Mukhina, Vera Ignatievna - Vera Ignatievna Mukhina. Mukhina Vera Ignatievna (1889 1953), sculptor. Early works are romantically raised, concise, generalized in forms ("Flame of the Revolution", 1922 23), in the 30s. Symbolic (symbols of a new building in the USSR) work ... ... Illustrated Encyclopedic Dictionary

Soviet sculptor, People's Artist of the USSR (1943), a valid member of the AH of the USSR (1947). He studied in Moscow (1909≈12) from K. F. John and I. I. Mashkov, as well as in Paris (1912≈14) at E. A. Bardellius. From 1909 there lived ... ... Great Soviet Encyclopedia

- (1889 1953), Soviet sculptor. People's Artist of the USSR (1943), a valid member of the AH of the USSR (1947). He studied in Moscow (1909 12) at K. F. John and I. I. Mashkova, as well as in Paris (1912 14) at E. A. Bardella. Taught in the MVKHPU (1926 27) and ... ... Artistic Encyclopedia.

- (1889 1953) Russian Sculptor, People's Artist of the USSR (1943), a valid member of the USSR AH (1947). Early works are romantically raised, concise, summarized in forms (the flame of the revolution, 1922 23), in the 30s. Symbolic (symbols of the new ... Big Encyclopedic Dictionary

Rod. 1889, mind. 1953. Sculptor. Pupilian K. John, E. A. Burdela. Works: "Flame Revolution" (1922 23), "peasant" (1927), "Worker and collective farmers" (1935 37), gravestone M. A. Peshkova (1935), group ... ... Large biographical encyclopedia

- (1889 1953), sculptor, folk artist of the USSR (1943), a valid member of the AH of the USSR (1947). Early works are romantically raised, concise, summarized in forms ("Flame of the Revolution", 1922 23); In the 30s Created symbolic works ... ... encyclopedic Dictionary

- (1889, Riga 1953, Moscow), Sculptor, People's Artist of the USSR (1943), Valid Member of the Academy of Arts of the USSR (1947). He studied in Moscow in the studio K.F. Jona (1909 11). In the same years I got acquainted with the artist L.S. Popova, which is not only ... ... Moscow (Encyclopedia)

Vera Muhina Vera Mukhina. Portrait of the artist Mikhail Nesterova Date of birth ... Wikipedia

Faith Ignatievna Mukhina Vera Muhina Vera Mukhina. Portrait of the artist Mikhail Nesterova Date of birth ... Wikipedia

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• Series "Life in Art". Outstanding artists and sculptors (a set of 50 books) ,. Life in art ... Beautiful romantic image, but many of whether we know about what it means to live in art. We admire paintings and books, sometimes not even assuming that their authors died ...

June 19 (July 1) 1889 - October 6, 1953
- Russian (Soviet) sculptor. People's Artist of the USSR (1943). Valid member of the AH USSR (1947). Laureate of five Stalinist premiums (1941, 1943, 1946, 1951, 1952). From 1947 to 1953 -
member of the Presidium ah of the USSR.

Many creations of Faith Ignatievna became symbols of the Soviet era. And when the work becomes a symbol, it is impossible to judge his artistic value - the symbolic will somehow distort it anyway. The sculpture of faith mukhina was popular, while in fashion there was heavy Soviet monumentalism, such a cute heart of Soviet leaders, and turned out to be forgotten or ridiculous later.

Many works of Mukhina had a difficult fate. Yes, and Vera Ignatievna himself lived a difficult life, where the worldwide recognition got along with the ability to lose her husband at any time or to get behind the grille. Did her genius saved her? No, it was helped by the recognition of this genius the strong world of this world. I got out the style, in surprise the coincided with the tastes of those who built the Soviet state.

Vera Ignatievna Mukhina was born on July 1 (according to old style on June 19), 1889 in the wealthy merchant family in Riga. Soon the faith and her sister lost their mother, and then the Father. The care of the girls took over the brothers of the Father, and the sisters were not offended by guardians. Children studied in the gymnasium, and then faith moved to Moscow, where he took the lessons of painting and sculptures

.
In Paris, Mecca artists, guardians were still afraid to let go of a young girl, and faith led there is not talent, but an accident. During riding on Sanya, the girl fell and badly damaged his nose. And in order to preserve the beauty of the niece, Unlis had to send it to the better plastic surgeon to Paris. Where Vera, taking advantage of the case, was detained for two years, while studying the sculpture at the famous sculptor Burdela and attended the anatomy courses.

