Children's artists illustrators charushin. Evgeny charushin and his unique world of animals
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MinistryeducationRussianFederation
Magnitogorskstateuniversity
Course essay
Evgeniy Charushin - illustrator children's books
Completed: Nevzorov E.V.,
4th year student 404 gr. preschool OZO
Checked: Lopatina E.G.
Magnitogorsk 2004
Bibliography
1. The main stages of the life and work of E.I. Charushina
Charushin Evgeny Ivanovich was born in Vyatka on October 28 (November 10), 1901. He combined a writer, artist, master of a kind of picture book. The author's book allowed him to carry out the connection of the narrative with the illustrations in his own way. Charushin, as you know, was an outstanding animal painter, still, perhaps, unsurpassed in the children's book.
Father, Ivan Apollonovich, came from a large and poor family that grew up in Orlov, in the vicinity of Vyatka. The family had four brothers and two sisters, and later it became a tradition to have annual family "conventions". Among the brothers was Nikolai Apollonovich, a revolutionary populist, the author of the famous memoirs "About the distant past." Most likely, it was a dangerous relationship that was the reason that Ivan Apollonovich, who successfully graduated from the Academy of Arts, did not stay in either of the capitals or a large provincial city like Kiev or Kharkov, but left to serve - at first very far, to Sakhalin, where he buried his first wife, then closer to Vyatka, where he became a provincial architect and built up to five hundred buildings over the long years of work.
"I learned from childhood to understand an animal - to understand its movement and facial expressions," Charushin said, (Compare with Lebedev's statement: "An artist must know the habits of an animal, its moving appearance.") to the brim with childhood impressions. And in childhood, everything favored the development of unique abilities in him.
The house was full of flowers, plants, animals and birds. Their mother loved them. They treated the wounded animals together. Bobka, a three-legged mongrel dog, was his friend. The Charushins lived in a cozy quiet Vyatka, the future animal painter will remember that there were a lot of game and live gunfire at the bazaars. (Like his friend, the great storyteller Yuri Vasnetsov, also a Vyatich, will remember the Dymkovo toy and painted arcs for the rest of his life.)
Little Zhenya loved to draw, perched beside his father, who was bent over another architectural project. The Art Nouveau houses of Ivan Apollonovich Charushin are still visible in Vyatka. The boy painted animals and Indians. Seeing the stability of his son's addictions, his father gave him books by Bram and Seton-Thompson on his birthdays. Zhenya loved to read, climbing a tall tree near the house.
Impressions from nature were formed not only from the books I read. Together with his father, he often traveled around the province.
“We traveled day and night, through forests and meadows, in a blizzard and autumn weather. And the wolves chased us, and we rode out to the current of black grouses, and the wood grouses scared from the tops of the pines ... And the sunrise, and morning fogs, and how the forest wakes up, how birds sing, how wheels crunch on white moss, like runners whistle on frost - I loved and experienced all this since childhood. "
And when, after graduating from the Academy of Arts in Leningrad, Charushin settled forever in this amazing city, he created a microcosm in his house, similar to the one that surrounded him in childhood. It was comfortable for everyone here. There was room for cats, dogs, foxes, and even wolf cubs brought from the zoo, and many birds that lived in the aviary. The peculiar inhabitants of the charushin apartment became the heroes of stories and drawings for kids.
2. Works illustrated by E.I. Charushin
Illustrations for books:
Bianki V. Murzik. - M., 1927.
Smirnova N. How Mishka became a big bear. - M., 1929.
Charushin E. Different animals. - M., 1929.
Charushin E. Free birds. - M., 1929.
Charushin E. Shchur. - M., 1930.
Charushin E. Shaggy guys. - M., 1929.
Bianki V. The First Hunt. - M., 1933.
Chukovsky K. Chicken. - M., 1934.
Charushin E. Vaska, Bobka and Rabbit. - M., 1933.
Prishvin M. Chipmunk Beast. - M., 1935.
Marshak S. Children in a cage. - M., 1935.
Charushin E. Seven stories. - M., 1935.
Charushin E. My first zoology. In the woods. - M., 1942.
Charushin E. Cat, Rooster and Fox. - M., 1944.
Teremok. - M., 1947
Kapitsa O. Russian fairy tales about animals. - M., 1947.
Belyshev I. Stubborn kitten. - M., 1946.
Gorky M. Vorobishko. - M., 1957.
Chukovsky K. Chicken. - M., 1956.
Charushin E. About Tomka. - M., 1958.
Charushin E. Why Tyupa Doesn't Catch Birds. - M., 1960.
Lifshits V. Here they are. - M., 1956.
3. The specifics of the artist's creative manner
Charushin the writer and Charushin the artist, arguing and doubting, were looking for the appearance of a book, an inextricable link between word and image, drawing and text. In this regard, the verb became the main thing. "Verb" actions in pictures and short texts unfold in certain rhythms, without interfering with each other, but only helping to strengthen the impression, to "see", especially in books for the little ones with unpretentious stories and pictures full of charm, for example, about the kitten Tyupu. This is how much tiny Tyupa manages in a few lines of text: grab, catch, catch, play; he crawls, hides, buys, bugs. It's not hard to imagine a playful kitten from just one verb.
The intonation of each phrase is spontaneous, with gentle surprise at Tyup's tricks. There are no more than one or two pictures for the entire "verb" page. The most characteristic, most expressive movement of the kitten is selected and shown large. These are also "verb" drawings filled with movement and rhythm. The artist frankly admires the tiny animal, its fluffiness (it is known: Charushin, like no one, knew how to convey the texture of the animal's fur), rejoices in dexterity and spontaneity. The kitten's poses, his eyes are full of various feelings, poeticized and very precise. "My task," the artist said, "is to give the child an extremely complete artistic image of the beast ... To enrich the child's artistic perception, open up new scenic sensations of the world to him." As a result, perfect works of art were born, and the images appeared as perfect creations of nature, be it a simple kitten or a regal leopard.
Animal kids succeeded Charushin most of all. He knew how to convey the charm of childhood of any animal.
