Valentin Aleksandrovich Serov (January 7, 1865, St. Petersburg - November 22, 1911, Moscow) - Russian painter and graphic artist, master of portraiture.
Fox and grapes. Paper, graphite pencil. 22.2x35.5 cm.
Among the undoubted masterpieces with which the pictorial and graphic heritage of Valentin Aleksandrovich Serov is so richly and diversified, a series of his illustrations to the fables of I. A. Krylov occupies a large and important place.
Quartet. 1895-1898 Paper, graphite pencil. 22.1x35.5 cm.
The artist worked on the series for sixteen years (from 1895 to 1911) and especially intensively in recent years life.
Leo in old age
The result of this work was large number completely finished works, which, being excellent illustrations for the fables of I. A. Krylov, at the same time have great independent artistic value.
Trishkin caftan. Paper, graphite pencil. 19x30 cm.
The fact that V. A. Serov turned to fables was not a surprise; he certainly had to be attracted by their sharp humor, which the artist greatly valued in life. In addition, Serov loved animals since childhood; in their behavior he found many similarities with the behavior of people. The artist constantly observed them and drew them, as evidenced by numerous sketches in albums over the years.
Lion and wolf. Paper, graphite pencil, ink, pen. 26.8 x 42.5 cm.
In 1895, A. I. Mamontov decided to publish the fables of I. A. Krylov with illustrations by V. A. Serov. He kindly invited the artist to make several drawings for this publication. At first, A.I. Mamontov intended to include all the fables in the publication, but then decided to limit himself to only the most popular ones.
To the fable "Pike". 1896
It was decided to call the publication “Twelve drawings by V. A. Serov on the fables of I. A. Krylov” and compose it from the following twelve sheets: “Wagon 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”.
Pestilence of beasts. Paper, Italian pencil. 26.7x42.5 cm.
Serov was fascinated by the work on drawings for fables, and although the publication was not carried out, the artist made a large number of magnificent sketches and completed illustrations *
"The monkey and the glasses." Paper, graphite and even pencil. 26.7x42.5 cm.
From the very beginning, Serov was faced with a difficult task - not only to create well-defined artistic images, but also to convey the specifics of the fable narrative. And for this a special artistic language. After all, a fable is a quick, lively sketch of reality, usually containing a moralizing meaning. A fabulist writer notices everyday oddities, mistakes, funny aspects of life, human vices and shortcomings in life and, pouring them into fable form, sharpens them in his own way and exaggerates them.
In borrowed plumes. To the fable "The Crow". Paper, graphite pencil.
Krylov ridiculed the negative human qualities, transferring them to animals. At the same time, he deliberately exaggerated the colors in order to hit human pride more painfully, in order to emphasize and strengthen the edifying meaning arising from this or that situation.
It was no coincidence that Krylov chose the fable as his weapon in the fight against human vices; wise simplicity of its content and humorous device the narratives are accessible to any reader and are easily digestible. The language of the fable is close to vernacular proverbs and sayings are well remembered.
Raven. V.A. Serov “Drawings for the fables of A.I. Krylova", Leningrad, 1951
Serov, like no one else, understood the specifics of fable storytelling. As a result of many years of persistent and tireless searches, he found his simple, apt form of story, enriched with humor and consonant with the language of the fable.
Frogs asking for the king. V.A. Serov “Drawings for the fables of A.I. Krylova"
It was not immediately possible for the artist to achieve the artistic completeness of the form and the semantic capacity that was needed for the fable illustration. Beginning in 1896, he stubbornly strives to find his visual “fable language,” but finally finds it only in his later illustrations.
Hare on the hunt. V.A. Serov “Drawings for the fables of A.I. Krylova"
The artist carefully selects the main thing in the fable and conveys it sparingly artistic means. So, gradually, he completely abandons the tone, chiaroscuro and those details that are found in such initial sheets as “The Wolf and the Shepherds”, “Three Men”, “Little Crow”. Later, he works only in pencil, emphasizing and sharpening the details that interest him, bringing out the most in the drawing. characteristic features common noun images of fables.