In 1914, Vera returned to Moscow. During the First World War, she worked as a nurse in the hospital, where she met his future husband - Alexei Andreevich Kamkov's surgeon. They got married in 1918, and two years later, faith gave birth to a son. This couple miraculously survived the storms of revolution and repression. She is a merchant race, he is a nobleman, both of the difficult character and the "non-workers" professions. However, the sculptures of the faith of the Mukhina won in many creative contests, and in the 20s she becomes a famous and recognized master.

Her sculptures are somewhat heavy, but full of power and indescribable healthy animal power. They are not better consistent with the calls of the leaders: "Build!", "Catch up and run away!" And "exceeding the plan!" Her women, judging by the appearance, may not only stop the horse, but also to raise the tractor on the shoulder.

Revolutionaries and peasants, communists and partisans are Socialist Venus and Mercury - the ideals of beauty that all Soviet citizens should be equal. Their richy proportions, of course, for most people were almost unattainable (as well as modern standards of the mannequin 90-60-90), but it was very important to strive for them.

Vera Mukhina loved to work with nature. Sculptural portraits of her husband and some friends are known much less than its symbolic work. In 1930, the spouses decide to escape from the Union, tired of harassment and denunciations and expecting the worst, but in Kharkov they are removed from the train and take it to Moscow. Thanks to the intercession of Gorky and Ordzhonikidze, the fugitives get a very soft punishment -
link for three years in Voronezh.

From the iron broom, the Thirty-eighth faith saves the "working and collective farm". Among many projects, the architect B. Iofan chose this one. The sculpture was decorated with the USSR Pavilion at the World Exhibition in Paris, and the name of Faith Mukhina became aware of the world. Vera Mukhin congratulates, handing orders and awarded premiums, and most importantly, now she is saved from harassment. She trusts teaching at an art university. Later she goes to work in the experimental workshop of the Leningrad Porcelain Factory.

After the war, Vera Mukhina is working on the monument M. Gorky (according to the project I.D. Shadra) and P.I. Tchaikovsky, which was installed before the building of the Conservatory, after her death.

Vera Mukhina: Socialist Art

Vera Mukhina and Alexey Castles, television transmission "More than love"

Vera Mukhina, Television Transmission
"How the idols left"

Museum of Faith Mukhina in Feodosia

Museum

Virtual journey
according to the museum V.I. Mukhina

"Creativity is love for life!" - These words of Vera Ignatievna Mukhina expressed her ethical and creative principles.

She was born in Riga in 1889, in a wealthy merchant family, her mother was a Frenchwoman. And the love of the art of Vera inherited from his father, who was considered a good as an amateur artist. Children's years have passed in Feodosia, where the family moved due to the severe Mother's disease. She died when the faith was three years old. After this sore event, the relatives often changed their place of residence: they justified in Germany, then again in Feodosia, then in Kursk, where Vera graduated from gymnasium. By this time, she was already firmly decided what would be engaged in art. Enrolling in the Moscow School of Painting, Sculpture and Architecture, engaged in the classroom of the famous artist K. John, then parallel to the sculpture.

In 1911, at Christmas, an accident happened to her. Rushing from the mountain, faith crashed into a tree and dismissed face. After the hospital, the girl settled in the family of his uncle, where caring relatives hid all the mirrors. Subsequently, almost all photos, and in the portrait of Nesterov, it is depicted in the trip.

By this time, faith already lost his father, and the guardians decided to send a girl to Paris for postoperative treatment. There, she not only performed medical regulations, but also under the guidance of the French sculptor A. Bardelli at the Academy de Grand Schomyer. A young emigrant from Russia Alexander Vervetov worked at his school. Their romance lasted for a short time. Vertilov went to war volunteer and was killed almost in the first battle.

Two years later, along with two girlfriends, faith traveled in Italy. It was the last carefree summer in her life: World War began. Returning home, Mukhina created his first significant work - the sculptural group "Pieta" (Crying of Our Lady on the Body of Christ), conceived as a variation on the Renaissance Topics and at the same time a kind of requiem for the dead. Our Lady of Mukhina - a young woman in the Sisters of the Sister of Mercy - what has seen millions of soldiers around themselves in the midst of the First World War.

