bread of our own until spring, it was necessary to buy it. Additional income was required, which the adult family members were engaged in. One of the brothers was a stonecutter. Many fellow villagers were carpenters. And yet the early period of life was remembered by young Alexei as the most joyful. After two years of study at a parish school, and then another two years at a zemstvo school in a neighboring village, he was sent "to the state account and to state grub" to a higher primary school in the city of Kadnikov. The time of classes there remained in the memory of A.F. Pakhomov as very hard and hungry. “Since then, my carefree childhood in my father’s house,” he said, “forever began to seem to me the happiest and most poetic time, and this poeticization of childhood later became the main motive in my work.” Alexei's artistic abilities manifested themselves early, although there were no conditions for their development where he lived. But even in the absence of teachers, the boy achieved certain results. The neighboring landowner V. Zubov drew attention to his talent and presented Alyosha with pencils, paper and reproductions from paintings by Russian artists. Pakhomov's early drawings, which have survived to this day, reveal what later, being enriched with 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, children of the neighborhood. It is interesting that the rhythm of the lines of these ingenuous pencil portraits echoes the drawings of his mature period.

In 1915, by the time he graduated from the school in the city of Kadnikov, at the suggestion of the district marshal of the nobility Y. Zubov, local art lovers announced a subscription and, using the collected money, sent Pakhomov to Petrograd at the school of A.L. Stieglitz. With the revolution, changes came to the life of Alexei Pakhomov. Under the influence of the new teachers who appeared at the school - N. A. Tyrsa, M. V. Dobuzhinsky, S. V. Chekhonin, V. I. Shukhaev - he seeks to understand more deeply the tasks of art. A short training under the guidance of a great master of drawing Shukhaev gave him a lot of value. These lessons laid the foundation for understanding the structure 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 depict it in a meaningful way. While drawing, he got used to not being dependent on the conditions of light and shade, but, as it were, to “illuminate” the nature with his eye, leaving light close parts of the volume and darkening those that are more distant. “True,” the artist remarked, “I didn’t become a devout Shukhaev, that is, I didn’t paint a sanguine, smearing it with an elastic band so that the human body looked spectacular.” The lessons of the most prominent artists of the book - Dobuzhinsky and Chekhonin, were useful, as Pakhomov admitted. He especially remembered the advice of the latter: to achieve the ability to write fonts on a book cover immediately with a brush, without preliminary outline in pencil, "like an address on an envelope." According to the artist, such a development of the necessary eye helped later in sketches from nature, 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 permanent job, Pakhomov left for his homeland, enrolling as an art teacher at a school in Kadnikov. These months were of immense benefit to the completion of his education. After lessons in the first and second grade, he read eagerly as long as the light allowed and his eyes did not get tired. “All the time I was in an agitated state, I was seized with a fever of knowledge. The whole world was revealed to me, which I, it turns out, 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 that were taking place.”

The treasures of science and literature were revealed to the young man; it was quite natural that he intended to continue his interrupted studies in Petrograd. In a familiar building in Solyaniy Lane, he began to study with N. A. Tyrsa, who was then also the commissar of the former Stieglitz school. “We, the students of Nikolai Andreevich, 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 talks about art with bated breath. " The head of the workshop wittily refuted outdated views on painting, introduced students to 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 art, he demanded immediacy from those who studied in his workshop: write as you feel. In 1919, Pakhomov was drafted into the Red Army. He closely got to know 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, demobilized after an 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. Of the works of Pakhomov, performed at this time, few have survived. Such is, for example, "Still Life" (1921), distinguished by a subtle sense of texture. In it one can see the desire learned from Lebedev to achieve "made-up" in his works, to look not for superficial completeness, but for a constructive pictorial organization of the canvas, not forgetting about the plastic qualities of the depicted.

The idea of ​​Pakhomov's new big work - the painting "Haymaking" - arose in his native village Varlamov. There material was collected for her. The artist depicted not an ordinary everyday scene on the mow, but the help of young peasants to their neighbors. Although the transition to collective, collective farm work was then a matter of the future, the event itself, showing the enthusiasm of youth and enthusiasm for work, was in some way akin to new trends. Sketches and sketches of the figures of mowers, fragments of the landscape: grasses, bushes, stubble, testify to the amazing consistency and seriousness of the artistic concept, where bold textured 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. The artist went to this picture for several years and completed many preparatory works. In a number of them, he developed plots that were close or accompanying the main theme.