Lion and fox, etching. V.A. Serov “Drawings for the fables of A.I. Krylova"
However, at first the artist is still quite detailed. For now, he refuses only painterly 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 (depicting three men having dinner in a village hut) is also specific and verbose. The main thing is not emphasized enough in it, the irony is barely noticeable. The same can be said about the drawing “Little Crow”. It is still cumbersome, complex, and not concise enough.
Two dogs. V.A. Serov “Drawings for the fables of A.I. Krylova"
The mentioned works convey only the content of the fables. Serov wanted to ensure that the illustrations also had independent grotesque expressiveness. And for this it was necessary to draw simpler, more concisely and, at the same time, sharper. That's why most The originally conceived compositions were redrawn many times, becoming increasingly simplified and sharpened.
Thus, gradually being reworked, the composition of the Quartet changed radically. IN new composition Serov arranged the animals in reverse order, from right to left, and this composition seemed more successful to him. In addition, the artist changed the appearance of each animal, reworked its pose, movement, antics; made him more comical. The result was not just a genre scene, but fable images emerged, through which the edifying meaning began to emerge most clearly. Serov emphasized in the drawings the most characteristic things that are generally characteristic of this or that animal. These are new features of the Serov method, and they determined his further searches.
Razors. V.A. Serov “Drawings for the fables of A.I. Krylova"
While working on fables, Serov constantly used his numerous albums, which already contained sketches of the animals he needed. He loved and knew animals well, and therefore was able to give them quite accurate characteristics. Whether he depicted a wolf (sheet “Wolf and Crane”) or a fox near a vine (sheet “Fox and Grapes”) - 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 described the animals in the sheet “The Sea of Beasts” - a lion, standing 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 the animals intend to sacrifice “for their sins.”
Wolf and shepherds. V.A. Serov “Drawings for the fables of A.I. Krylova"
Another sheet (“Lion and Wolf”) depicts an angry, mighty king of beasts, looking menacingly after a dejectedly weaving wolf, who dared to snatch a piece of his prey. The lion and the wolf are characterized by very meager means, almost in one line. Their poses are expressive.
The sheet “Fox and Grapes” is no less convincing and interesting in its own way. The cunning little fox, bending coquettishly, quietly caresses towards the vine. The cheat looks expectantly at the bunch of grapes hanging, alas, too high.
The artist did not immediately succeed in depicting all these animals. Using thin transparent paper, he endlessly transferred the drawing he found from one sheet to another, leaving on the new sheet only those details that, in his opinion, were most successful. He enhanced these details, simplifying and generalizing the previous composition, honing the line, working on volume.
Despite the careful elaboration of each drawing, its strokes and lines never gave the impression of being dry. The artist always knew how to hide his hard work behind the apparent ease and freedom of drawing.
This is how Serov worked on the fables “The Wolf and the Crane” (starting with watercolor shading and pen drawing and ending with a laconic pencil drawing), “The Lion and the Wolf” (from an early tone watercolor drawing up to the last pencil version, the most simplified version), “Trishkin Kaftan” ( from a full-scale sketch to an extremely exaggerated image).
The fable “The Crow” (sheet “The Crow in Peacock Feathers”) underwent the same thorough revision. The artist deals with the theme extremely sparingly, depicting a crow dressed in peacock feathers, walking with comical importance, holding her head high, and peacocks looking at her arrogantly and hostilely, as if she were an impostor in their society. Here the characteristics of both crows and peacocks are incomparably given.
The sheet “Monkey and Glasses” turned out to be even more successful. It seems that the problem cannot be solved more acutely, more economically. The monkey, who “disposed” of his glasses in such a unique way, is the only figure depicted on the sheet.