But Charushin did not forget that he was drawing for the book. And he strove, as he himself said, "to find a form of image for some book in order to get a compositional, whole-artistic organism." He admitted that before a book grows, he does a lot of preparatory work. The artist learned to build a book so that it was as dynamic as the texts themselves and individual drawings. Charushin made sure that the text never overwhelmed the drawings in his author's picture books. But depending on the rhythm of the narrative, on the meaning contained in the drawings, he gave up more space to one or the other, so as not to reduce the child's attention. This can be seen very well in the same book "Tyupa, Tomka and Soroka" published in 1963. The book is literally full of movement. The fluffy, clumsy figure of Tyupa seems to move through the pages of a book. So he jumps, indulges, then calms down next to his mother, and this is also a respite for the listener-spectator, but here the kitten again jumps to another turn, and here the birds sing on the branch - and this expands the impression, it becomes more voluminous, wider.
The illustrations are located in the entire page, then they occupy its bottom part, then they move up. The techniques are associated with the rhythm of the entire book and with the characters of the characters. For even with the layout, the construction of the book, Charushin helps the child comprehend the artistic truth of life. He achieved the same with color harmony: while preserving the real color of animals and birds, he was able to withstand the general noble color.
Charushin's animalistic picture book is of a special kind - it is colored with poetry, lyrical feeling. The artist did not humanize animals, they were simply animate beings for him, that is how he understood and loved them.
For a long time, Evgeny Ivanovich Charushin was considered the purest animalist, without any signs of fabulousness. But when the time came, he managed to draw fairy tales.
These were mostly lithographs, printed on the back of inferior sheets of the report card and hand-colored. In the drawings, the Charushin rabbits frolicked, dressed this time in colored skirts, a rooster rushed harnessed to a carriage with hens and chickens, a handsome cat with a game bag and a gun went hunting, his fluffy fur was silvery, and the wolf was bloodthirsty peeping at the little goats frolicking around a smart mother-goat.
Charushin painted fairy tales during the war, in Kirov, where he left with his family from Leningrad. In order to somehow brighten up the meager hungry life for the children, the artist himself, at that time exhausted from constant malnutrition, made prints of drawings of fabulous animals from a lithographic stone. Then some of the drawings were included in the book "Jokes", written by him together with his cousin, the poet E. Shumskaya and published by Detgiz in 1946. It is extremely interesting to watch how an animal painter transforms a natural animal into a fabulous one, while preserving its habits, which were so familiar to Charushin. (Not only childhood impressions, sketches at the zoo, but, perhaps, above all, hunting developed an amazing observation ability in Charushin.)
It seemed that the stupid bear attacking the teremok was fabulously funny. But a formidable look with raised paws is also a bearish "habit". Once Yevgeny Ivanovich watched while hunting a brown bear catching fish. He caught with his paws, sat on a fish in a turbulent river stream, not suspecting that the water was carrying it away. When he discovered the loss, he roared terribly with resentment. Charushin described a comic scene in one of his wonderful stories "Bear-fisherman" and, perhaps, remembered this bear when he drew "Teremok", so expressively the bear character is presented here.)
Charushin's animals remained "real" even when they behaved in a fabulous way. At the same time, everything was subordinated to the principle of a picture book with a minimum amount of text.
In the 50s, Charushin had to revise his technical means. Previously, he worked in two favorite techniques: in black-and-white ink drawing (most often with a brush on coarse-grained paper, which gave a picturesque drawing) and in lithography - usually in two or three colors. He came to both techniques himself and became akin to them, because they best conveyed his, Charushin's, vision of the world. In addition, both of these techniques were polygraphic, in which the artist's handwriting reached the viewer either completely without distortion or with minor distortions: the line drawing was rather closely reproduced by the line cliché, and the illustrations made in lithography were printed directly from the stones on which they were made. painter.
Then it changed. Black-and-white line drawing (like engraving) was tacitly revered as if it were inferior, not quite worthy - it seemed very conditional next to a tone-on-tone drawing or with a multi-color one, closer to photographic reproduction of nature. Lithography also seemed too conventional, at least in the version that Charushin used. It was replaced by more color pictures, executed in watercolors or gouache, which were then reproduced in books. And the color in them had to be more natural, and the dressing had to be meticulously natural, as in the visual aids in natural science. charushin creativity illustrated artist
Even republishing his old illustrations, which seemed to have received recognition and well-appreciated for a long time, he was forced to rework them, and in fact - to spoil, draw on "backgrounds", observing the perspective, carefully, stroke to smear, stroke to stroke, write out hairs on skins. He had to torture himself, to abandon not only his inherent closedness of the object form, freely located in the space of the sheet, but also from attempts to tactfully introduce into the image elements of the environment, which he, and quite convincingly, had undertaken even before the war.
All these requirements had to be reckoned with, and all this had a depressing effect on Charushin, who had already gone through a rather difficult moment in his development. From the end of the 50s, Charushin almost stopped writing. The overwhelming majority of his books then published were re-editions of old stories.
The only new book is Big and Small. It was originally invented: these are short playful instructions from various bird and animal mothers to their children - how to behave, how to hunt or, conversely, hide from the enemy, how to arrange a house, how to get food, etc. interesting and characteristic.
There are artists who are capable of strong changes, there are even those in need of change as a source of creative renewal. Charushin, however, was decidedly not adapted to any kind of restructuring, he was alien to flexibility. The value of his art was determined by his amazing integrity and organic nature of a person and an artist. He could only be himself and nothing else.
For artists of this type such as Yevgeny Charushin, an attempt to radically restructure their creative individuality is always particularly painful, and most importantly, indelible. Even when external circumstances change, shy dogmas subside - to return to oneself back, to what was previously given so easily, so naturally, turns out to be difficult, if not even impossible.
Bibliography
1. Gankina E. Artist in a modern children's book. M .: Soviet artist, 1977.
2. Kudryavtseva L.S. Children's book artists. M .: Academy, 1998.
3. Kuznetsov E. Animals and birds of Evgeny Charushin. M., Soviet artist, 1983.
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Evgeny Ivanovich Charushin- famous artist and writer. In addition to his own books ("Volchishko and Others", "Vaska", "About the Magpie") E. I. Charushin illustrated the works of V.V. Bianchi, S. Ya.Marshak, K.I. Chukovsky, M.M. Prishvin and others.
In the illustrations by E. I. Charushin, an animal painter, the world of animals is revealed in vivid images, with great warmth and humanity. He has his own techniques for conveying form, color and texture. His characters are realistic and fabulous at the same time. He seeks to express the character of each animal in laconic means, to convey the joy of communication with the living.
EI Charushin studied animals in detail and specifically, that, creating his drawings, he could not think about the accuracy of the transfer of form or proportion, so this was already implied by itself. This approach helped to focus on creating images. Each illustration is not like another, each has its own emotional image - a certain character in a certain state.