In the drawing "They beat back the scythes" (1924), two young peasants are shown at work. They were sketched by Pakhomov from nature. Then he passed this sheet with a brush, generalizing what was depicted without observing his models. Good plastic qualities, combined with the transfer of strong movement and the general picturesque use of ink, can be seen in the earlier work of 1923, "Two Mowers". With deep truthfulness, and one might say, and the severity of the drawing, here the artist was interested in the alternation of plane and volume. The sheet has cleverly used ink wash. The landscape setting is given by a hint. The texture of the mown and standing grass is felt, which brings rhythmic variety to the drawing.

Among the considerable number of developments in the color of the plot "Haymaking" should be called the watercolor "Mower in a pink shirt". In it, in addition to painting washes with a brush, scratching was applied on a wet paint layer, which gave a special sharpness to the image and was introduced in a different technique (in oil painting) into the picture. The large leaf "Haymaking", painted with watercolors, 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 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 on a diagonal. Appreciating this technique, the artist built the picture in the same way, and then did not forget it in the future. Pakhomov achieved a picturesque overall scale and conveyed the impression of a morning haze permeated with sunlight. The same theme is resolved differently in the oil painting "On the Mow", which depicts working mowers and a horse grazing beside a cart aside. The landscape here is different than in the rest of the sketches, variants and in the painting itself. Instead of a field - the bank of a fast river, which is emphasized by the currents 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 decorativeness was found in the combination of figures with the environment, which enhanced the overall color sound.

One of Pakhomov's paintings on the theme of sports in the 1920s 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. Another figure in the distance is shown in contrast, introducing rhythmic variety and completing the compositional thought. 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 manifested itself in the artist's graphics. Since the mid-1920s, deep understanding and creation of images of children of the Land of Soviets was an outstanding contribution of Pakhomov to art. Studying great pictorial and plastic problems, the artist solved them in works on this new important topic. At the 1927 exhibition, the canvas "Peasant Girl" was demonstrated, which, although it echoed in its task 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 was originally captured. Close to this canvas in terms of immediacy of sensation is "The Girl with the Hair", exhibited for the first time in 1929. It differed from the bust image of 1927 in a new, more developed composition, including almost the entire figure in height, conveyed in a more complex movement. The artist showed a relaxed pose of a girl adjusting 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 ocher-greenish log walls of the hut contribute to the emotionality of the image. Pakhomov subtly captured the innocent expression of a child's face, the touching pose. Bright, unusual images stopped the audience. Both works were included in 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 saturated his works with inspired conviction and the power of life's truth. His artistic personality took shape early. Acquaintance with his work shows that already in the 1920s it was distinguished by its 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 impact of ancient Russian painting was no less profound. AF Pakhomov was one of the masters who innovatively approached the rich classical heritage. His works have a modern feeling in solving both pictorial and graphic tasks.

Pakhomov's mastery of new themes in the paintings "1905 in the Country", "Horsemen", "Spartakovka", in a cycle of paintings about children is of great importance for the formation of Soviet art. The artist played a prominent role in creating the image of a contemporary, his series of portraits is clear evidence of this. For the first time, he introduced into art such vivid and vital images of young citizens of the Land of the Soviets. This side of his talent is extremely valuable. His works enrich and expand the understanding of the history of Russian painting. Since the 1920s, the country's largest museums have been acquiring Pakhomov's canvases. His works have gained international fame at large exhibitions in Europe, America, Asia.

AF Pakhomov was inspired by socialist reality. His attention was drawn to the testing of turbines, the work of weaving mills and new developments in the life of agriculture. His works cover topics related to collectivization, and with the introduction of technology into the fields, and with the use of combines, and with the work of tractors at night, and with the life of the army and navy. We emphasize the special value of these achievements of Pakhomov, because all this was reflected by the artist back in the 1920s and early 1930s. His painting "Pioneers at the Individual Farmer", a series about the commune "The Sower" and portraits from "Beautiful Swords" are among the most profound works of our artists about changes in the countryside, about collectivization.

The works of A.F. Pakhomov are distinguished by the monumental nature of their solutions. In the early Soviet murals, the artist's works are among the most striking and interesting. In the Red Oath paperboards, in the paintings and sketches for the Round Dance of Children of All Nations, in the pictures of the reapers, as in the best works of Pakhomov's painting in general, one can feel the connection with the great traditions of the ancient national heritage included in the treasury of world art. The coloristic, figurative side of his paintings, 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 Soviets. Here, in the depiction of a nude 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 greatest draftsmen of our time. The master was a masterly master of various materials. Works in ink and watercolors, pen and brush coexisted with brilliant graphite pencil drawings. His achievements go beyond the framework of Russian 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 in the next decade in trips around the country, and in cycles about pioneer camps.