After graduating from medical courses, faith began to work in the hospital of the sister of mercy. The whole war was worked here for free, as I thought: since I came here for the sake of idea, then the money to take it indecently. In the hospital and met his future husband, Military doctor Alexei Andreevich Kamkov.

After the revolution, Mukhin successfully participated in various contests. The most famous work was the "peasant" (1927, Bronze), which brought the author widely popularity and was marked by the first prize at the 1927-1928 exhibition. The original of this work, by the way, bought the Government of Italy for the museum.

"Peasant woman"

In the late 1920s, Alexey Zamkov worked at the Institute of Experimental Biology, where the new Medical preparation was invented - gravelidan, a rejuvenating body. But atrigue began at the institute, Zamkov was dubbed with a charlatan and a "sign". The training of a scientist in the press began. Together with his family he decided to leave abroad. Through a good friend, I managed to get a passport, but the same familiar and submissions on the departures. They were arrested right on the train and delivered to Lubyanka. Vera Mukhin, with the ten-year-old son, soon let go, and the castles had to spend several months in the Butyrsa prison. After that, he was sent to Voronezh. Vera Ignatievna, leaving the Son on the care of his friend, went after her husband. There she spent four years and returned with him to Moscow only after the intervention of Maxim Gorky. At his request, the sculptor began working on the sketch of the monument to the son of the writer - Peshkov.

Dr. Castle was still not given to Dr., his institute was eliminated, and Alexey Andreevich soon died.

The top of her creativity was the world-famous 21-meter sculpture of stainless steel "Worker and collective farmer", created for the Soviet pavilion at the 1937 World Exhibition in Paris. Upon returning to Moscow, almost all exhibitors were arrested. Today it became known: some attentive baseman saw in the folds of the skirts of the collective farm "Some bearded face" - a hint of Lion Trotsky. And a unique sculpture could not find places in the capital for a long time until it was dropped by VDNH.

"Worker and collective farmers"

According to K. Stolyarov, the figure of the worker Mukhina Lepila from his father Sergey Stolyarova, a popular film actor of the 1930s 1930s, which created a number of fabulously epic images of Russian warriors and positive heroes, with the songs of socialism under construction. A young man and a girl in a rapid movement raise up the emblem of the Soviet state - Sickle and Hammer.

In the village under Tula lives his century Anna Ivanovna Bogoyavlenskaya, from whom they laid a collective farmer with a sickle. Frau itself Ignatievna, according to the old woman, she saw two times in the workshop. Lepil the same collective farmer of a certain V. Andreev - obviously, the assistant of the famous muffin.

In the late 1940s, the portrait of Mukhina decided to write a famous artist M. V. Nesterov.

"... I can't stand when you see how I work. I never gave myself to photograph in the workshop, I remembered later Vera Ignatievna. - But Mikhail Vasilyevich certainly wanted to write me at work. I could not not give way to his urgent desire. I worked continuously while he wrote. From all the works, former in my workshop, he himself chose the statue of Borea, the god of the North Wind, made for the monument to the Chelyuskins ...

I reinforced it with black coffee. During sessions, lively conversations about art ... "

This time was the most calm for the mug. She was elected a member of the Academy of Arts, assigned the title of People's Artist of the RSFSR. The Stalin Prize has repeatedly been awarded to her. However, despite the high social situation, it remained closed and spiritually lonely person. The latter, destroyed by the author sculpture - "Return" - the figure of a mighty, beautiful guilty young man, in despair of the hidden face in female knees - mother, wife, beloved ...

"Even in the rank of laureate and Academician Mukhina remained a personality proud, rescued and internally free, which is so not easy and in her, and in our times," confirms E. short.

The sculptor has completely avoided to sculpt people, she was unpleasant, did not make a single portrait of the party leaders and the government, almost always chose the model and left a whole gallery of portraits of representatives of the Russian intelligentsia: scientists, doctors, musicians and artists.

Until the end of his life (she died 64-year-old in 1953, in just six months after the death of I. V. Stalin), Mukhin could not come to compete with the fact that in her sculptures they saw no work of art, but means of visual agitation.