EI Charushin's characters are kind and charming. They easily enter the fairy-tale world. The artist loved to depict animal cubs - fluffy, soft and still completely helpless.
EI Charushin developed his own method of illustration - a purely pictorial one. He draws not contour, but, one might say, anticontine, unusually skillfully, with spots and strokes. The animal can be depicted simply as a "shaggy" spot, but in this spot one can feel the alertness of the posture, and the specificity of the movement, and the peculiarity of the texture - the elasticity of the long and stiff coat raised on end along with the downy softness of the thick undercoat.
The artist approached creativity seriously, precisely as to creativity, and not as fun or just spending time (even if useful). The main thing he considered the creation of an image, "and if there is no image, there is nothing to depict, and there remains another process of work - like a leader, this is a path that comes from mechanical skills" (Charushin E. I. My method of drawing with children // Preschool education, No. 2, pp. 22-25). Children's consciousness in general is overflowing with images that arise in it continuously. The task of the leader is to push these images, to help them to be captured on paper, and for this you do not need to be an artist at all. The joy of creativity shared with the child, the joy of his discoveries in drawing, in creating an image, supports the child in the process of work, gives him self-confidence, EI Charushin believed.
Bianki V.V.Stories and Tales/ V. V. Bianki; artist E. I. Charushin. - 7th ed.-L .: Children. lit., 1981.- 255 p .: ill.
: stories: biographical photo essay / Vitaly Bianki; [artist: E. I. Charushin, V. Kurdov; formalized. Yu. Vasilieva; ph. A. King]; ed. foreword. E. V. Bianki.- M .: Children's literature, 1984.-109, p. l. portra .: ill.
Bianki V.V. Why am I writing about the forest: Stories: Biographical photo essay / Vitaly Bianki; [artist: E. I. Charushin, V. Kurdov; formalized. Yu. Vasilieva; ph. A. King]; ed. foreword. E. V. Bianki.- M .: Children's literature, 1984.-109, p. l. portra .: ill.
Bianchi V.V.[Selected]: [in 2 volumes] / V. V. Bianchi; [rice. artist EI Charushina] .- M .: Helikon.
Marshak S.Ya. For children: Poems, fairy tales, riddles, English songs / S. Marshak; Artist. V. Konashevich, V. Lebedev, A. Pakhomova, E. Charushin.-B.m: Planet of childhood, 2000.- 322, c .: ill.
Sladkov N.I. Honey rain: stories and fairy tales / Nikolay Sladkov; [rice. and design. EI Charushina] .- L .: Children's literature, 1984.- 286, p., L. portra .: ill.
Sladkov N.I. Collected Works: in 3 volumes / N. I. Sladkov; editorial board: L. A. Anishchenko and [others], fig. and design. E. I. Charushina. - L .: Children's literature.
Charushin E. I. Cat Epifan and other stories/ E. I. Charushin; [Ed. E. A. Kondratyeva; Ed. T. V. Lodyanaya; Auth. foreword. B. Letov] .- M .: Pravda, 1991.- 206, p. : ill.
Charushin E.I.My first zoology/ E. I. Charushin. - L .: Artist of the RSFSR, 1984. - p.
Charushin E. I. Nikitka and his friends/ Evgeny Charushin.-M .: World of the "Seeker", 2005.- 125, p .: ill.- (Classics for children)
Charushin E. I. About Nikita/ Evgeny Charushin; rice. author-M .: World of the "Seeker", print. 2005.-125, p., L .: ill., Portra. - (School library)
Charushin E. I. Tyupa, Tomka and the Magpie/ auth. and artist. Evgeny Charushin.- [M.]: Books of the "Seeker", .- 61, p .: ill., Portra.- (School student's library)
Charushin E.I. 10 books for children: [collection] / E. Charushin. - L .: Artist of the RSFSR, 1989 .-- 9, p., L .: ill., Portr.
Artist's works
Meetings with Writers: A Teacher's Guide/ [comp. NN Svetlovskaya and others]. - M .: Education, 1978. - 286, p .: ill. - (Children's book at school)
Engravings and lithographs by Soviet artists/ [comp. VN Dokuchaev]. - M .: Soviet artist, 1975. - L .: ill., Portr.
Children's literature: textbook: for students of institutions of secondary vocational education/ [E. E. Zubareva [and others]]. - M .: Higher school, 2004 .-- 550, p.
Preschoolers about the artists of children's books: from work experience: book. for the educator children. garden: [collection] / compiled by T. N. Doronova. - M .: Education, 1991 .-- 124, p .: ill.
Olga Borisovna Korf. Children about writers: XX century: from O to Z: a book for teachers, educators, parents / O. Korf. - M .: Strelets, 2006 .-- 54, p .: portr.
Kuznetsova N.I. Children's writers: A guide for teachers and parents. Appendix to books for reading the "Free mind" series by R.N.Buneev and E.V. Buneeva / N.I. Kuznetsova, M.I. Meshcheryakova, I.N. Arzamastseva. - M .: BALLAS, 1995 .-- 160 p.
Kuznetsov E. D. Animals and Birds by Evgeniya Charushina/ E. Kuznetsov. - M .: Soviet artist, 1983. - 159 p .: ill., Portr. - (Stories about the artists)
Kurochkina N. A. Children about book graphics/ N. A. Kurochkina; artist I. N. Rzhevtseva. - SPb .: CHILDHOOD-PRESS, 2004 .-- 189p .: ill. - (Library of the "Childhood" program)
About literature for children: [collection of articles] / House of children's books. - L .: Children's literature, B.g. Issue 3. - 1958 .-- 279, p .: ill.
About literature for children: [collection of articles] / House of children's books. - L .: Children's literature, B.g. Issue 6. - 1961 .-- 180, p.
Writers of our childhood. 100 names: Biographical Dictionary in 3 hours / Russian State Children's Library. - M .: Libereya, 1999 .-- 432 p.
Russian children's writers of the twentieth century: Biobibliographic Dictionary. - 2nd ed., Rev. and add. - M: Flinta, 1998 .-- 512 p.
Tikhanova V. Alexandrovna. The Face of Wildlife: Essays on Soviet Animalist Sculptors/ V.A.Tikhanova; ed. O. N. Portnova. - M.: Soviet artist, 1990 .-- 239 p. : ill. - (Art: problems, history, practice)
Tubelskaya G. N. Children's writers of Russia: One hundred names: Bibliographic reference / Tubelskaya Galina Naumovna; [Ed. L. E. Korshunova]. - M .: School library, B.g. - (Professional library of a school librarian) Part 2: M - Ya. - 2002. - 223, p.