A. F. Pakhomov's contribution to graphics is enormous. His easel and books on 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 a child. His drawings captivated readers with vitality and expressiveness. Without teaching, the artist vividly and clearly conveyed thoughts to children, aroused their feelings. And important topics of education and school life! None of the artists have solved them as deeply and truthfully as Pakhomov. For the first time so figuratively and realistically, he illustrated the poetry of V.V. Mayakovsky. His drawings for the works of Leo Tolstoy for children became an artistic discovery. The considered graphic material clearly showed that the work of Pakhomov, an illustrator of modern and classical literature, is inappropriate to limit only to the field of children's books. The artist's excellent drawings for the works of Pushkin, Nekrasov, Zoshchenko testify to the great successes 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 period of the hardest trials of the Leningrad blockade, the artist did not interrupt his work. Together with the masters of art from the city on the Neva, he, as he once did in his youth in the civil war, worked on assignments from the front. A series of lithographs by Pakhomov "Leningrad in the days of the siege", one of the most significant creations of the art of the war years, reveals the unparalleled valor and courage of the Soviet people.

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

His works are characterized by classical clarity and laconism of pictorial means. The image of a person is his main goal. An extremely important aspect of the artist's work, which makes him related to classical traditions, is the striving for plastic expressiveness, which is clearly visible in his paintings, drawings, illustrations, prints right down to his most recent works. He did it constantly and consistently.

AF Pakhomov is “a deeply original, great Russian artist, completely immersed in the display of 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, Petersburg - 11/21/1967, 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. Roubaud and attended the school of drawing, painting and sculpture of M. D. Bernstein and L. V. Sherwood (1910-1914), studied in St. Petersburg at the Academy of Arts (1912-1914). Member of the Four Arts Society. Collaborated in the magazines "Satyricon", "New Satyricon". One of the organizers " ROSTA windows "in Petrograd.

In 1928, a personal exhibition of Vladimir Vasilyevich Lebedev, one of the brilliant graphic artists of the 1920s, was held at the Russian Museum in Leningrad. He was photographed then against the background of his works. An impeccable white collar and tie, a hat pulled down over his eyebrows, a serious and slightly arrogant expression on his face, he looks correct and does not let him get close, and, at the same time, his jacket is thrown off, and the sleeves of his shirt, rolled up above the elbows, reveal muscular large arms with brushes "smart" and "nervous". All together leaves an impression of composure, readiness to work, and most importantly - corresponds to the nature of the graphics shown at the exhibition, internally tense, almost reckless, sometimes ironic and as if encased in armor with a slightly cooling graphic technique. The artist entered the post-revolutionary era with posters for "ROSTA Windows". As in the "Ironers" (1920), created at the same time, they imitated the manner of a colored collage. However, in the posters this technique, which comes from Cubism, acquired a completely new understanding, expressing with the lapidarity of a sign and the pathos of defending the revolution (" Guarding October ", 1920) and the will to work dynamically (" Demonstration ", 1920). One of the posters ("Need to work - the rifle is near", 1921) depicts a worker with a saw and at the same time he himself is perceived as a kind of firmly knitted object. The orange, yellow and blue stripes of which the figure is composed are extremely tightly connected with printed letters, which, in contrast to cubist inscriptions, have a specific semantic meaning. what expressiveness the diagonal formed by the word "work", the saw blade and the word "must" cross each other, and the steep arc of the words "rifle nearby" and the line of the worker's shoulders! for children's books.In Leningrad, a whole direction in the illustration of books for children was formed in the 1920s. V. Ermolaeva, N. Tyrsa worked together with Lebedev , N. Lapshin, and the literary part was headed by S. Marshak, who was then close to a group of Leningrad poets - E. Schwartz, N. Zabolotsky, D. Harms, A. Vvedensky. In those years, a very special image of the book was established, different from that which was cultivated in those years by the Moscow illustration headed by V. Favorsky. While in the group of Moscow woodcut printers or bibliophiles an almost romantic perception of the book reigned, and the work on it itself contained something "sternly selfless", Leningrad illustrators created a kind of "toy book", handed it directly into the hands of a child. for which it was intended. The movement of the imagination "into the depths of culture" was replaced here by a cheerful efficiency, when a painted book could be twisted in hands or at least crawled around it, lying on the floor surrounded by toy elephants and cubes. Finally, the "holy of holies" of Favorsky's woodcuts - the gravitation of black and white elements of the image in depth or from the depths of the sheet - gave way here to frankly flat fingering, when the drawing appeared as if "under the hands of a child" from pieces of paper cut with scissors. The famous cover for "Little Elephant" by R. Kipling (1926) is formed as if from a heap of scraps randomly scattered over the paper surface. It seems that the artist (and perhaps the child himself!) Until then moved these pieces on the paper, until a finished composition in which everything "moves like a wheel" and where, meanwhile, nothing can be moved by a millimeter: in the center - a baby elephant with a curved long nose, around it - pyramids and palm trees, on top - a large inscription "Baby elephant", and below a crocodile, which has suffered a complete defeat.