V. A. Serov’s drawings for I. A. Krylov’s fables are truly outstanding works, which, based on the literary talent of Krylov the fabulist, acquired a deeply independent meaning. They are valuable in themselves. In visual form, the artist revealed in them what the writer wanted to say in words. Serov also conveyed the deeply folk humor of Krylov’s fables, which contains the sharpness and accuracy of the vision of life and the peculiarities of Krylov’s language, close to colloquial speech, - everything that makes Krylov’s fables truly folk literary works.
V. Takhtareva
* In this 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 times, from 1895 to 1911.
Project work in literature, student 5 B class MBOUG No. 1 Skipina Kristina.
Project work on literature. Can be used when studying the works of I.A. Krylov
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Heroes of I.A. Krylov’s fables in illustrations. Project work on literature by student 5B class MBOUG No. 1 Skipina Kristina. Teacher: Kulikova O.A.
We know that characters(heroes) of fables (animals, plants, things, sometimes people) usually personify human qualities. Each hero was a carrier of some distinctive feature: fox - tricks; donkey - nonsense; wolf - greed; hare - cowardice. Ivan Andreevich Krylov is considered the best fabulist. Many catchphrases from his fables entered the speech of every person. We take pictures from memory, say: “Elephant and Moska”, “Swan, crayfish and pike”, “Wolf and lamb”... and immediately everything is clear.
On February 24, 1809, a thin book was published on bluish paper without any decorations. The book contained 23 fables by I.A. Krylova. The second book was published on March 8, 1811. Printed as modestly as the first. The first illustrated book of Krylov's fables appeared in 1815. All fables were accompanied by drawings and engravings.
Illustration has always been closely connected with literature. Many great artists offered their own vision of what they read. Often a work of art became the impetus for painting paintings that later became masterpieces fine arts. Illustrations for works of art are capable of raising the level of their perception by several orders of magnitude and significantly enhancing the influence they have on the reader. Many famous artists We had fun drawing illustrations for the ones we liked. literary works, very often without even planning to use them to design texts - just for the soul, succumbing to the enchanting effect of words.
Although the illustrations for Krylov's fables were made by different artists, his characters are easily recognizable.
Valentin Serov’s illustrations for I. Krylov’s fables became independent and significant work art. The artist managed to convey, with extremely limited means, almost “literally” the exact meaning inherent in the fables by their author. He loved and knew animals well, and therefore was able to give them quite accurate characteristics. Whether he depicted a wolf (“Wolf and Crane”) or a fox near a vine (“Fox and Grapes”), in any particular case it is noticeable that the artist carefully and for a long time studied the character of each animal. Illustrations by artist V.A. Serova
Illustration for I. Krylov’s fable “The Lion in Old Age”
Illustration for I. Krylov’s fable “Quartet”
Illustration for I. Krylov’s fable “The Fox and the Grapes”
Illustration for I. Krylov’s fable “The Lion and the Wolf”
Interesting illustrations by the artist early XIX century Alexander Orlovsky “Demyanov’s ear” “Horse and rider”
The history of these drawings is interesting. They were accidentally found by members of the Circle of Lovers of Russian Fine Publications in the collection of E. G. Schwartz, who inherited it from the collector of the first half of the 19th century V. A. R. Tomilov, a friend of the artist Orlovsky. “Dog Friendship” “Quartet”
Now let's look at different illustrations to the fables of I.A. Krylov performed by the artist A.M. Laptev. “The powerful are always to blame for the powerless” “The Wolf and the Lamb”
“And you, friends, no matter how you sit down, are still not fit to be musicians” “Quartet”
“When there is no agreement among comrades, things will not go well for them” “Swan, Crayfish and Pike”
“The ignoramus also, in blindness, scolds science and learning, And all learned works, Not feeling that he is tasting their fruits” “A pig under the oak tree”
“Have you been singing everything? This is the thing: So come and dance!” "Dragonfly and Ant"
“Ay, Moska! Know that she is strong, That she barks at the Elephant!” "Elephant and Moska"
“Unfortunately, this is what happens with people: No matter how useful a thing is, without knowing its value, the ignoramus tends to make his understanding of it worse; And if the ignorant is more knowledgeable, then he also persecutes her” “The Monkey and the Glasses”
Illustration for the fable "The Peasant and Death" Artist A. A. Daineka
Illustrations by artist I. A. Petelina “Monkey and glasses” “Dragonfly and ant”
"Quartet"
“Elephant and Pug” “Swan, Crayfish and Pike”
Illustrations by artist E. Rachev “Swan, crayfish and pike” “Crow and fox” “Wolf and Lamb”
Illustrations by artists A. Bazhenov M.A. Taranova "Dragonfly and Ant" "Wolf and Crane"
Details Category: Russian fine art and architecture at the turn of the 19th and 20th centuries Published 03/12/2019 17:54 Views: 442Illustration has always been closely connected with literature. Many great artists offered their own vision of what they read.