Artists of children's books about themselves and their art: articles, stories, notes, speeches / comp. Vladimir Glotser. - M .: Kniga, 1987 .-- 305 p.: Ill.
The Charushin dynasty of animal painters has been pleasing us and our children with their drawings for more than a century. Their heroes are animals: domestic, wild, and exotic inhabitants of distant countries. Every animal and bird for them is not an animal "in general", but a concrete living being with its own structure, plasticity, habits that express the essence of its character.
Evgeny Ivanovich Charushin was born in 1901 in the Urals, in Vyatka in the family of Ivan Apollonovich Charushin, one of the prominent architects of the Urals. More than 300 buildings were built in Sarapul, Izhevsk, Vyatka according to his designs. He had a significant impact on the development of the cities of the Kama and the Urals, a huge region where he was a leading architect, including because of his status - the chief provincial architect. The profession of an architect requires, as a prerequisite, to be a good draftsman. Like his father, an architect, the young Charushin himself painted splendidly since childhood. The novice artist painted in his own words "mainly animals, birds and Indians on horseback." He was the best animal painter. There was no one equal to him. But Evgeny Charushin was also one of those kind and humane children's writers who preserved the spontaneity and freshness of the child's view of the animal world and the child's perception of life, who were able to kindly and with clear simplicity convey this view to the child's consciousness.
The first book, illustrated by Evgeny Ivanovich, was the story of V. Bianka "Murzuk". It attracted the attention of not only young readers, but also experts in book graphics, and the drawing from it was acquired by the State Tretyakov Gallery. In 1930, with the ardent participation and help of S.Ya. Marshak, E. Charushin tried to write short stories for children about the life of animals.
Before the war, Evgeny Ivanovich Charushin created about two dozen books: "Chicks", "Volchishko and Others", "Roundup", "Chicken City", "Jungle - Bird Paradise", "Animals of Hot Countries". He continued to illustrate other authors - S.Ya. Marshak, M.M. Prishvin, V.V. Bianki.
During the war, Charushin was evacuated from Leningrad to his homeland, to Kirov (Vyatka). He drew posters for TASS Windows, painted pictures on a partisan theme, designed performances at the Kirov Drama Theater, painted the premises of a kindergarten in one of the factories and the foyer of the house of pioneers and schoolchildren. And he was drawing with the children.
In 1945 the artist returned to Leningrad. In addition to working on books, he created a series of prints with images of animals. Even before the war, he became interested in sculpture, painted tea sets, and in the post-war years he made animal figurines and whole decorative groups from porcelain.
Charushin's last book was "Children in a cage" S.Ya. Marshak ... And in 1965 he was posthumously awarded a gold medal at the international exhibition of children's books in Leipzig.
And these are illustrations of Evgeny Ivanovich's son - Nikita Evgenievich.
Nikita Evgenievich Charushin(1934-2000) - Russian animal painter, illustrator, Honored Artist of the RSFSR. Was born in Leningrad. The main teacher for him was his father. In 1960 he graduated from the Institute of Painting, Sculpture and Architecture named after I.E. Repin. He worked in easel graphics, collaborated in Petersburg magazines. Books by V. Bianchi, I. Sokolov-Mikitov, N. Sladkov, R. Kipling and other authors with illustrations by N. Charushin were repeatedly awarded diplomas at all-Russian, all-Union and international competitions. Nikita Evgenievich Charushin died in 2000.
Natalia Nikitichna Charushina- was born on December 8, 1964 in the family of the artist Nikita Evgenievich Charushin in Leningrad. From 1979 to 1983 she studied at the Leningrad Art School named after V.I. V.A. Serov. After graduating from college she entered the Institute of Painting, Sculpture and Architecture. I.E. Repin, from which she graduated in 1990. She defended her thesis by completing illustrations for the book by S. Lagerlef "Niels's Journey with Wild Geese". After graduation she worked in a book. In 1996 she joined the St. Petersburg branch of the Union of Artists of Russia. Participant of many Russian and international exhibitions, has awards. Now he is engaged in illustrating children's books.
Biography
Evgeny Ivanovich Charushin(1901-1965) - Soviet graphic artist and illustrator, sculptor and writer.
Born in Vyatka, in the family of an architect; from childhood he drew a lot. After leaving school, he was drafted into the Red Army, where he worked as an assistant decorator at the headquarters of the Army of the Eastern Front. In 1922 he returned home, studied for some time in the decorative workshops of the Vyatka provincial military registration and enlistment office, then moved to St. Petersburg. There he graduated from the painting faculty of VKHUTEIN, in parallel with his studies he attended the Workshop of spatial realism of M.V. Matyushin.
Since 1927, Evgeny Charushin began working with the Children's Department of the State Publishing House, where at that time a reformer of children's books was the art editor. The first book illustrated by Charushin was "Murzuk". Under the influence of Lebedev, Charushin soon developed his own recognizable style, in which he designed numerous children's works - both by other authors and his own short stories about animals and nature, including "What kind of animal?", "A terrible story", "Amazing postman "," Yasha "," Faithful Troy "," Cat Epifan "," Friends ", a series of stories about Tyupa and about Tomka.
With the beginning of the war, Charushin was evacuated to his hometown of Vyatka, painted posters for TASS Windows, painted pictures on a partisan theme, and designed performances at the local drama theater. In 1945 he returned to Leningrad, where he continued to study children's books. He also made prints, worked with porcelain plastics, sculpture, created murals for porcelain dishes.
The last book designed by the artist was the book "Children in a Cage".
What made a great impression on me as a child still excites me. I want to understand the animal, convey its habits, the nature of the movement. I am interested in his fur. When a child wants to pet my little animal, I'm glad. I want to convey the mood of the animal, fear, joy, sleep, etc. All this must be observed and felt. Most of all I like to portray young animals, touching in their helplessness and interesting, because an adult animal is already guessed in them.
I am very grateful to my family for my childhood, because all his impressions remained for me and now the most powerful, interesting and wonderful. And if I am now an artist and a writer, it is only thanks to my childhood.
My task is to give the child an extremely complete artistic image, to enrich the child's artistic perception, to open up new scenic sensations of the world to him ...