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

All these Lebedev pictures, addressed to ordinary readers-children, including such masterpieces as lithographs for the book "Hunt" (1925), were, on the one hand, the product of a refined graphic culture that could satisfy the most discerning eye, and on the other - art, revealed into living reality. The pre-revolutionary graphics, not only of Lebedev, but also of many other artists, did not yet know such open contact with life (despite the fact that Lebedev painted for the magazine "Satyricon" in the 1910s) - those "vitamins" were absent, or rather, those "yeast of vitality" on which Russian reality itself "roamed" in the 1920s. Lebedev's everyday drawings revealed this contact with extraordinary clarity, not so much intruding into life as illustrations or posters, but absorbing it into their imaginative sphere. At the heart of this is a heightened, greedy interest in all the new social types that constantly arose around. Drawings from 1922-1927 could be combined with the title "Panel of the Revolution", with which Lebedev titled only one episode of 1922, which depicted a line of figures from a post-revolutionary street, and the word "panel" said that it was most likely foam whipped by those rolling on them. streets with a stream of events. The artist draws sailors with girls at Petrograd crossroads, merchants with stalls or dandies dressed in the fashion of those years, and in particular, Nepmen - these comic and at the same time grotesque representatives of the new "street fauna", whom he painted with enthusiasm in those same years and V. Konashevich and a number of other masters. Two Nepmen in the drawing "Couple" from the series "New Life" (1924) could pass for the same clowns that Lebedev soon depicted on the pages of "Circus", if not for the harsher attitude of the artist himself towards them. Lebedev's attitude to such characters cannot be called either "stigmatizing", let alone "scourging." Before these Lebedev drawings, it was no coincidence that P. Fedotov was recalled with his no less characteristic sketches of street types of the 19th century. I meant that living inseparability of the ironic and poetic principles, which marked both artists and which in both made up a special appeal of the images. One can also recall Lebedev's contemporaries, the writers M. Zoshchenko and Yu. Olesha. They have the same indivisibility of irony and smile, mockery and admiration. Apparently, Lebedev was somehow impressed by the cheap chic of a regular sailor's gait ("The Girl and the Sailor"), and the dashing girl, with the boot approved on the cleaner's box ("The Girl and the Boot Cleaner"), his even something attracted by the zoological or purely vegetable innocence with which, like burdocks under a fence, all these new characters climb upward, demonstrating miracles of adaptability, such as, for example, ladies in furs talking at a shop window ("People of Society", 1926) or a bunch of Nepmen on the evening street (The Napmans, 1926). Particularly striking is the poetic beginning in the most famous Lebedev's series "The Love of Punks" (1926-1927). What captivating vitality breathe in the drawing "On the Skating Rink" the figures of a guy with a sheepskin coat open on his chest and a girl sitting on a bench in a bonnet with a bow and bottle legs pulled into high boots. If in the series "New Life", perhaps, one can also talk about satire, then here it is already almost imperceptible. In the picture "Rash, Semyonovna, pour in, Semyonovna!" - the height of the binge. In the center of the sheet there is a hotly and youthfully dancing couple, and the viewer seems to hear the guy's boots splash or snap off the beat of the guy's boots, feels the snake flexibility of his bare back, the ease of movement of his partner. From the "Panel of the Revolution" series to the drawings "The Love of Punks," the Lebedev style itself underwent a noticeable evolution. The figures of the sailor and the girl in the 1922 drawing are still composed of independent spots - spots of ink of various textures, similar to those in The Ironers, but more generalized and catchy. In "New Life" stickers were added here, turning the drawing no longer into an imitation of a collage, but into a real collage. Plane predominated in the image, especially since, according to Lebedev himself, a good drawing must first of all "fit well in the paper." However, in the sheets of 1926-1927, the paper plane was replaced by the depicted space with its chiaroscuro and the subject background. Before us are no longer spots, but gradual gradations of light and shadow. At the same time, the movement of the drawing consisted not in "cutting and sticking", as it was in "NEP" and in "Circus", but in the sliding of a soft brush or in the flow of black watercolors. By the mid-1920s, many other draftsmen were also making progress on the path to increasingly free, or pictorial, as it is usually called. There were N. Kupreyanov with his village "herds", and L. Bruni, and N. Tyrsa. The drawing was no longer limited to the effect of "bribery", the sharpened grasping "on the tip of the pen" of all new characteristic types, but as if he himself was drawn into the living stream of reality with all its changes and emotionality. In the mid-1920s, this refreshing stream swept over the sphere of not only "street" but also "home" themes and even such traditional layers of drawing as drawing in a workshop with a nude human figure. And what a drawing that was new in its entire atmosphere, especially if we compare it with the ascetically strict drawing of the pre-revolutionary decade. If we compare, for example, the excellent drawings from the nude model N. Tyrsa of 1915 and Lebedev's drawings of 1926-1927, will amaze the spontaneity of Lebedev's sheets, the strength of their feelings.