"In bronze, marble, trees, steamed and a strong cutter of the images of people of the heroic era - a single image of a person and human, marked by the unique seal of the Great Years," wrote art historian D.Arkin on the art of Mukhina, whose creativity largely determined the appearance of the new Soviet art. Faith Ignatievna Mukhina was born in a wealthy merchant family. Soon after the death of Mother, the father and daughter moved from Riga to Crimea and settled in Feodosia. There has a local gymnasic teacher drawing a future artist and received the first lessons of drawing and painting. Under his leadership, she copied into the Gallery of I.K. Ayvazovsky painting famous Marinist, writing landscapes Taurida.

The gymnasium of Mukhin ends in Kursk, where after the death of his father, she is taken by guardians. At the end of the 1900s, a young girl rides in Moscow, where firmly decides to make painting. In 1909-1911, she is a student of the private studio K.F.uon. During these years, Mukhin first manifests interest in sculpture. In parallel with the classes of painting and the picture of John and Dudin, it visits the studio of the sculptor-self-taught N.A. Sinitsyna, who was located on Arbat, where a moderate fee could be obtained for work, a machine and clay. Students were engaged in students of private art schools, students of the Stroganovsky School; There were no teachers here; The model was put, and everyone looked, as he knew how. Often, her neighbor came to the workshop, the sculptor N.A.andreyev, famous for his recently open monument N.V. Gogol. He was interested in the work of the Pets of the Strocking, in which he taught the sculpture. Often, he stopped at the work of faith mukhina, the originality of the artistic manner of which they immediately noted.

From Jun at the end of 1911, Mukhina passes to the studio of the painter I.I. Mashkov. At the end of 1912, she rides Paris. As at the beginning of the XIX century, Russian painters and sculptors sought Rome, so at the beginning of the 20th century the younger generation dreamed of getting into Paris, who became the legislator of new artistic tastes. In Paris, Mukhin enters the Academy of Grand Schomyer, where the sculptural class was led by Emil-Antoine Burdel. Two years old learns a Russian artist at the former assistant Rodin, whose sculpture attracted her "irrepressible temperament" and genuine monumentality. Simultaneously with the occupations of the Bardedle at the Academy of Fine Arts, Mukhin is listening to anatomy. Complements the art education of a young sculptor itself atmosphere of the French capital with its architectural and sculptural monuments, theaters, museums, art galleries.

In the summer of 1914, Vera Ignatievna returns to Moscow. The World War II began in August changed the usual life line. Mukhina leaves sculpture classes, enters the courses of nurses and in 1915-1917 he has been working in the hospital. The revolution returns to the artist in the arts scope. Together with many Russian sculptors, she participates in the implementation of the Grand Leninist Monumental Propaganda Plan. In its framework, Mukhina performs a monument to I.Novikov - the Russian public figure of the XVIII century, the publicist and the publisher. Unfortunately, both options for the monument, including an approved drug addict, died in the unheated workshop of the sculptor, harsh in winter, 1918-1919.

Vera Ignatievna participates and wins in a number of sculptural competitions, often carried out in the first post-revolutionary years; It performed the projects of the "Revolution" monuments for the wedge and "liberated labor" for Moscow. The most interesting decision finds a sculptor in the project of the monument to Ya.M. Sverdlov (1923), where the rushing allegorical male figure with a torch in his hand personifies selfless service of the revolution of the faithful Bolshevik-Leninica. This project is more famous under the motto "Flame Revolution". By the mid-20s, an individual art manner of the master is folded, more and more from distracted allegority and conditionally schematic solutions in the spirit of cubism. The program work was the two-meter "peasant" (1926, Gypsum, GTG), which appeared at the exhibition of the 10th anniversary of October. Monumentality of forms, accented architectonics of sculpture, the strength of artistic generalization is now becoming distinctive features of the easel and monumental sculpture of the mug.

