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Vasnetsov Viktor Mikhailovich is an outstanding Russian painter. Born in 1848 in Vyatka, he received his education at the local theological seminary, in 1868 - 73 he studied at the Academy of Arts, after which he traveled abroad.
With Vasnetsov, the world of Russian fairy tales entered Russian painting, the world of light and truth, the inevitable triumph of good over evil, a world where daring fantasy and sober reality, high poetry, heroic pathos, and good humor were intertwined. The subjects of many of his paintings are taken from oral folk art. He is the author of the paintings "Bogatyrs"
Painting “Alyonushka” 1881 At the edge of the forest, Alyonushka sits on a gray flammable stone
Painting "Flying Carpet". 1880 Like a giant bird, a carpet of plane soars in the sky, and on it is a real Russian knight
Ivan Tsarevich on the Gray Wolf" (1889)
Exploring Vasnetsov’s work, we can say with confidence that these fairy tales are beautiful, they bring joy and sadness, wisdom and greatness of the Russian people. The artist put warmth and meaning into each work. More than one generation will admire his truly amazing works. And of course, every child, listening or reading fairy tales, will imagine mighty heroes Ilya Muromets, Alyosha Popovich, Dobrynya Nikitich, the magic flying carpet and the handsome prince, the gentle and fragile Snow Maiden, the sad Alyonushka.
Bilibin, Ivan Yakovlevich, painter. Born in St. Petersburg in 1876; Graduated from the Faculty of Law at St. Petersburg University.
There are many children's book illustrators. One of the outstanding illustrators is Ivan Yakovlevich Bilibin. It was his illustrations that helped create an elegant and accessible children's book.
It all started with an exhibition of Moscow artists in 1899 in St. Petersburg, at which I. Bilibin saw the painting “Bogatyrs” by V. Vasnetsov. Brought up in a St. Petersburg environment, far from any fascination with the national past, the artist unexpectedly showed interest in Russian antiquity, fairy tales, and folk art.
In the summer of the same year, Bilibin left for the village of Egny, Tver province, to see for himself dense forests, transparent rivers, wooden huts, hear fairy tales and songs. Paintings from the exhibition of Viktor Vasnetsov come to life in the imagination. Artist Ivan Bilibin begins to illustrate Russian folk tales from Afanasyev's collection. And in the fall of the same year, the Expedition for Procurement of State Papers (Goznak) began publishing a series of fairy tales with Bilibin’s drawings. Over the course of 4 years, Bilibin illustrated seven fairy tales: “Sister Alyonushka and Brother Ivanushka”, “White Duck”, “The Frog Princess”, “Marya Morevna”, “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf” , “Feather of Finist Yasna-Falcon”, “Vasilisa the Beautiful”
For those involved in the revival of native traditions, I strongly recommend reading the article to the end.
In the previous article about the fashion for Russian patterns in clothing during the late 19th century and early 20th century, we talked about certain “tricks” that appear at a time when interest in Russian culture increases.
Let's explore this topic in more detail using the example of creativity for everyone famous artist Ivan Yakovlevich Bilibin (1876 - 1942).
Most of those who were born in the USSR began to comprehend this world with Russian fairy tales “Vasilisa the Beautiful”, “Sister Alyonushka and Brother Ivanushka”, “Marya Morevna”, “Feather of Finista-Yasna Falcon”, “White Duck”, “Princess” frog". Almost every child also knew the fairy tales of Alexander Sergeevich Pushkin - “The Tale of the Fisherman and the Fish”, “The Tale of Tsar Saltan”, “The Tale of the Golden Cockerel”.
Parents and grandparents read fairy tales from children's books with pictures. And we knew every fairy tale by heart and every picture in our favorite book. Pictures from books with fairy tales were one of our first images that we naturally absorbed as children. Exactly as in these pictures, we later imagined Vasilisa the Beautiful.
And most of these pictures belonged to the brush of Ivan Yakovlevich Bilibin. Can you imagine what influence this artist had on our worldview, our perception of Russian myths, epics and fairy tales? Who is he?
Ivan Bilibin was born on August 4 (August 16), 1876, in Tarkhovka, near St. Petersburg.
The Bilibin family is a separate topic for consideration; let’s just say that this family is from merchants, and subsequently, factory owners. That's enough for now.