Often a work of art became the impetus for painting paintings, which later became masterpieces of fine art. Illustrations for works of art can raise the level of their perception by several orders of magnitude and significantly enhance the impact they have on the reader.
Many famous artists gladly made illustrations for the literary works they liked, very often without even planning to use them to design texts - just for the soul, succumbing to the enchanting effect of words.
V. Serov. Illustration for I. Krylov’s fable “Quartet”
The great Russian portrait painter, painter, and graphic artist Valentin Aleksandrovich Serov left as a legacy to his descendants many paintings of a wide variety of directions. His activities influenced not only his contemporaries, but also many future generations. It seemed that there was no direction in painting that was beyond his control. He managed to translate pencil drawing into the status of a self-sufficient work of art.
V. Serov's illustrations, executed in oil, charcoal or pencil, amaze with the perfection of style and execution. Among his many works, illustrations for the fables of the famous Russian writer Ivan Andreevich Krylov are a real masterpiece. Valentin Serov worked on a series of illustrated images for instructive poetic stories for more than fifteen years - from 1895 to 1911.
V. Serov. Illustration for I. Krylov’s fable “The Lion and the Wolf.” Paper, graphite pencil, ink, pen. 26.8 x 42.5 cm
Since childhood, Valentin Aleksandrovich adored all kinds of “animals”. He loved to watch animals, notice their behavior and similarities with people. The artist painted them a lot and willingly, therefore, when in 1895 the 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. Initially, it was planned to publish a book containing a dozen of the most popular fables under the working title “Twelve Drawings.” But the artist was so captivated by the work that as a result, many sketches, sketches and finished paintings appeared on the theme of Krylov’s fables.
V. Serov. Illustration for I. Krylov’s fable “The Lion in Old Age”
As contemporaries of Valentin Serov recalled, the most difficult thing for him in his work was “fitting into” the specific rhythm of the fable narrative. He wanted the result of his work not to be a banal picture for the text, but a frozen, moralizing, living reflection of the moment. Ivan Krylov ridiculed the vices of people, transferring them to representatives of the animal world. His "weapon" hit human weaknesses with more power than a real gun.
V. Serov. Illustration for I. Krylov’s fable “The Monkey and the Glasses.” Paper, graphite and even pencil. 26.7x42.5 cm
To V. Serov, I. Krylov’s ideas were clear and close. Not the first time, but he managed to find that very semantic, complete form of his own visual “fable language”. He tried to find the most important thing in each story and convey it to the reader and viewer in an artistic way accessible to him. Over time, Valentin Aleksandrovich abandoned the details and many techniques that can be seen in the early illustrations for the fables “Three Men,” “The Wolf and the Shepherds,” and “The Little Crow.” His later works were done 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.” Paper, graphite pencil. 22.2 x 35.5 cm
Sparing black and white lines without retouching, chiaroscuro or tones, devoid of bulkiness, despite their maximum brevity, incredibly accurately convey the most important thing, exuding a barely noticeable haze of irony. Many times V. Serov redraws his sketches, simplifying them more and more. Gradually, many of the original plans were completely reworked.