The child's mind is overflowing with images that arise in it continuously. The task of the leader is to push these images, to help them to be captured on paper, and for this you do not need to be an artist at all. The joy of creativity shared with the child, the joy of his findings in drawing, in creating an image, supports the child in the process of work, gives him self-confidence.
“Both were very good animal painters, but Charushin created his own images of birds and animals that were unlike anyone else. No one so felt the soft fluffy texture of the animal, the plasticity of its movement, and, of course, rarely did anyone manage to draw so cool a teddy bear, a wolf cub, a chick. With their touching defenselessness, there is no convention, no sweetness, no lisp with children. The artist respects his little audience.
Charushinsky's creative method is based on a close study of nature, continuous work with nature, a highly professional attitude to the plane of the sheet, on which the image is located as a living, expressive spot, and, most importantly, incredible self-exactingness. The hunter, who knew every bird in the forest, every blade of grass, watched the heroes of his drawings in the wild, he, in addition, constantly and a lot painted in the zoo.
His apartment was inhabited by dozens of birds and a wide variety of animals, domestic and wild. They were models, and, probably, no one, after Chinese and Japanese artists, could so gracefully, with two or three touches, depict a ruffled crow or a puppy with its uncertain movements of fat paws. "
(c) V. Traugot "The Magic World of the Charushins"
“Poetic vigilance is Charushin’s real talisman, Aladin’s magic lamp.
In its light, everything that Charushin writes about - animals, birds, trees - all become as amazing and extraordinary as it happens only then, in childhood, when human eyes see the world for the first time.
And Charushin managed to preserve this initial visual acuity, this inspired, alert attention.
If he did not have this remarkable property, any of his stories, perhaps, could simply melt in the hands of the reader - so fragile, so weightless is its plot core.
But in the light of Aladin's lamp, the simplest story can turn into a wonderful one.
It is not typical for Charushin to be a retelling of someone else's material. In creating popular science stories, any conscientious popularizer can successfully compete with him, who is far from the real Charushin, as from earth to heaven.
And what for Evgeny Charushin these fur coats from someone else's shoulder? His talent is to see with his own eyes, to speak with his own language.
And his language is almost always obedient to him, expressive and precise. It is not for nothing that he began his literary journey with captions for pictures, that is, with such a literary form in which the word should go side by side with the picture, in no way yielding to it in realism and concreteness.
Evgeny Charushin developed this language of his own, economical and lively, capable of appealing to the reader's imagination with every word.
Moreover, he also created his own literary genre, fully corresponding to the peculiarities of [his] talent.
This genre has no name yet. Charushin's creations are sometimes called stories, then sketches, then expanded captions to drawings, then notes from the artist's diary.
And all this is partly true. But it would be more accurate [of all] to call them "lyrical portraits", if only such a loud name befitted the portraits of a parrot, deer, lynx and bear cubs. "
(c) Tamara Gabbe "Evgeny Charushin" (Literary Gazette, No. 5, 1940)
Buy books with illustrations by Evgeny Charushin
Pictures
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Name First hunt
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Name In our yard
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Name A hedgehog ran along the path
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Name Sparrow
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Name Chatty magpie
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Name Bear - fisherman
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Name Big and small
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Name Kids in a cage
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Name Bear hunt
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Name How the bear scared himself
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Name Who lives how
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Name Who knows what
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Name Teddy bear - big bear
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Name Bear - Bashka
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Name Kids in a cage
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Name About Tomka
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Name Friends
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Name Vaska, Bobka and Rabbit
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Conversations
Charushin brought his own into the fairy tale - a deep understanding and feeling of animal psychology and the ability to convey it as sharply as, perhaps, no one else could. Therefore, it is relatively rare, only where it is impossible to bypass animals without this, resorts to the methods of direct humanization of animals: puts them on their hind legs, dresses them in human costumes, etc. He prefers to exaggerate the real manifestations of animal psychology - in plasticity, posture , movement, in the look at last. The tactful fusion of facial expressions and movement of an animal with the facial expressions and movement of a person - a fusion, which gives the right to the similarity of the muzzle and face, the body of an animal and the body of a person - allows his fairy-tale heroes to exist, as it were, between his completely real heroes of stories and stories and such completely fantastic like, say, Yuri Vasnetsov. What silent dialogues does he sometimes arrange - Bear with Wolf, Cat with Fox, Dog with Wolf. These are dialogues of expressive views and poses, expressive in themselves, without humanizing gestures. And with what a cautious, tensely painful expression the Wolf, leaning out of the tower, looks at the approaching Bear: that's it, the end will crush it now.
T. Gabbe "Evgeny Charushin"
There are not so few books for small children in the world. Usually these are fairy tales, short but rather instructive storytellers, pictures with captions and poems with pictures. Growing up, a person permanently forgets these books, and only a few of his first fairy tales and poems forever remain for him as fairy tales and poems. There is nothing you can do about this - all sorts of verbal handicrafts, temporarily fulfilling the position of poems, stories and fairy tales, die off very quickly. As soon as they play their modest role - explain to the child why and why it is snowing, provide him with a dozen new words - and the end of them. Live for a long time, only real poems, fairy tales and stories, things with a self-sufficient artistic intention, with their own poetic task are remembered for a long time. But these books are rarely written. Not every writer, even a talented one, manages to combine the specific requirements of his little readers with the requirements of art common to all literature. Therefore, the characters of such writers, their makeup, their appearance seem to us especially interesting. After all, it is their books before all others fall into the hands of children; they are the first to introduce literature into human life. Evgeny Charushin, artist and writer, belongs precisely to this happy category. Almost all of his books - and he has written about twenty books - are addressed to the youngest readers, to those whom it would be more correct to call listeners and spectators. The area in which he works is the most "childish" one.
Charushin writes mainly about animals. And books about animals, as you know, are mainly of interest to children and scientific specialists. An ordinary adult does not read about animals. However, if an adult opens the book Eug. Charushin in order to read to his five-year-old son one of his stories, large printed on five, three or even two pages, then in the evening he will open this children's book again and read a little story about bear cubs, about a forest kitten or about cock and grouse. He will read it for himself and somehow smile especially well and remember something very sweet, old, which, perhaps, he never remembered. As if Charushin has the key to our most fragile and delicate memories, deeply hidden and very dear.