Next, we look at where Ivan Yakovlevich studied. He studied in the studio of Anton Azhbe in Munich (1898), as well as in the school-workshop of Princess Maria Klavdievna Tenisheva under Ilya Efimovich Repin (1898-1900). Systematic drawing lessons under the guidance of Ilya Repin and acquaintance with the magazine and society “World of Art” (!) contributed to the development of skill and general culture Bilibina. Bilibin's work was greatly influenced by Japanese (!) woodcut (wood engraving).
Ivan Yakovlevich Bilibin - considered a Russian artist, graphic artist, theater artist, author of illustrations for Russian epics and fairy tales in a decorative and graphic ornamental manner based on the stylization of Russian folk and medieval art, one of the greatest masters of the “national-romantic” movement in the Russian version of the Art Nouveau style (!).
But Bilibin himself considered himself a “nationalist artist.”
Art Nouveau, at that time, sought to become a unified synthetic style, in which all elements from the human environment were executed in the same key. Art Nouveau artists drew inspiration from art Ancient Egypt(!) and other ancient civilizations. The art of Japan, which became more accessible in the West with the beginning of the Meiji era, had a noticeable influence on the Art Nouveau style. A feature of Art Nouveau was the abandonment of right angles and lines in favor of smoother, curved lines. Art Nouveau artists often took ornaments from the plant world as the basis for their drawings. " Business card Herman Obrist's embroidery “Strike of the Scourge” became this style.
Further - more interesting.
Bilibin, living in St. Petersburg, was an active member of the World of Art association.
The founders of the "World of Art" (1898-1924) were the St. Petersburg artist Alexander Nikolaevich Benois and “theatrical figure and philanthropist” Sergei Pavlovich Diaghilev
Reader, take the time to find information on the Internet about what kind of people they were. You will immediately understand the essence of the association you belonged to or were close to:
Bakst Lev Samoilovich
Tsionglinsky Yan Frantsevich
Dobuzhinsky Mstislav Valerianovich
Roerich Nikolai Konstantinovich
Purvit Wilhelm
Vereisky Georgy Semyonovich
Lansere Evgeniy Evgenievich
Chambers Vladimir Yakovlevich
Mitrokhin Dmitry Isidorovich
Ostroumova-Lebedeva Anna Petrovna
Levitan Isaac Ilyich
Yakovlev Alexander Evgenievich
Somov Konstantin Andreevich
Golovin Alexander Yakovlevich
Grabar Igor Emmanuilovich
Korovin Konstantin Alekseevich
Kustodiev Boris Mikhailovich
Serov Valentin Alexandrovich
Vrubel Mikhail Alexandrovich
Sketch of a group portrait of the artists of the World of Art. From left to right: I.E. Grabar, N.K. Roerich, E.E. Lanceray, B.M. Kustodiev, I.Ya. Bilibin, A.P. Ostroumova-Lebedeva, A.N. Benoit, G.I. Narbut, K.S. Petrov-Vodkin, N.D. Milioti, K.A. Somov, M.V. Dobuzhinsky.
What a fun Wednesday!
Now do you understand why Bilibin’s “gingerbread kingdoms” are frankly unreal and permeated with sly irony?
Now do you understand why Bilibin had an anti-monarchical-LIBERAL worldview?
That is why the artist took part in the satirical magazines “Zhupel” and “Hellish Mail”, which appeared during the First Russian Revolution of 1905. His political grotesqueries stand out for their evil sarcasm, merciless to the existing system. Such, in particular, is the caricature of Nicholas II (“Donkey 1/20 life-size”, 1906), for which he was even subjected to a brief administrative arrest!
Yes, Bilibin was on an expedition to the Russian North (1905–1908).
Yes, I was interested in the “pre-Petrine” era.
Yes, everything unique in his work began with an exhibition of Moscow artists in 1899, at which Bilibin saw Vasnetsov’s painting “Bogatyrs”.
That is why, brought up in a St. Petersburg environment, far from being interested in the national past, the artist unexpectedly showed interest in Russian antiquity, fairy tales, and folk art!
Yes, Bilibin was interested in the atmosphere of Russian antiquity, epic, fairy tale. And he had a wealth of material from the expedition, photographs of embroidery on tablecloths, towels, peasant buildings, utensils, and clothing. There were sketches made in the village of Yegny. These are painted wooden and pottery, houses with carved frames and piers.
But Bilibin, despite the careful technique of execution of his works, did not strive to convey the originality of the patterns, ornaments and decorations of our ancestors!