In 1936, the Soviet Union began preparations for the world exhibition "Art, Technique and Modern Life". The author of the multistage Soviet pavilion architect B.M.Iofan proposed to complete his 33-meter head pylon with a two-digurized sculptural group with the emblem of our state - sickle and hammer. Gypsum sketch of the mukhina, who developed this topic with other artists, was recognized as the best. The sculptor, always dreamed of a grand scale, was to lead the most complicated work on the manufacture of a 25-meter statue with a total weight of about 75 tons. The sculptural framework consisting of steel farms and beams gradually dressed in chromonichel steel plates. The group, symbolizing the union of the working class and the peasantry, made of the latest materials using industrial methods, passed, according to the sculptor, the "cheerful and powerful impulse, which characterizes our country." And now the monument "Worker and collective farmer", whose plastic strength "is not so much in the beauty of his monumental forms, as in the rapid and clear rhythm of the volitional gesture, in exactly found and powerful movement forward and up," occupies an honorable place at the entrance to the VDNH In Moscow, where he was installed in 1938 with small compositional changes.

In 1929, Mukhina creates one of its best monuments - a monument to M. Gorky for the city, which is his name. A sharp silhouette is read by a slightly elongated figure of a writer standing on the shore of a native Volga. The characteristic silence of the head blows the image of the "Buress of the Revolution" created by the sculptor, who came out of the people of the Buntar writer. In the 1930s, Mukhin also works in a memorial sculpture: it was especially successfully solved by her tombstone M.A. Peshkov (1935) with a cut out of marble into a complete growth figure with a thoughtfully prone head and put on his pockets with hands.

The leading theme of the sculptor's creativity has always remained the glorification of the spiritual beauty of the Soviet person. Simultaneously with the creation of a generalized image of a contemporary - builder of the new world, this topic was developed by the master and in the machine portrait. In the 30s, the heroes of the portrait gallery of the sculptor - Dr. A.A. Zamkov and the architect S.A. Zamkov, director A.P. Rodyzhenko and Ballerina M.T. Semenova. During the war, portraits of the muggy are concisely, all the extra effects in them are removed. Material change: often used earlier marble replaces bronze, giving, according to A.V. Bakushinsky, more opportunities "for building forms designed for the silhouette, in motion." Portraits of Colonelovnikov I.L. Sizhnyak and B.A.Yusupova (both - 1943, Bronze, GTG), "Partizanka" (1942, Gypsum, GTG) With all their individuality, they are typical for the Soviet man of military time the features of collections, decisive readiness for fight against the enemy.

Dzhanzhugaz E.A.

... unconditional sincerity and maximum perfection

Vera Mukhina is the only woman sculptor in the history of Russian monumental art, an outstanding master who has an ideal feeling of harmony, honed by skill and amazingly subtle sensation of space. Talent Mukhina is truly Multician, it was obeyed by almost all genres of plastic art from the grand monumental sculpture of "working and collective farms" to miniature decorative statues and sculptural groups, sketches for theatrical performances and art glass.

"The first lady of the Soviet sculpture" joined in his work, it would seem, not connected - "Male" and "Women's" beginning! Daily scales, power, expression, pressure and extraordinary plastic figures, combined with the accuracy of silhouettes, underlined by the soft flexibility of lines, giving an unusually expressive statics and the dynamics of sculptural compositions.

The talent of the faith of the mukhina rose and comma in complex and contradictory years of the twentieth century. Her creativity sincerely and therefore absolutely the main work of her life - the monument "Worker and Kolkhoz Day" challenged the Nazi ideology of racism and hatred, becoming a real symbol of Russian-Soviet art, always personified the idea of \u200b\u200bpeace and good. As a sculptor Mukhina chose the most difficult path of the monumentalist, working on a par with mastitis maststers-men I. Shadrom, M. Manizer, B. Iofan, V.Dreyev, never changed the vector of its creative development under the influence of recognized authorities.

The citizenship of the art of the thrifting bridge from the ideal to life, uniting the truth and beauty became a conscious program of all its thoughts until the very end of life. Creative success and exceptional achievements of this wonderful woman were largely determined by her personal destiny, in which it was perhaps everything ...

Both great love, family happiness and family tragedy, the joy of creativity and heavy exhausting work, triumphant victories and a long half-time period ...