The artist thought for a long time and studied the characters of not only fable characters, but also real prototypes - animals. He often turned to his sketchbooks. As a result, with literally one single line, V. Serov managed to characterize the characters, give them prominence and reality.
Valentin Serov’s illustrations for I. Krylov’s fables have become an independent and significant work of art. The artist managed to convey, with extremely limited means, almost “literally” the exact meaning inherent in the fables by their author.
FABLES I.A.KRYLOVA IN FINE ARTS
For the first time, I.A. Krylov’s fables began to be illustrated about 200 years ago. Thus, books with baths, decorated with beautiful illustrations, saw the light of day. Later, when cinema and animation appeared, the pictures for the fables came to life. Thanks to this, our whole country was able to get acquainted with the work of I.A. Krylov!
There are a large number of mass editions of I.A.’s fables. Krylov with illustrations by the most famous artists 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 that's it - the most famous names!
I.A. Krylov created more than 200 fables, more than half of them were illustrated. The first place in terms of the number of illustrations can be given to the fable “The Fox and the Grapes” - 31.
So, let's start getting acquainted with the artists.
Artist-engraver Andrey Petrovich Sapozhnikov (1795-1855)
A.P. Sapozhnikov was an amateur artist who painted in his spare time. He was an officer by profession and served in the engineering corps. For a long time he attended drawing classes at the Academy of Arts, and in 1834 he even composed “ Beginner course drawing" and donated it to the Academy, along with samples (models and plasters), for distribution to students during exams. Sapozhnikov left a unique mark on the most different areas: he is at the same time a military engineer, a painter, a graphic artist and a sculptor, as well as a publisher, collector, teacher, author of the first Russian manual on the theory and practice of drawing for general education institutions, which is still used today.
In 1834, Sapozhnikov began illustrating Krylov's fables. In total he illustrated 93 fables. His drawings are distinguished by their accuracy and everyday authenticity, marked by subtle 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 it a stupid man or a curious gentleman; they are surrounded by a Russian countryside landscape; his animals are quite realistic, strong and weak, cunning and simple-minded, good and evil. But A.P. Sapozhnikov was not an animal painter, so not all animals were successful for him; for example, his cats are far from perfect. Despite this, the engravings of A.P. Sapozhnikov, according to contemporaries, really liked I.A. Krylov. V.G. also spoke warmly about them. Belinsky: “So much... talent, originality, life! What Russian flavor is in every feature!”.
Now let's turn to another illustrator.
The great Russian painter Valentin Aleksandrovich Serov (1865-1911)
Serov turned to fables, because... he was always attracted by their sharp humor, which he greatly appreciated in life. In addition, Serov loved animals since childhood; in their behavior he found many similarities with the behavior of people, observing them and drawing, as evidenced by numerous sketches in his albums over the years.
In 1895, Savva Mamontov conceived Krylov's fables with illustrations by Valentin Serov. Or rather, first of all, Mamontov wanted to publish illustrations: the album was to be called “Twelve drawings by V.A. Serov on the fables of I.A. Krylov”: “Wagon 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". Serov took up the matter 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 means. An indicative example of such creative quests are the illustrations he made for the fable “Quartet”: without heeding Krylov’s morality, the artist nevertheless rearranged 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 meager artistic means, without introducing anything of his own. Gradually, he completely abandoned tone and chiaroscuro and worked only in pencil, emphasizing and sharpening the details that interested 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 I.A. Krylov’s fables for a long time, about 15 years, and especially intensively in the last years of his life. In 1934 and 1944 The publishing house "Detgiz" published two editions of I.A. Krylov's fables with his illustrations.