This immediacy of Lebedev's sketches from the model forced other art critics to remember the techniques of impressionism. Lebedev himself was deeply interested in the Impressionists. In one of his best drawings in the series "The Acrobat" (1926), a brush saturated with black watercolors seems to create energetic movement of the model itself. For the artist, a confident stroke is enough to throw the left hand aside, or one sliding touch to direct the direction of the elbow forward. In the series "Dancer" (1927), where light contrasts are weakened, the element of moving light evokes associations with impressionism. "From a space permeated with light," writes V. Petrov, "like a vision, the outlines of a dancing figure appear."

It goes without saying that this Lebedevian impressionism is no longer equal to classical impressionism. Behind him you always feel the "training of constructiveness" recently passed by the master. Both Lebedev and the Leningrad direction of drawing remained themselves, not for a minute forgetting either the constructed plane or the drawing texture. Indeed, creating a composition of drawings, the artist reproduced not a space with a figure, as did the same Degas, but rather this figure alone, as if merging its form with the format of the drawing. It barely cuts off the top of the head and the very tip of the foot, which is why the figure does not lean on the floor, but rather "hooked" on the lower and upper edges of the sheet. The artist strives to bring the "figured plan" and the plane of the image as close as possible. The pearl stroke of his damp brush therefore belongs equally to the figure and the plane. These disappearing light strokes, transmitting both the figure itself and as if the warmth of the air warmed near the body, are simultaneously perceived as a uniform texture of the picture, associated with the strokes of Chinese ink drawings and seem to the eye as delicate "petals", thinly smoothed to the surface of the sheet. Moreover, in Lebedev's "Acrobats" or "Dancers" there is, after all, the same chill of a confident, artistic and slightly detached approach to the model, which was noted for the characters in the "New Life" and "NEP" series. In all these drawings, there is a strong generalized-classical basis, which so sharply distinguishes them from Degas's sketches with their poetry of character or everydayness. So, in one of the shiny sheets, where the ballerina is turned with her back to the viewer, with her right foot on her toes behind her left (1927), her figure resembles a porcelain figurine with penumbra and light gliding over the surface. According to N. Lunin, the artist found in the ballerina "a perfect and developed expression of the human body." "Here it is - this thin and plastic organism - it is developed, perhaps a little artificially, but it is calibrated and precise in movement, capable of" telling about life "more than any other, because it contains the least of all the formless, unfinished, unsteady case ". The artist was really interested not in ballet itself, but in the most expressive way of "telling life". After all, each of these SHEETS is like a lyric poem dedicated to a poetically valuable movement. The ballerina N. Nadezhdina, who posed for the master for both episodes, obviously helped him a lot, stopping in those "positions" well-studied by her, in which the vital plasticity of the body was revealed most impressively.

The artist's excitement seems to break through the artistic correctness of confident skill, and then involuntarily transmitted to the viewer. In the same magnificent sketch of a ballerina from the back, the viewer observes with enthusiasm how the virtuoso brush not so much depicts as creates a figure instantly frozen on his toes. Her legs, traced by two "petals of strokes", easily rise above the fulcrum, higher - like a disappearing penumbra - alert scattering of a snow-white bundle, even higher - through several gaps that give the drawing aphoristic brevity - an unusually sensitive, or "very hearing" back dancer and no less "hearing" turn of her small head over a wide sweep of the shoulders.