Pages of Life

Faith Ignatievna Mukhina was born in Latvia in the family of a Russian merchant family on July 1, 1889. The Mukhiny family was distinguished not only by a merchant grip, but also love for art. Hair sharpening with big money, they almost did not speak about them, but it was fiercely argued about the theater, music, painting and sculpture. Stretched and generously encouraged young talents. So Ignatius Kuzmich Mukhin - Father of Faith, he himself almost broken bought a seascape from a dying of the artist Alice. He generally did a good and quietly, like his father - grandfather faith, Kuzma Ignatievich, who really wanted to resemble the Kozimo Medici.1

The parents of faith Mukhina died early to the misfortune and she stayed at the care of rich relatives to the elderly sister. So since 1903, Sisters Mukhina began to live at uncle in Kursk and Moscow. Faith studied perfectly, played on the piano, drew, wrote poems, traveled around Europe, was a big fashionista and adored balls. But somewhere deep in the mind already an insistent thought about the sculpture was already originated, and learning abroad became her dream. However, the relatives did not even want to hear about it. Not a female thing, they reasoned practical merchants, to learn the young maiden in gave from their relatives from some Burdel.

However, fate ordered otherwise ... Conducting Christmas holidays from Rodney in the Smolensk estate faith, riding a slide got a serious injury to the face. Pain, fear, dozens of operations in the moment turned the cheerful young lady in the designer and killed by a grief creature. And only then the relatives decided to send faith to Paris for treatment and rest. French surgeons made several operations and really restored the girl face, but it became completely different. The new face of the faith of the mukhina was masculine, rude and very volvas, which was reflected on its character and hobbies. About Balah, Flirt and Marriage Vera decided to forget. Who loves such? And the question of choosing classes between painting and sculpture was resolved in favor of the second. Beliefs began to engage in the workshop of the Burdle, working as a core, she very quickly overtook everyone, becoming the best. The tragic turn of fate forever determined her life path and its entire creative program. It is difficult to say that the unusual merchant daughter would be able to get out of the spoiled merchant daughter - the great master of monumental sculpture, if even the word "sculptor" is meant only in male genus.

However, ahead was the twentieth century of amazing velocities and the industrial revolution, the epoch heroic and cruel, who set the woman next to a man everywhere: behind the aircraft helmet, on the captain's ship's bridge, in the cabin of a high-rise crane or tractor. Equal, but not the same man and a woman in the twentieth century continued to paint the harmony in the new industrial reality. And it was this ideal for the search for the harmony of the "Male" and "female" began in his work faith Mukhin. Her male face attached to the work of unusual strength, courage and power, and the female heart gave a soft plastic, filigree accuracy and selfless love.

In love and motherhood Vera Ignatievna, despite everything was very happy and, despite the severe sickness of the son and the difficult fate of her husband - the famous Moscow doctor Alexey Zamkov, her feast was stormy and full as a big river.

Different faces of talent: peasant and ballerina

As a talented person, Vera Mukhina has always been looking for and found different means of self-expression. New forms of their dynamic sharpness occupied her creative imagination. How to portray the volume, its different dynamic forms, how to bring the imaginary lines to the specific nature, which is what Mukhina thought, creating his first famous peasant sculpture. In it, Mukhin first showed the beauty and power of the female body. Her heroine is not an aerial sculpture, but the image of women-workers, but this is not a ugly loose block, but an elastic, one-piece and harmonious figure of a not deprived of living female grace.

"My" Baba, "- said Mukhina, - firmly stands on Earth, unshakable, as it is frozen into it. I did it without nature, from my head. Working all summer, from morning to evening. "

The "peasant" Mukhina immediately attracted the closest attention, but the opinions were divided. Someone admired, and someone had shrugged his shoulders, but the results of the exhibition of the Soviet sculpture dedicated to the first decade of the anniversary of October, showed the absolute success of this extraordinary work - "the peasant" was taken to the Tretyakov Gallery.

Later in 1934, the "peasant woman" was exhibited at the XIX International Exhibition in Venice and its first bronze casting transferred to the property of the Vatican Museum in Rome. Having learned about it, Vera Ignatievna was very surprised that her rude and seem to be an ax, but the full dignity and peace of mind, Russian Baba took a place in the famous Museum.

It should be noted that at this time the individual artistic manner of muning, the distinctive features of which becomes the monumentality of forms, accented architectonics of sculpture and the power of a plastic artistic image. This corporate Muhinsky style at the end of the twenties highlights it in the avant-garde group of monumentalist artists who are engaged in the development of design of Soviet exhibitions in different countries of Europe.