Created illustrations for the fables of I.A. Krylov and others animal artistIvan 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, and a major 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. He illustrated children's books in his own way. His animals, both in sculpture and in illustration, are especially plastic and expressive. I.S. Efimov was called the “king of animals.” The artist worked a lot in watercolors, and in the 1930s he found a new material for drawing - soft lithographic and Italian pencils. And his attitude to sculptural materials contributed to the rapprochement of plastic and decorative arts.
In his works, the animal world becomes recognizable and close, thanks to the artist’s love for the subject of the image. This is illustrated by more than 50 drawings and sketches on paper and tracing paper for the fables of I.A. preserved in the archive. Krylov, created in the 1910s - 1940s.
Sketches of illustrations for fables created in the 1910s: “The Wolf and the Fox”, “The Wolf and the Lamb”, “The Crow and the Fox”, “The Frog and the Ox”, were made with graphic and Italian pencils. The artist was most inspired by the fable “The Fox and the Grapes”; 30 sketches of illustrations were created for it (8 color watercolors and 22 Italian and graphic pencils).
Vladimir Mikhailovich Konashevich (1888-1963)
One of the most famous masters of book illustration, who created a large number of illustrations for I.A. Krylov’s fables in Soviet era. V.M. Konashevich studied at the Moscow School of Painting, Sculpture and Architecture (1908-1913) with K.A. Korovin and S.V. Malyutin. He began working actively as an illustrator of children's books in 1922, and was one of the leading artists in Detgiz. He made his drawings in watercolor, black ink, pen, and pencil, indicating the contours of objects and silhouettes of people. There were almost no landscapes in the composition. The color range was limited to three or four colors, and multicolor was created through the use of many shades. The artist was very precise in details. His work is sometimes distinguished by a penchant for a decorative manner, going back to the graphics of the World of Art, of which he was a member in 1922-1924. Since the 1930s, V.M. Konashevich devoted himself almost entirely to illustrating children's books.
Evgeniy Mikhailovich Rachev (1906-1997) - Soviet animal artist, known for his work in the field book graphics. The artist’s name is inextricably linked with fairy tales, especially fairy tales with animal heroes. For thirty years creative activity E.M. Rachev created hundreds of illustrations. In 1958-1959, for the exhibition "Soviet Russia" he performed a large series of drawings for the fables of I.A. Krylov.
In 1973, E.M. Rachev became a State Prize Laureate. In later illustrations by E.M. Rachev to the fables of I.A. Krylov, many animals and beasts are “dressed” like people, in human clothing, thereby the artist shows what kind of fairy tale plot and hide in fabulous images real life and real human relationships. Rachev's color drawings are elegant, colorful, and decorative. The artist worked in watercolors, which he laid in a thin transparent layer, gouache and charcoal. He always chose the most poignant and dramatic or comic moments and plots for his illustrations in order to reveal to the child the very essence of the work.
FABLES OF I.A. KRYLOV IN ANIMATION
It is difficult to captivate modern children with the classics. It is difficult for them to read stories and stories, poems and novels. But they enjoy watching films and cartoons. This tendency of children to visualize can be used to broaden their horizons. Colorful animation, vibrant characters, and fascinating stories will certainly awaken in them a desire to get to know the writers’ works better.
In I.A. Krylov’s fables there are no boring and tedious moral teachings, but there are only truths that are always relevant. And in our time, they are needed more than ever! Therefore, fables easily turned into animation.
Watching and listening to Krylov's fables is a pleasure. Majority animated films were filmed back in Soviet times - a period when the media, books and films were engaged in raising children and instilling in them a sense of camaraderie, respect, duty and responsibility. This is probably why they are so popular today.
Early cartoons are distinguished by their vibrant musicality. Fashionable at the time jazz styles. In later cartoons, perhaps, there is no longer such lightness (including music), but their technical performance has improved significantly.
Krylov's fables - videos for kids and adults, everyone will find something necessary and meaningful for themselves.
The first cartoons were created in black and white.