When Lebedev was photographed at the 1928 exhibition, a promising road seemed to lie in front of him. Several years of hard work seemed to have raised him to the very heights of graphic art. At the same time, both in the children's books of the 1920s and in "Dancers", perhaps, such a degree of complete perfection was achieved that, perhaps, there was no path of development from these points. Indeed, Lebedev's drawing and, moreover, Lebedev's art reached their absolute peak here. In subsequent years, the artist was very actively involved in painting, a lot and for many years illustrated children's books. And at the same time, everything he did in the 1930-1950s was no longer comparable with the masterpieces of 1922-1927, and the master, of course, did not try to repeat his finds left behind. Especially unattainable not only for the artist himself, but also for all the art of subsequent years, Lebedev's drawings of a female figure remained. If the subsequent era could not be attributed to the decline in drawing from a nude model, it was only because she was not interested in these topics at all. Only in recent years a turning point seems to be outlined in relation to this most poetic and most creatively noble sphere of drawing, and if this is so, then V. Lebedev among the draftsmen of the new generation, perhaps, will have a new glory.

1.3 Famous illustrators

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

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

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

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

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

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

Jon Bauer (1882-1917) was best known for his illustrations for the book "Among the Dwarfs and Trolls" (Swedish: "Bland tomtar och troll"), which was published annually in Sweden at Christmas. It was he who created the tradition in the depiction of the fairy forest and the magical characters inhabiting it. Bauer specialized in illustrations for Scandinavian legends.

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

At the turn of the century, new talented authors emerged in Britain. At the beginning of the twentieth century, some of the best books by F.Kh. Burnett, E. Nesbit and R. Kipling. The eminent poet and prose writer Joseph Rudyard Kipling stood out in the English literature of this period. He is a combination of a deeply conservative worldview and flamboyant original talent. Good humor and rich imagination prevail in his fairy tales for children. For some fairy tales, Kipling did illustrations as an artist.

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

Disney, Ionaitis, Kittelsen, Tuvi Janson (illustrated her own fairy tales about the Mummi Trolls), O. Balovintseva, who gained wide popularity thanks to her wonderful illustrations for Arabic fairy tales, left a significant mark in the history of children's illustration.

Chapter II. Computer graphics in book illustration

He wrote to Goethe. These problems are only indirectly related to our work. However, some connection can be traced here as well. The purpose of our work is to automate and approbate psychodiagnostic techniques in vocational guidance work with older students. Literally translated, the word ecology means the science that studies the house, dwelling. In other words, a certain habitat. In our case, considering ...

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

One of the means of reflecting reality is oral folk art. Each nation has its own distinctive spiritual face, arising from the instinctive and mental originality of the perception of the surrounding world. "The spiritual originality of the people is manifested in the language, songs, poetry, prayer, fairy tales."

The fairy tale, as the most valuable type of folk art, has combined mythical, adventure and everyday narratives.

Fairy tales are subdivided into animal tales, magic and everyday tales.

The most ancient type of fairy tales that have come down to us is fairy tales about animals. Generalizing typical characters in the images of animals, people deduced morality from a fairy tale, a moral example for subsequent generations. This type includes the fairy tales "The Wolf and the Fox", "The Cat and the Fox", "The Cat, the Rooster and the Fox", "The Wolf and the Seven Kids", as well as mixed genres of fairy tales, where people participate along with intelligent animals. The best example of such interaction is the tale "The Turnip" (by the way, note how often the wolf and the fox take part in such tales as carriers of a pronounced character).

Fairy tales about animals remind us of the connection of the primitive race with animals, the descendants of which people considered themselves to be. "A person who has retained spiritual purity and kindness to everything in nature speaks its language, therefore, so often in a fairy tale, animals help the hero, give various items to find the truth, even fall in love with animals - and through the highest feeling of love, the animal turns into a beautiful person."

Household tales (anecdotal and novelistic).

The latest genre of folklore in its origin. The anecdotal tale developed from animal tales. It is distinguished from the anecdote itself by a detailed narrative (not for one or two paragraphs) and a more stable storyline. An example is the lesser-known tales of stupid wives, village fools and greedy priests and merchants. (Slide 4)

A novelistic tale is distinguished by the fact that a human hero acts in it, fighting not against evil forces, fate, but most often against the injustice of the social system in the person of its individual representatives (for example, the already mentioned today "The Tale of the Priest and His Worker Balda"). The novelistic tale as a genre has its own written sources from about the 17th century, and in subsequent centuries it is usually author's (P. Ershov, A. Pushkin, V. Odoevsky, P. Bazhov, N. Leskov).