But this does not mean at all that the books of Eug. Charushin, written by him for children, are liked only by adults and children do not like. No, children really like them, no less than adults, and maybe more. Evgeny Charushin managed to win a double victory. And in the annals of literature, and especially children's literature, this is worth noting, because there are not so many similar victories on two fronts, and usually they only go to wonderful books. What is so remarkable about Charushin's little stories, these simple, uncomplicated stories, which sometimes are even difficult to retell - so far they seem elusive in their naive simplicity?
They do not contain any special abundance of natural-scientific information, as, say, in the books of V. Bianchi; there is not that solid amusement of a children's story with the help of which O. Perovskaya wins her little readers, but, obviously, there is something more in them. Let's unfold one of Charushin's books at random. It's called Seven Stories. Let's skip the first one. It tells how a hunter, somewhere in the wilderness, in a secluded forest clearing, noticed a kitten. The kitten alone plays in the grass, and the hunter looks at him from behind the bushes. He looks, looks and suddenly, in terror, rushes to run, headlong. After all, this forest cub is a lynx! As soon as he gives a voice, the mother lynx will come to the rescue, and then the hunter will not be pleased. This is the outline of this story, and here is the story itself:
“A stream flows in the clearing. And the grass around is thick, multi-colored, multi-colored from flowers. Here the bees are working and the bumblebee is buzzing. And at a pine tree, at a three-year-old that is knee-deep in me, pushers are hustling, mosquitoes. They all jump up and down in one place. And the clearing is small, like a room, five steps wide, ten steps long. A wall around the currant grows, in the currant there is mountain ash, under the mountain ash - raspberries. And then a real forest surrounded the clearing. Spruce forest. A small, little kitten walks, a big-headed kitten. The tail is short, not a tail, but a ponytail. Big-eyed muzzle, stupid eyes. And he is about half a cat in height. A kitten is playing for himself. He grabbed a long straw in his mouth, and he fell on his back and kicked the straw up with his hind legs. His hind legs are long, much longer than the front ones, and the feet at the feet are thick, with pads. The kitten is tired of straw. He chased the fly, then hit the flower with his paw. He grabbed the flower, chewed it and spat it out, shakes his head - the bitter, apparently, the flower has hit. He spat, snorted, sat there for a while, calmly, and suddenly noticed a cloud of pusher-mosquitoes. He crawled up to them, jumped and spread his front paws apart - apparently, he wanted to catch all the mosquitoes in an armful. Yes, I didn't catch a single one ... "
And so on - more and more details up to an unexpected dramatic denouement, until the second when the hunter rushes to run away from the kitten, suddenly realizing that somewhere very close, behind the flowering bushes, death is waiting for him. But the best in the story, the most poetic, warm, lively - is by no means in the denouement. Its center, its content, its task is the lynx itself, a big-headed, hilariously serious furry child in a forest clearing. It seems that not one of his movements escaped the author's greedy, curious and enthusiastic eyes. The whole story has been written about him - and only about him. And about what the story "Bears" was written from the book "Volchishko and Others", about what - "Bird's Lake" - from the book "Seven Stories"? Only about the cubs, only about the birds living in the zoo. Indeed, in essence, nothing happens at all in these stories, nothing happens. But the reader does not even think to demand incidents or incidents from them. A newborn duckling, which, it seems, can still be shoved back into an eggshell, a pop-eyed deer peeking out of its cage into a zoo, a crucian carp frozen into a transparent piece of ice, and even ordinary moss, which “bursts like fire underfoot in the daytime,” and in the morning dew "he just sizzles and blows bubbles" - all this in Charushin's stories in itself acquires the meaning of real events, all this for him is not embellishing details, but the very essence of the action. And this action completely captures the reader, keeps him in the rise of a lively dramatic interest.
This ability to revive the world, enrich it with events is the most essential quality of Charushin, and it is based on his extraordinary ability to see, on happy poetic vigilance. Poetic vigilance is Charushin's real talisman, Aladin's magic lamp. In its light, everything that Charushin writes about - animals, birds, trees - all become as amazing and extraordinary as it happens only when, in childhood, when human eyes see the world for the first time. And Charushin managed to preserve this initial visual acuity, this inspired, alert attention. If he did not have this remarkable property, any of his stories, perhaps, could simply melt in the hands of the reader - so fragile, so weightless is its plot core. But in the light of Aladin's lamp, the simplest story can turn into a wonderful one. Let's take another story by Charushin. It is called "Rooster and Blackcock". This is one of his best stories, but its plot, as in all other Charushin things, is more than primitive. In early spring, the boy goes hunting. After spending the night in the forester's hut, at dawn he goes to the well to wash, and here he becomes a witness to an amazing scene. Before his eyes, a forest rooster - a black grouse - flies over the fence and enters into a fight with a domestic rooster. In the heat of battle, the enemies do not notice the little hunter, and he catches the black grouse alive. That's all. And what did Charushin manage to make of this story! Its beginning is a real spring poem. Here he led his reader to the old city on the hills, to the rain-washed, grassy roof of an old house. What a huge spacious distance suddenly opens up to the reader. How captivating it seems to him there, in the distance, and forests with copses, and meadows, and glades, and rivers with lakes. What a joy it is to lie on this roof and watch how on the airways, now high, now low, migratory birds fly in flocks. The reader barely had time to get enough of this blue world, and the writer had already taken him into the forest with him. Everything is different there, but no worse, but only more secluded and mysterious.
“... The forest is getting darker and damp. Light strips against moss, last year's berries, lily of the valley shoots. A moss bump - all in cranberries, like a pillow in beads. Nearby is a rotten, decrepit stump; and crumbles with red flour. I look - in the very middle of the stump there is a hole, and in the hole there is a black grouse feather, motley, striped - yellow and black. Apparently, the grouse was bathing here in dry dust, floundering, lying on its side, flapping its wings, looking with a black chicken's eye ... "
Fabulous feather! It seems that it was not the grouse that lost him, but some unseen bird. Take it in hand, and you will not escape an amazing adventure. And here it is - an amazing adventure. A wild black bird, like a robber, jumped over the fence and suddenly found itself in the domestic chicken kingdom.
“To… to… to… to… to… coco! - spoke the rooster. And the kosach began to bend. He spread his wings, as if driving with two sabers on the ground. ... The eyebrows of the kosach are red, like fire, and it is all black-black, only white mirrors flicker on the wings, and the white undertail sticks out. … And the rooster and the kosach began to converge closer and closer. By all the rules of cockfighting began to converge. After all, both are roosters, only one is forest, the other is domestic! "...