BLACK AND WHITE CARTOONS :
QUARTET. 1935(lost). A replay was filmed in 1947. The authors of the cartoon were A. Ivanov and P. Sazonov.
Cinema historian Semyon Ginzburg wrote about this cartoon: “ The content of the film echoed the new reality in which the film was created. This gave it real relevance. The film was an outstanding success not only among young but also among adult viewers. His ideological merits were accompanied by artistic merits. The film was distinguished by good pacing and clarity of plot development. The movement and facial expressions of the characters revealed their characters.”
Alexander Vasilievich Ivanov (1899 - 1959)- Soviet animator director, animator, one of the founders of Soviet graphic animation. In 1919 he graduated from the Tambov Teachers' Institute, in 1922 - from the Tambov Art Workshops. Having moved to Moscow, he studied at VKHUTEMAS. In 1926, he organized an animation workshop at the Sovkino film factory, where he began making short propaganda films. In 1927 he created his first feature-animated film “The Cockroach” - the first film adaptation based on the fairy tale by K. I. Chukovsky. Since 1936, he worked as a director at the Soyuzmultfilm film studio, where he was a member of the artistic council of the film studio. Member of the CPSU since 1955. Created 33 cartoons.
Sazonov Panteleimon Petrovich (1895-1950).
He also studied at VKHUTEMAS, but first at Moscow University at the Faculty of Law and even worked as an investigator in various institutions 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 hand-drawn sound.
He worked in 1936-1950 at the Soyuzmultfilm film studio (with a break from 1943 to 1948 at the Voentehfilm film studio). The son and daughter also became cartoon directors. My wife also worked at the Soyuzmultfilm studio as an editor.
Emmanuel Yakovlevich Dvinsky(writer's pseudonym - A. Volodin; 1910-1985) - famous Soviet journalist, film director and screenwriter; Moscow expert, author of numerous guides to Moscow and its architectural monuments. He was the screenwriter of several cartoons, including “The Fox the Builder” and “Quartet.” Later he worked together with Ivanov and Sazonov on the new cartoon “Quartet” (1947) - color version.
CROW AND FOX. 1937. P.P. Sazonov independently shot a cartoon based on Krylov’s fable - a free adaptation of the famous fable.
EAGLE AND MOLE. 1944. P.P. Sazonov.
QUARTET. 1947.
A.Ivanov, P.Sazonov, E.Dvinsky.
FOX BUILDER. 1950.
Together with Ivanov, Fyodor Khitruk (1917-2012) created this cartoon. (Khitruk is known for his cartoons “The Story of a Crime”, “Toptyzhka”, “Winnie the Pooh”, etc.)
CROW AND FOX. CUCKOO AND ROOSTER.1953
The animators F. Khitruk and V. Kotenochkin (1927-2000), who later became famous, worked with A. Ivanov. (We know Kotenochkin as the director of the animated series “Well, wait a minute!”, and as an artist, he created many cartoons based on Mikhalkov’s fables and numerous fairy tales.)
DRAGONFLY AND ANANT.1961
This cartoon has already been shot by the son of animator P.P. Sazonov - Anatoly Panteleimonovich Sazonov(1920-1991) - animation film artist, Honored Artist of the RSFSR (1972), teacher, candidate of art history, professor, screenwriter.
AND YOU, FRIENDS, no matter how you sit down...(no words, only music). 1972
(1927-2016) , Soviet animator director, animator, screenwriter. He worked mainly in mixed technology: puppet and hand-drawn animation, translation.
IN THE WORLD OF FABLES. 1973
Cartoon filmed Andrey Khrzhanovsky (born 1939) using the technique of translation based on the fables of Ivan Andreevich Krylov “The Curious”, “The Donkey and the Nightingale”, “The Cuckoo and the Rooster”. The cartoon uses the painting “Parade on the Champ de Mars”, as well as drawings by Alexander Sergeevich Pushkin. The chamber ensemble “Madrigal” under the direction of Lev Marquis took part in the musical arrangement. A. Khrzhanovsky made “Pushkiniana” - cartoons based on the work of A. S. Pushkin.