Through a fairy tale, the world around was comprehended: the luminaries, the Milky Way, the stars, the seasons become close and understandable. Remember the appeal of the heroes to the Sun, the Month of the Month, Vetr Vetrovich, to Rechenka - the jelly banks.

Fairy tales - p Perhaps the most interesting and exciting genre of fairy tales. Such a tale can be distinguished in many ways:

The hero of these tales is brave, handsome and courageous (however, this is where his characteristics end, he is only needed to reveal the storyline).

Animals act as assistants, and not the main characters of the tale (a gray wolf, a faithful heroic horse, suddenly speaking in a human voice).

- the main difference between a fairy tale is its characteristic plots. The frog princess, the wise Vasilisa, possessing the secret gift of magic, about the princes who gain fame and a bride in magical adventures, about the three kingdoms - copper, silver and gold, about Finiste the clear falcon, about the firebird and many others, undoubtedly represent are fairy tales.

Fairy tales are collectively created and collectively stored by the people oral artistic epic narratives in prose, which use the techniques of implausible depiction of reality, fantastic fiction, the various and traditional forms of which, without repeating anymore in any other genre of folklore, have evolved over the centuries, in close connections with the entire way of life of the people, and were in the initial connection with mythology.

The images of the animal world often personify human vices, weaknesses and shortcomings in fairy tales. Often a person is compared to a beast: “evil like a wolf”, “cunning like a fox”, “stomping like a bear”, “faithful like a dog”.

In Russian folk tales, animals have their own character, habits. The fox has a number of nicknames: godfather-fox, fox-sister, fox- Patrikeevna, Lizaveta Ivanovna etc. Wolf - Wolf gray tail, Wolf teeth snap.

Based on the studied literature and Russian folk tales, we have identified the main characteristics of animals:

Bear- good-natured, simpleton, strong, clumsy, gourmet, slow-witted, gullible lump, smart.

Wolf- evil, greedy, stupid, rustic, gullible, strong.

Rooster- bold, handsome, warlike.

Hare- cowardly, weak, cunning, boastful, harmless.

Fox- cunning, forged, greedy, pretender, deceiver, thief, smart, beautiful, fashionista.

Hedgehog- smart, careful, resourceful.

Owl- wise.

Mouse- hardworking, kind.

To illustrate Russian folk tales, various artists used their compositional solutions, artistic means and expressive techniques to convey the fabulousness of what was happening.

Let's get acquainted with illustrations by Ivan Bilibin for Russian folk tales

You can find out Bilibin's works by a large-format thin notebook with large color drawings. And the artist here is not just the author of the drawings, but also of all the decorative elements of the book - the cover, initials, fonts and ornamental decorations.
The characteristic features of the Bilibino style: the beauty of the patterned pattern, the exquisite decorativeness of color combinations, the combination of a bright fairytale with a sense of folk humor. Bilibin underlined the plane of the book page with a contour line

Illustrations by Yuri Vasnetsov for Russian folk tales

Style: The artist was inspired by elegant Dymkovo dolls and bright roosters, the traditions of popular prints and folk fantasy had a noticeable influence on the work of the illustrator.

Illustrations by E. M. Rachev for Russian folk tales

Illustrations by the talented artist Ivan Bilibin for Russian fairy tales (and not only). Before looking at his wonderful works, I invite friends to read an excellent article

7 main facts from the life of the fairytale artist Ivan Bilibin

Ivan Bilibin is a modernist and lover of antiquity, an advertiser and storyteller, the author of the revolutionary two-headed eagle and a patriot of his country. 7 main facts from the life of Ivan Yakovlevich Bilibin

1. Artist-lawyer

Ivan Yakovlevich Bilibin was going to become a lawyer, studied diligently at the Faculty of Law of St. Petersburg University and successfully completed the full course in 1900. But in parallel with this, he studied painting at the drawing school of the Society for the Encouragement of Artists, then in Munich with the artist A. Ashbe, and after, for another 6 years, was a student of I.E. Repin. In 1898 Bilibin sees Vasnetsov's "Heroes" at an exhibition of young artists. After that, he leaves for the village, studies Russian antiquity and finds his own unique style, in which he will work until the end of his life. For the refinement of this style, the vigor of the work and the impeccable firmness of the artist's line, his colleagues called him “Ivan the Iron Hand”.