But it was Russian patterns and ornaments that were the favorite motif of ancient Russian masters and carried a deep semantic load.
But from genuine ornaments and details, Bilibin created a half-real, half-fantastic image! All page illustrations are surrounded by ornamental frames, just like village windows with carved frames. But these ornamental frames do not convey originality and tradition, but reflect only Bilibin’s view and have only a decorative function!
In the fairy tale “Vasilisa the Beautiful,” the illustration with the Red Horseman (the sun) is surrounded by flowers for some reason.
And the Black Horseman (night) are mythical birds with human heads.
The illustration with Baba Yaga's hut is surrounded by a frame with toadstools (what else could be next to Baba Yaga? Yes?).
And Baba Yaga herself is terrible and scary!
Bilibin, having the opportunity to revive the art of the pre-Petrine era, created modernism, a “remake”, that is, a “fake” - “decoy”. Very carefully executed, with elaboration of fonts, stylized as an old manuscript, distinguished by patterned design and bright decorativeness of the “Dummy”!
Maybe that’s why “The Tale of the Golden Cockerel” was the most successful for the artist? Bilibin achieves special brilliance and invention in his illustrations. The luxurious royal chambers are completely covered with patterns, paintings, and decorations. Here the ornament so abundantly covers the floor, ceiling, walls, clothes of the king and boyars that everything turns into a kind of unsteady vision, existing in a special illusory world and ready to disappear.
Just like in “The Tale of Tsar Saltan”
When the Bolsheviks came to power, Ivan Bilibin participated in the propaganda of the Denikin government, and in 1920 he was evacuated with the White Army from Novorossiysk, lived in Cairo and Alexandria, where he worked actively in Alexandria, traveled around the Middle East, studying artistic heritage ancient civilizations and the Christian Byzantine Empire.
Then, in 1925, he moved to Paris. In 1925 he settled in France: the works of these years included the design of the magazine “Firebird”, “Anthology on the History of Russian Literature”, books by Ivan Bunin, Sasha Cherny, as well as the painting of a Russian temple in Prague, scenery and costumes for Russian operas “The Tale of Tsar Saltan” (1929), “ The Tsar's Bride"(1930), "The Legend of the City of Kitezh" (1934) N.A. Rimsky-Korsakov, “Prince Igor” by A.P. Borodin (1930), “Boris Godunov” by M.P. Mussorgsky (1931), to the ballet “The Firebird” by I.F. Stravinsky (1931).
Bilibin created many colorful panels to decorate private homes and restaurants. His decorative style - patterned, exotically catchy - became a kind of standard of the “Russian style”, that is, “Russian style”, abroad, nourishing nostalgic memories. He also designed a number of Orthodox churches in Egypt and Czechoslovakia.
The “national-Bolshevik” turn in politics, the spread of the ideas of “Soviet patriotism” that were characteristic of Stalin era, contributed, oddly enough, to Bilibin’s return to his homeland. Having decorated the Soviet embassy in Paris with monumental patriotism (1935-1936), he again settled in Leningrad.
The storyteller Bilibin should be thanked for the double-headed eagle, which is depicted on the coat of arms of the Central Bank of the Russian Federation, on ruble coins and paper bills. It is interesting that this eagle was originally located on the seal of the provisional government.
IN art gallery paper money modern Russia on the ten-ruble “Krasnoyarsk” banknote, the Bilibin tradition is clearly visible: a vertical patterned path with a forest ornament - such frames edged Bilibin’s drawings on Russian themes folk tales. By the way, collaborating with the financial authorities of Tsarist Russia, Bilibin transferred the copyright to many of his graphic designs to the Gosznak factory.
IN last decade throughout his life, Bilibin taught at the All-Russian Academy of Arts, still acting in the role of book and theater artist: again staged “The Tale of Tsar Saltan” (as an opera by Nikolai Andreevich Rimsky-Korsakov in State Theater opera and ballet named after Sergei Mironovich Kirov, 1936-1937, and as a book by Alexander Sergeevich Pushkin, published in the same years in Goslit).
Sergei Eisenstein planned to involve Ivan Yakovlevich as an artist to work on the film “Ivan the Terrible,” but Bilibin’s death did not allow this idea to come true.
Ivan Bilibin died on February 7, 1942, in besieged Leningrad. Why did he choose this outcome? Maybe because, despite his worldview, he sometimes felt love for his Motherland?