Cultural "peasant" of the work of Mukhina V.I. (Ot., Bronze, 1927)

Sketches of the "peasant" of the work of Mukhina V.I. (Ot., Bronze, 1927)

Working on the sculpture, Vera Mukhina came to the conclusion that a generalization is important for her in every image. A firmly shot down, a somewhat lost "peasant" was such as the artistic ideal of those years. Later, having been in Europe under the influence of graceful works of glass fiber from Murano, Mukhina creates a new female image - a ballerina sitting in a musical pose. Mukhina looked at this image with his familiar actress. The sculpture, she first translates into marble, then faience, and then only in 1947 in the glass. Different artistic images and different materials contributed to the change of aesthetic ideals of the sculptor, making her creativity versatile.

In the 1940s, Mukhin is enthusiastically engaged in design, it works as a theater artist, comes up with stacking strunted stacks. It is especially attracted by people highly awesome and creative, among them the famous ballerinas - Galina Ulanova and Marina Semenova. The fascination of ballet reveals new facets in the work of a mughian, with the same expressive force, it reveals plastic images of such different Russian women - a simple peasant and the famous ballerina - the star of the Russian ballet Galina Ulanov.

Creative inspiration captured in bronze

The most romantic and inspired among all the works of Faith Mukhina became a monument to Peter Ilyich Tchaikovsky, standing in the courtyard of the Moscow Conservatory at the Big Nikitskaya Street. The sculptural composition is located at the main facade of the conservatory and is the dominant of the entire architectural complex.
This work is distinguished by originality, the Great Musician is depicted at the time of creative inspiration, however, counterclaims criticized Mukhin for the tense Posykovsky pose and some overload, but in general, the composite solution of the monument, as well as the place itself, was chosen very successfully. It seems that Peter Ilyich listens to music, pouring from conservative windows, and involuntarily conducts the beat.

The monument to the composer at the walls of the Moscow Conservatory is one of the most popular attractions of the capital. Of particular popularity, he acquired in the conservatory students in the literal sense of the impassive part of it. Before the restoration in 2007, there were no 50 music signs in his openwork lattice, according to the possession of not a good luck in musical creativity. Even the bronze pencil from the hands of the composer disappeared, but so far it is equal to the figure in the musical world.

Triumph

But the real apogee of Creativity Mukhina was the work on the design of the Soviet pavilion at the World Exhibition in Paris. The sculptural composition "Worker and the collective farmer" shook Europe and was designed by the masterpiece of the art of the twentieth century. Not every creator manages to get universal recognition and survive such a grand success, but the main thing is to convey to the viewer the idea of \u200b\u200bwork so that he understands it. Vera Ignatievna was able to make sure that not only the decorative attractiveness excited people, they acutely felt the ideological content of the sculpture, which reflected the dynamism of the Great Industrial Epoch. "The impression made by this work in Paris gave me everything that the artist may wish" - these words wrote Vera Mukhin, summing up the very happy year of his creativity.
Mukhina's talent and multifaceted, unfortunately, was not fully demanded. A lot of ideas did not have been implemented. It is symbolic that a monument "Icar", which was made for the Pantheon of the dead pilots, became symbolic that the most beloved of all unrealized works was the most unrealized work. In 1944, his trial version was put up at the so-called six, where he was tragically lost. But, despite the unfulfilled hopes, the creativity of faith mukhina is such a strong, rapid and unusually solidly raised world monumental art to a huge height like an ancient Ikar for the first time to disave the joy of conquering sky.

Literature

1. Voronova O.P. Vera Ignatievna Mukhina. M., "Art", 1976.
2. Suzdalev P.K. Vera Ignatievna Mukhina. M., Art, 1981.
3. Bashinskaya I.A. Vera Ignatievna Mukhina (19989-1953). Leningrad. "Artist RSFSR", 1987.
4. http://progulkipomoskve.ru/publ/monument/pamjatnik_chajkovskomu_u_moskovskoj_konservatorii_na_bolshoj_nikitskoj_ulice/43-1-0-1182.
5. http://rus.ruvr.ru/2012_10_17/neizvestnaja-vera-muhina/ http://smartnews.ru/articles/11699.html#ixzz2kexjvlwa.

1 Florentine politician, merchant and banker, owner of the largest state in Europe.
2 Antoine Burdel - the famous French sculptor.