I would like to believe that now is the time latest technologies and new opportunities - there will be masters: artists, film directors, screenwriters who will resume demonstrating the fables of the great fabulist in a new creative key. This is necessary for the younger generation.
Chemodurova Olga Leonidovna , poet, prose writer, chairman of the Ivanteevsky regional branch of the Commonwealth creative forces", member of the Union of Journalists of the Moscow Region
Description of the presentation by individual slides:
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Project Artists - illustrators of fables by Ivan Andreevich Krylov Teacher primary classes Shapovalova Ekaterina Vladimirovna
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Who has not heard his living words? Who hasn’t met him in their life? Immortal creations of Krylov Every year we love more and more M. Isakovsky
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The goal of the project: to get acquainted with the illustrators of I. A. Krylov’s fables. Project objectives: Search 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. Go to the computer and look for information about the most famous illustrators 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 imagine the characters, the situation in which they find themselves, connect our imagination, introduce certain images into the description of events that will help us further to better understand the author’s intention, form your attitude towards an event or problem. Illustration – a drawing, photograph, engraving or other image that explains the text. An illustrator is an artist who illustrates books. ( explanatory dictionary Russian language S.I. Ozhegova)
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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. Due to the poverty of the family, Krylov had to work as a scribe in the Tver court from the age of ten. At the age of 11 he wrote his first fable. Since 1786, he has been writing plays and publishing the satirical magazine “Mail of Spirits,” but fables are the writer’s main works. The nine books include more than 200 fables. In 1812 he became a librarian at the newly opened Public library, where he served for 30 years, retiring in 1841. He worked a lot on compiling bibliographic indexes and a Slavic-Russian dictionary. On November 9, 1844, at the age of 75, Krylov died. Buried in St. Petersburg. From the writer's biography
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Many artists took up the task of illustrating Ivan Andreevich Krylov’s fables. The most famous of them are Valentin Serov, Alexey Laptev, Francois Rouyer, 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 most important masters who worked in the 19th century. In addition to achievements in portrait painting, he managed to leave huge amount no less significant works in such genres as: antique and history painting, animal painting, book illustrations and Russian landscape. Being the owner of a quiet and modest character, Serov managed to achieve unquestioned authority among famous masters of his era.
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Alexey Mikhailovich Laptev Graphic artist, famous children's illustrator and book designer. Lived and worked in Moscow, graduated high school. Studied at the Moscow School-Studio of F.I. Rerberg in 1923–1924, in the preparatory department. Worked in the children's magazine " Funny pictures"since its foundation. He 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 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 Evgeniy Mikhailovich Born in Tomsk, he spent his childhood in the village with his grandmother. Since childhood, he was fond of drawing and wrote poetry; his desire for creativity led him to the Kuban Art and Pedagogical College in Krasnodar, from 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; Many books have been published with his illustrations, 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. N. Tolstoy, S. Mikhalkov, V. V. Bianki and a huge number of folk tales.
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Irina Andreevna Petelina Irina Andreevna Petelina (1964) Moscow illustrator. She graduated from the Faculty of Design of the Moscow Architectural Institute, then courses for cartoonists under the direction of F. Khitruk. Since 1990 he has been engaged book graphics. Illustrated more than 30 books, including “Puss in Boots” and “Little Red Riding Hood” by Ch. Perrault, Russian folk tales, works by the brothers Grimm, S.Ya. Marshak, S.V. Mikhalkov and fables by I.A. Krylov.
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Francois Rouyer Francois Rouyer worldwide famous artist Illustrator, his works include more than 200 books for children. He was born in France and studied in Strasbourg.
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This is how the heroes of the same fable are seen various artists“QUARTET” VALENTIN SEROV ALEXEY LAPTEV EVGENY RACHEV FRANCOIS ROUYER
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