I would like to rewrite the whole scene of this battle, but the passage clearly speaks of the poetic quality of the whole. And such are almost all of Charushin's stories, which are based on his happy sense of reality, his remembering vigilance. But if only his amazing vision changes the writer, if Aladin's lamp goes out even for a moment, do not expect good luck. For example, Charushin has a book "About the Magpie". It belongs to the category of the so-called "scientific fairy tales" that have long been included in the use of children's literature and yet, for the most part, are rather dubious. Everything fabulous and miraculous is usually replaced by useful information, and useful information in a fairy tale is both inconvenient and cramped. But it is possible, of course, to win the battle even in the most unfavorable positions; this only makes victory more honorable. Did you manage to defeat Charushina this time? No, it failed. He could not bring his main forces into battle - and lost. The tale does not allow the narrator to participate on an equal basis with the heroes in all its vicissitudes. She wants him to stand at a distance and calmly, almost dispassionately - down the hill - command the action. And Charushin cannot stay away from the action. He looks at things like a five-year-old boy looking at them for the first time. In this look and the greed of the hunter, and the inquisitiveness of the naturalist, and the disinterested delight of the artist. If it is impossible to look at close range, he will not be able to see much, and, of course, he will not be able to show much. That is why he did not fully succeed in the book "Animals of hot and cold countries". It is not typical for Charushin to be a retelling of someone else's material. In creating popular science stories, any conscientious popularizer can successfully compete with him, who is far from the real Charushin, as from earth to heaven. And what for Evgeny Charushin these fur coats from someone else's shoulder? His talent is to see with his own eyes, to speak with his own language. And his language is almost always obedient to him, expressive and precise. It is not for nothing that he began his literary journey with captions for pictures, that is, with such a literary form in which the word should go side by side with the picture, in no way yielding to it in realism and concreteness. Evgeny Charushin developed this language of his own, economical and lively, capable of appealing to the reader's imagination with every word. Moreover, he also created some kind of his own literary genre, fully corresponding to the peculiarities of his talent. This genre has no name yet. Charushin's creations are sometimes called stories, then sketches, then expanded captions to drawings, then notes from the artist's diary. And all this is partly true.
But it would be more accurate to call them "lyrical portraits", if only such a loud name befitted the portraits of a parrot, deer, lynx and bear cubs. However, Charushin draws not only deer and cubs for us. We recognize in his portraits that outlandish, huge and cute world that always surrounds the child who once surrounded us in the first period of our lives. The child feels at home in this world, and we are grateful to the writer for the fact that he returned us to the original freshness of sight even for a moment. And this is the secret of Evgeny Charushin's double victory.
V. Traugot "The Magic World of the Charushins"
The magic surname Charushin has been familiar to me since early childhood, however, I am not original in this. The first book I remember was "Children in a Cage" autographed by Evgeny Ivanovich. I read it and watched it to its holes, and when the book fell apart into separate pages, pictures from it hung on the wall of my room. The adults had a lot of Charushin books, and they let me see them, having previously instructed me to handle them carefully. What books they were! A piercing feeling of meeting childhood, with the wonderful world of animals and birds, with real art arises in me when I look again and again at such masterpieces as "Volchishko", "Black Falcon", "Free Birds", "Like a bear by a big bear became "," Schur "," Strix "," Magpie "," Animals of hot and cold countries "... you can list for a very long time. Now, having worked on book illustrations for more than forty years, I think about how drawings, which have been replicated in tens of millions of copies for seventy years, have not at all lost the qualities of high art, have not become familiar consumer goods? The cauldron where it was smelted was the Leningrad Detgiz - an amazing cultural phenomenon of the 1920s-1930s.
How many brilliant talents have gathered together Lebedev, Tyrsa, Langina, Ermolaeva, Pakhomov, Vasnetsov, Charushin, Kurdov, Marshak, Zhitkov, Schwartz, Zabolotsky, Kharms, Vvedensky, Oleinikov, Bianki and many, many others. These were the innovators who made the children's book an extraordinary phenomenon of contemporary art, noticed and recognized all over the world. In this brilliant galaxy, Evgeny Ivanovich Charushin occupied a prominent and recognized place. Both Lebedev and Tyrsa were very good animal painters, but Charushin created his own images of birds and animals that were unlike anyone else. No one so felt the soft fluffy texture of the animal, the plasticity of its movement, and, of course, rarely did anyone manage to draw so cool a teddy bear, a wolf cub, a chick. With their touching defenselessness, there is no convention, no sweetness, no lisp with children. The artist respects his little audience. Charushinsky's creative method is based on a close study of nature, continuous work with nature, a highly professional attitude to the plane of the sheet, on which the image is located as a living, expressive spot, and, most importantly, incredible self-exactingness. The hunter, who knew every bird in the forest, every blade of grass, watched the heroes of his drawings in the wild, he, in addition, constantly and a lot painted in the zoo. His apartment was inhabited by dozens of birds and a wide variety of animals, domestic and wild. They were models, and, probably, no one, after Chinese and Japanese artists, could so gracefully, with two or three touches, depict a ruffled crow or a puppy with its uncertain movements of fat paws. The artist has always remained faithful to his creative principle, to the ideas of the Lebedev school, and these ideas and principles had a huge impact on Yevgeny Ivanovich's son, Nikita Evgenievich Charushin. I first saw Nikita and my father in 1947 at a dog show, but I heard about Nikita much earlier, and not only because he appears in many of Yevgeny Ivanovich's stories. Even before the war, in the conversation of the elders, I heard: "Charushin's son is a genius, he already had an exhibition, and Tyrsa and Punin are delighted with his works." At that time, children's drawings were rarely exhibited. My childhood drawings were praised at home, which made me feel confident that I was already an artist. The names of Tyrsa and Lunin often flashed in conversations, I vaguely imagined their meaning, but I remembered the news of a famous peer. Then we met at the Art School. Academic wisdom at the Art School and at the Faculty of Painting of the Institute. Repin Nikita Evgenievich comprehended persistently, but without much enthusiasm. In my opinion, he studied more in the forest, where from early childhood he was like at home. Like his father, he went to paint at the zoo, painted a lot in oils. The creativity of my father's comrades had, of course, a great influence