This can be evidenced by the words of Bilibin: “Only quite recently, like America, they discovered the old artistic Rus', vandalized, 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!"
Everyone who believes in the revival of native traditions, who contributes to this, must reject attempts to falsify and distort traditional, primordial images.
Yes, pictures in books with fairy tales attract the child’s attention and arouse interest. But we must take into account what kind of pictures these are and whether they really reflect the wisdom that our ancestors passed on to us. It is best not to entice with pictures, but simply read fairy tales to the child and give him the opportunity to imagine and create images himself.
Encourage him to develop these images and draw them independently.
The result will be amazing!
In my opinion, there is no better illustrator of fairy tales than V. M. Vasnetsov, well, perhaps I. Bilibin. The next page is about him.
Viktor Mikhailovich Vasnetsov (1848-1926) - one of the first Russian artists who pushed the boundaries of conventional genres and showed fairy world, illuminated by the poetic fantasy of the people. Vasnetsov was one of the first Russian artists to turn to recreating images of folk tales and epics in painting. His fate developed as if he was destined in advance to be the singer of a Russian fairy tale. He spent his childhood in the harsh, picturesque Vyatka region. The talkative cook, who tells children fairy tales and stories of wandering people who have seen a lot in their lifetime, according to the artist himself, “made me fall in love with the past and present of my people for the rest of my life, and largely determined my path.” Already at the beginning of his work, he created a number of illustrations for “The Little Humpbacked Horse” and “The Firebird”. In addition to fairy tales, he has works dedicated to heroic images epic "The Knight at the Crossroads", "Three Heroes". Famous painting“Ivan Tsarevich on the Gray Wolf” was written based on the plot of one of the most famous and widespread fairy tales, reproduced in popular prints of the 18th century.
"Princess Nesmeyana"
In the royal chambers, in the princely palaces, in the high tower, Princess Nesmeyana adorned herself. What a life she had, what freedom, what luxury! There is a lot of everything, everything the soul wants; but she never smiled, never laughed, as if her heart was not happy about anything.
There are merchants, boyars, foreign guests, storytellers, musicians, dancers, jesters and buffoons. They sing, clown around, laugh, strum the harp to their heart's content. And at the foot of the high tower there are ordinary people, also crowding, laughing, shouting. And all this buffoonery is for the princess, the only royal daughter. She sits sadly on a carved white throne by the window. “There is a lot of everything, there is everything that the soul wants; but she never smiled, never laughed, as if her heart was not happy about anything.” And, to be honest, what is there to be happy about if no one ever has a heart-to-heart talk with her, no one with a pure heart will approach her?! Everyone around is just making noise, aiming for suitors, trying to present themselves in the best light, but no one cares about the princess herself. That is why she is not laughing, until the one and only one, the long-awaited one, comes, who will give her a smile instead of buffoonery, warmth instead of indifference. And he will come, for sure, because that’s what the fairy tale says.
"Koschei the Immortal and the Beloved Beauty"
As soon as he managed to leave the yard, Koschey entered the yard: “Ah! - speaks. - It smells like Russian braid; I know you had Ivan Tsarevich.” - “What are you, Koschey the Immortal! Where can I see Ivan Tsarevich? He remained in dense forests, in sticky mud, and is still eaten by animals!” They began to have dinner; at dinner, the Beloved Beauty asks: “Tell me, Koschey the Immortal: where is your death?” - “What do you need, stupid woman? My death is tied up in a broom.”
Early in the morning Koschey leaves for war. Ivan Tsarevich came to the Beloved Beauty, took that broom and brightly gilded it with pure gold. As soon as the prince had time to leave, Koschey entered the courtyard: “Ah! - speaks. - It smells like Russian braid; I know you had Ivan Tsarevich.” - “What are you, Koschey the Immortal! You flew around Rus' yourself, picked up the Russian spirit - you smell of the Russian spirit. Where can I see Ivan Tsarevich? He remained in dense forests, in sticky mud, and is still eaten by animals!” It's time for dinner; Beloved Beauty herself sat down on a chair, and sat him on a bench; he looked under the threshold - there was a gilded broom. “What is this?” - “Ah, Koschey the Immortal! You see for yourself how much I honor you; If you are dear to me, so is your death.” - “Stupid woman! I was joking, my death is sealed up in the oak meadow over there.”
"The Frog Princess"
Look at the reproduction of V. Vasnetsov’s painting “Feast” (p. 19 of the textbook).