2. Artist-storyteller

Almost every Russian person knows Bilibin's illustrations from the books of fairy tales that were read to him at night in childhood. Meanwhile, these illustrations are more than a hundred years old. From 1899 to 1902 Ivan Bilibin created a series of six "Fairy Tales" published by the Expedition of Procurement of State Papers. After that, Pushkin's tales about Tsar Saltan and the Golden Cockerel and a slightly less famous epic "Volga" with illustrations by Bilibin were published in the same publishing house.

It is interesting that the famous illustration for "The Tale of Tsar Saltan ..." with a barrel floating on the sea resembles the famous "Big Wave" by the Japanese artist Katsushiki Hokusai. The process of making a graphic drawing by I. Ya. Bilibin was similar to the work of an engraver. First, he sketched a sketch on paper, clarified the composition in all details on tracing paper, and then translated it into whatman paper. After that, using a kolinsky brush with a cut off end, likening it to a cutter, I traced a clear wire contour with ink over the pencil drawing.

Bilibin's books are like painted boxes. It was this artist who first saw a children's book as a holistic artistically designed organism. His books are similar to old manuscripts, because the artist thinks over not only drawings, but all decorative elements: fonts, ornaments, decorations, initials and everything else.

Few people know that Bilibin even worked in the field of advertising. The place where the Polyustrovo mineral water plant is located in St. Petersburg used to be the Joint Stock Company of the New Bavaria Beer and Honey Factory. It was for this plant that Ivan Yakovlevich Bilibin created advertising posters and pictures. In addition, the artist created posters, addresses, sketches postage stamps (in particular, a series for the 300th anniversary of the House of Romanov) and about 30 postcards for the Community of St. Eugenia Later Bilibin drew postcards for Russian publishing houses in Paris and Berlin.

4. Two-headed eagle

The same two-headed eagle, which is now used on the coins of the Bank of Russia, belongs to the brush of the heraldry expert Bilibin. The artist painted it after the February Revolution as the coat of arms for the Provisional Government. The bird looks fabulous, not ominous, because the famous illustrator of Russian epics and fairy tales painted it. The two-headed eagle is depicted without royal regalia and with lowered wings; the inscription "Russian Provisional Government" and the characteristic "forest" Bilibino ornament are made around the circle. Bilibin transferred the copyright to the coat of arms and some other graphic designs to the Goznak factory.

5. Theater artist

Bilibin's first experience in scenography was the design of Rimsky-Korsakov's opera The Snow Maiden for the National Theater in Prague. His next works - sketches of costumes and scenery for the operas "The Golden Cockerel", "Sadko", "Ruslan and Lyudmila", "Boris Godunov" and others. And after emigrating to Paris in 1925, Bilibin continued to work with theaters: he prepared brilliant scenery for the performances of Russian operas, designed Stravinsky's ballet The Firebird in Buenos Aires and operas in Brno and Prague. Bilibin made extensive use of old engraving, popular prints, and folk art. Bilibin was a true connoisseur of ancient costumes of different peoples, he was interested in embroidery, braid, weaving techniques, ornament and everything that created the national flavor of the people.

6. The artist and the church

Bilibin also has works related to church painting. In it, he remains himself, retains his individual style. After leaving St. Petersburg, Bilibin lived for some time in Cairo and actively participated in the design of the Russian house church in the premises of the clinic, arranged by Russian doctors. The iconostasis of this temple was built according to his project. And after 1925, when the artist moved to Paris, he became a founding member of the "Icon" society. As an illustrator, he created the charter cover and print design for the society. There is a trace of him in Prague - he made sketches of frescoes and an iconostasis for a Russian church at the Olshansk cemetery in the capital of the Czech Republic.

7 homecoming and death

Over time, Bilibin reconciled with the Soviet regime. He designed the Soviet embassy in Paris, and then, in 1936, returned by boat to his native Leningrad. Teaching is added to his professions: he teaches at the All-Russian Academy of Arts - the oldest and largest art educational institution in Russia. In September 1941, at the age of 66, the artist refused the proposal of the People's Commissar of Education to evacuate from besieged Leningrad to the deep rear. “They don't flee from the besieged fortress, they defend it,” he wrote in reply. Under fascist shelling and bombing, the artist creates patriotic postcards for the front, writes articles and appeals to the heroic defenders of Leningrad. Bilibin died of hunger in the very first blockade winter and was buried in the mass grave of professors of the Academy of Arts near the Smolensk cemetery.