on the young artist, but the main thing was communication with Vladimir Vasilyevich Lebedev. In the post-war period, the renowned master lived in a very secluded manner. Feeling offended by the arrogant and completely unfair attacks of art criticism, he limited his social circle to a few old friends and rarely allowed new people to visit him. Nikita Evgenievich was lucky to use the advice and lessons of the great artist. Lebedev's student is the highest title of the Honored Artist of Russia, Corresponding Member of the Academy of Arts Nikita Evgenievich Charushin. The path of this artist was not easy. First of all, the son of a great artist is always jealously compared to his father, and you really need to have a Charushin character so that, without renouncing anything that he believed in, he can continue his creative search and find more and more new solutions. It is characteristic that Charushin created the main, milestone works in Moscow. He was attracted to work in the Moscow Detgiz by Samuil Alyansky, the famous editor, the first publisher of the poem "The Twelve" by A. Blok. In 1969, the book "Unseen Beasts" was published - a magnificent work that makes you remember Altamira's cave paintings. Nikita Evgenievich made many books, despite the fact that his exactingness to his own work turns the artist's work into a real hard labor. It is enough to look at such works as "My First Zoology", "Let the Birds Sing" to make sure that he is looking for new ways, new colors. His first illustrations for Sokolov-Mikitov became a revelation for me. In black and white drawing, with amazing picturesqueness, the feeling of northern nature is conveyed, mean, gray and beautiful. Recently in Japan, a superbly published two-volume book by N.I. Sladkov with drawings by Charushin, this is undoubtedly the most significant book event of the last decade. In 2000 Nikita Evgenievich Charushin was awarded the title of People's Artist of Russia. I also met the artist Natalya Nikitichnaya Charushina a very long time ago, although she is quite young. In 1970, the Russian Museum hosted a grand exhibition of children's drawings. There were many good works, but now, thirty years later, I can only remember a large, bright, expressive portrait of Nikolai Ivanovich Kostrov. Confidently, boldly! Amazing similarity! Probably, such an early development of artistic talent is laid in the genetic code of the Charushin family. After the first triumph, Natasha Charushina studied a lot, brilliantly graduated from the Academy of Arts with a wonderful thesis "Niels's Journey with Wild Geese", published the first, very well-invented book "On All Four Paws" and ... Unfortunately, we know very well what happened next. Only the devastation and savagery reigning in our book publishing business can explain the fact that now we do not see new books by Natalia Nikitichna. However, the artist is young, she has talent, skill, will. She is Charushina, and that says it all. In the seventieth year, Natasha was six years old, a little more now Zhenya Charushina-Kapustina, the youngest representative of the dynasty, whose beautiful drawings delight the eye at this exhibition. One involuntarily thinks about the fate of this dynasty, in which so many generations have followed the difficult and beautiful path of art. The roots of this ascetic service, of course, are primarily in the family. Speaking about the Charushin family, one cannot but recall Polina Leonidovna Charushina - the wife, friend, assistant of Nikita Evgenievich. She was a great technical editor. Polina Leonidovna made technical layouts for all the latest books by Evgeny Ivanovich Charushin and technical layouts for almost all of Nikita Evgenievich's books.
“A family, a little old, intelligent, where there are ideals, and the norm of life is honesty, kindness, devotion to art,” - these are the words of N.A. Kostrov described the family of Ivan Apollonovich Charushin, the chief architect of the city of Vyatka, the oldest participant in this exhibition. These words can be attributed without any exaggeration to the family of Nikita Evgenievich.
“It often happens that a person carries childhood hobbies throughout his life. This was the case with my father, an architect-artist. He remembers himself as a child builder of houses, palaces and train stations. And at seventy-six years old he builds with no less pleasure and enthusiasm, ”wrote Evgeny Ivanovich in 1937. It couldn't be better! We are grateful to the wonderful artist who built a lot, designed even more, dreamer-idealist for the existence of the Charushin House.
Developments
17.03.2014
As part of the Days of Children's Books in the Library of Book Graphics in St. Petersburg, on March 20 at 19.00, the exhibition "Artists of the pre-war DETGIZ" opens. The exhibition presents illustrations, sketches, prints, lithographs, covers, books by the masters of book graphics of the pre-war period.
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Slide captions:
Animal painter, illustrator and writer Evgeny Charushin MB DOE "CRR kindergarten №99" G. Chita. Trans-Baikal Territory Circular Svetlana Vadimovna
Evgeny Ivanovich Charushin (1901-1965, Vyatka, Leningrad) - graphic artist, sculptor, prose writer and children's animalist writer. Most of the illustrations are executed in the manner of a free watercolor painting, a little with humor. Like children, even toddlers. Known for illustrations of animals, which he painted for his own stories: "About Tomka", "Volchishko and others", "Nikita and his friends" and many others. He also illustrated other authors: Chukovsky, Prishvin, Bianki. The most famous book with his illustrations is "Children in a Cage" by Samuil Yakovlevich Marshak.
The first book, illustrated by Evgeny Ivanovich, was the story of V. Bianka "Murzuk". It attracted the attention of not only young readers, but also experts in book graphics, and the drawing from it was acquired by the State Tretyakov Gallery.
"MURZUK" V. Bianchi illustrator E. Charushin
Before the war, Evgeny Ivanovich Charushin created about two dozen books: "Chicks", "Volchishko and Others", "Roundup", "Chicken City", "Jungle - Bird Paradise", "Animals of Hot Countries". He continued to illustrate other authors - S.Ya. Marshak, M.M. Prishvin, V.V. Bianki.
"Bear cubs". 1947 g.
Charushinsky animals are always very touching and emotional. Wednesday, the background in his early books is barely sketched. The main thing is to show the animal in close-up, while not only creating an artistic image, but also depicting your hero as truthfully as possible from the point of view of biology. Poorly drawn animals Yevgeny Ivanovich could not stand.
Charushin E. "About Tomka" 1979 DL
Charushin E. "Tyupa, Tomka and Soroka" 1989 Artist of the RSFSR "I learned from childhood to understand an animal - to understand its movements and facial expressions. Now it is even somehow strange for me to see that some people do not understand an animal at all." E.I. Charushin
The last book by Charushin was "Children in a Cage" by S.Ya. Marshak. And in 1965 he was posthumously awarded a gold medal at the international exhibition of children's books in Leipzig.
Thank you for the attention!
On the subject: methodological developments, presentations and notes
Evgeny Charushin - animal painter
Organized joint activities based on the works of E. Charushin, containing work with parents, a quiz, acquaintance with the animalistic genre in art ...
PROJECT "Artist and Writer - EVGENY CHARUSHIN"
This project will help to acquaint children with the work of the writer and artist - Evgeny Charushin ...