If possible, it would be interesting to compare this picture with the illustration made for this episode of the fairy tale by I. Bilibin.
Framed illustrations by Bilibin floral ornament very accurately reflect the content of the tale. We can see the details of the heroes’ costumes, the expressions on the faces of the surprised boyars, and even the pattern on the kokoshniks of the daughters-in-law. Vasnetsov in his picture does not dwell on the details, but perfectly conveys the movement of Vasilisa, the passion of the musicians, who seem to be stamping their feet to the beat dance song. We can guess that the music to which Vasilisa dances is cheerful and mischievous. When you look at this picture you feel the character of a fairy tale.
- Why do people call Vasilisa the Wise? What qualities do the people glorify in the image of Vasilisa?
Painting by V. Vasnetsov creates generalized image beautiful princess: next to her are the guslars, people. The illustration by I. Bilibin specifically depicts an episode of the feast: in the center is Vasilisa the Wise, at the wave of whose hand miracles occur; There are people around, amazed by what is happening. Possible here different types works:
1. Describe verbally what you see in each of the paintings (characters, setting, appearance surrounding people, their mood, prevailing colors).
2. Compare the image of Vasilisa the Wise by Vasnetsov and Bilibin. Is this what you imagine? main character fairy tales?
"Magic carpet"
The imagination of the people created a fairy tale about a flying carpet. You see two paintings by Vasnetsov with this name - early and late. In the first of them, a proud young man looks from a flying carpet at the expanses of Russian land spreading below. Discreet northern nature served as the artist's background for the painting. Rivers and lakes sparkle, the forest stands like a dark wall, and huge birds accompany the carpet. The Firebird caught by the hero burns with a bright fire in a cage. This painting tells about the wisdom, strength, and dexterity of the people. The second picture is lighter and more colorful. The bright rays of the sunset, cutting through the veil of clouds, became a successful background to the picture. Nature through the clouds is seen as bright, lush greenery, perhaps because the heroes descended closer to it. And the girl and the boy in sparkling clothes embroidered with gold do not seem like strangers on the canvas. Their young faces are beautiful, they gently leaned towards each other, personifying fidelity and love.
Alyonushka, Snegurochka, Elena the Beautiful - these fictional images and portraits of women close to Vasnetsov “in spirit” - Elena Prakhova, Vera and Elizaveta Grigorievna Mamontov, portraits of his wife, daughter, niece from different sides highlight what is called Russian female soul, which becomes for Vasnetsov the personification of the Motherland, Russia.
Alkonost. In Byzantine and Russian medieval legends, a wonderful bird, a resident of Iria - the Slavic paradise. Her face is feminine, her body is birdlike, her voice is sweet, like love itself. Hearing Alkonost’s singing can forget everything in the world with delight, but there is no evil from her, unlike Sirin.
Alkonost lays eggs at the edge of the sea, but does not hatch them, but immerses them in the depths of the sea. At this time there is no wind for seven days. According to ancient Greek myth, Alkyone, the wife of Keik, upon learning of the death of her husband, threw herself into the sea and was turned into a bird, named after her name alcyone (kingfisher).
She is depicted in popular prints as a half-woman, half-bird with large multi-colored feathers and a girl’s head, overshadowed by a crown and a halo, in which a short inscription is sometimes placed. In addition to wings, Alkonos has hands in which she holds flowers of paradise or a package with an explanatory inscription. She lives in the tree of paradise, on the island of Buyan, together with the bird Sirin, and has a sweet voice, like love itself. When she sings, she doesn’t feel herself. He who hears her wonderful singing will forget everything in the world. With her songs she consoles and elevates future joy. This is the bird of joy.
But Sirin, the dark bird, dark force, messenger of the ruler of the underworld. From head to waist Sirin is a woman of incomparable beauty, and from the waist she is a bird. Whoever listens to her voice forgets about everything in the world and dies, and there is no strength to force him not to listen to Sirin’s voice, and death for him at this moment is true bliss. Dahl explained in the famous dictionary this way: “... mythical and church birds owls, or eagle owls, scarecrows; there are popular prints depicting birds of paradise with women's faces and breasts"(V. Dal" Dictionary living Great Russian language"). In Russian spiritual poems, the Sirin, descending from heaven to earth, enchants people with her singing. In Western European legends, the Sirin is the embodiment of an unfortunate soul. This is the bird of sadness.
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