Kind illustrations by yuri alekseevich vasnetsov. Vasnetsov yuri alekseevich Drawings by yuri vasnetsov from the museum house

Yuri Alekseevich Vasnetsov is considered to be the artist of the Russian fairy tale.
One of the main features of his artistic method is an inextricable organic connection with folk art. Moreover, Yu. Vasnetsov revises the principles of folk art, bringing them closer to contemporary art. The images he created are marked by optimism, the life-affirming force that is characteristic of folk art.
Fantastic, fairy-tale landscapes are based on vivid impressions of real Russian nature. Birds and animals, acting in fairy tales, acquire special expressiveness from Yu. Vasnetsov precisely because the artist gives them movements and habits that are keenly noticed in reality. A specific feature of the artistic method of Yu. Vasnetsov is a rare ability to create, as it were, on behalf of his future viewer, the ability to relive a childhood enthusiasm for a fairy tale and, as it were, pass through the prism of children's perception of the tradition of folk art.
One of the artist's favorite compositional techniques is repetition and call-over of motives. At the same time, each Vasnetsov's book is a new version of the figurative, compositional, coloristic solution.
The emotional structure of Yu. Vasnetsov's drawings is organized by color, which plays a special role. It does not lose the decorativeness characteristic of folk art; it simultaneously becomes the bearer of the intense poetic feeling that the artist has put into the theme of the fairy tale.
The color of Vasnetsov's illustrations is like a color alphabet for a child. The color of the characters is defined, simple, it is easy to name it: a gray wolf, white geese, a red fox, etc. At the same time, Vasnetsov surprisingly accurately achieves the proportionality of real and fantastic colors, which contributes to the correct perception of the image by the child. In the book "Okay", the artist uses background color in a bold and creative way. Color here becomes, as it were, a medium in which the action takes place. Art critics conditionally called this technique "the principle of the magic lantern". Joyfully and festively illuminating amusing scenes with yellow, red, blue or pink "light", the artist attracts the viewer's attention with the unexpectedness of the background color of the page, using the method of quick change of impressions, which is close to children. But each color spot of the illustration, "tuned" in accordance with the sound of the color background, lives its own life, being included in the overall composition.

Yuri Alekseevich illustrated and designed books by V. Bianchi, S. Marshak, K. Chukovsky, Russian folk tales, etc.
Books designed by Yu. A. Vasnetsov are easily recognizable. The illustrations in them are of paramount importance, the text obeys them. Yu. A. Vasnetsov designs the book as a whole, while the strict constructiveness and logical completeness of all its elements do not constrain the master's creativity and inexhaustible imagination.
Picture books by Y. Vasnetsov introduce the child to life through art (L. Tolstoy "Three Bears", P. Ershov "The Little Humpbacked Horse", S. Marshak "Teremok", etc.). The best works of the artist are illustrations for the collections "Ladushki" and "Rainbow-arc".

Chukovsky K.I./ K.I. Chukovsky. ; rice. Yu. Vasnetsov, A. Kanevsky, V. Konashevich, V. Suteev.-M .: Art, 1982.- 164, p. : col. silt

Vasnetsov Yu.A. 10 books for children/ Yu. Vasnetsov. ; [ed. foreword L. Tokmakov; ed. V. I. Serebryanaya; comp. G. M. Vasnetsova; formalized. D. M. Plaksin]. -L .: Artist of the RSFSR, 1984.- 173, p. : ill., color. silt

Ladushki: poems, songs, nursery rhymes, fairy tales/ artist Yu. Vasnetsov. .-M .: Samovar, print. 2005.- 76, p. : col. ill .; 23 cm - (Thirtieth tales)

Russian tales/ rice. Yu. A. Vasnetsova. .- [Ed. 3rd] .- L .: Children's literature, 1980.- 84, p. : ill.: 1.20 82.3 (2Ros) -6P15

Rainbow: Russian folk tales, songs, nursery rhymes/ [rice. Yu. Vasnetsov]. .-M .: Children's literature, 1989.- 166, p. : col. silt

Bianki V. Karabash.- M. - L.: GIZ, 1929.

Bianchi V. Swamp... - L .: Mol. Guard, 1931.

Ershov P. The Little Humpbacked Horse... - L .: Detizdat, 1935.

Tolstoy L. Three bears... - L .: Detizdat, 1935.

Chukovsky K. Stolen sun... - M .: Detizdat, 1936.

Children's folk tales... - L .: Detizdat, 1936.

Marshak S. Teremok.- M .: Detizdat, 1941.

English folk tales.- M .: Detgiz, 1945.

Bianchi V. Fox and the Mouse... - L .: Det. lit., 1964.

Okay. Russian folk tales, songs, nursery rhymes... - M .: Det. lit., 1964.

Rainbow arc. Russian folk songs, nursery rhymes, jokes... - M .: Det. lit., 1969.

Chiki-chiki-chikalochki. Russian folk songs and nursery rhymes... Collected and arr. N. Kolpakova. - L .: Det. lit., 1971.

Artist's works

Yuri Alekseevich Vasnetsov (1900-1973) - Russian Soviet artist; painter, graphic artist, theater artist, illustrator. Laureate of the USSR State Prize (1971).

Born on March 22 (April 4) 1900 (old style) into a priest's family in Vyatka (now the Kirov region). His father served in the Vyatka Cathedral. A distant relative of artists A.M. Vasnetsov and V.M. Vasnetsov and folklorist A.M. Vasnetsov. From his youth, and throughout his life, he was friends with the artists Yevgeny Charushin who were born in Vyatka and subsequently lived in St. Petersburg.

In 1919 he graduated from the Unified Secondary School (the former Vyatka first men's gymnasium).

In 1921 he moved to Petrograd. He entered the painting faculty of Vhutein, then - PSAHUM, where he studied for five years, with teachers A. E. Karev, A. I. Savinov. Vasnetsov wanted to be a painter and strove to acquire all the skills necessary to work in painting. From the experience of his teachers, Vasnetsov did not adopt anything that would affect him as a painter - with the exception of the influence of M.V. Matyushin, from whom he did not study directly, but knew him through his artist friends N.I. Kostrov , V.I. Kurdova, O. P. Vaulin. Through them he got an idea of ​​Matyushin's theory, and got acquainted with the "organic" direction in Russian art, which is closest to his natural talent.

In 1926, at VKHUTEIN, the course in which the artist studied was released, without the defense of a diploma. In 1926-27. for some time he taught fine arts at the Leningrad school number 33.

In 1926-1927. together with the artist V.I. Was admitted to the Department of Painting Culture, headed by Malevich. He studied the plastics of cubism, the properties of various pictorial textures, created "material selections" - "counter-reliefs". The artist spoke about the time of his work at GINHUK: “All the time the development of the eye, form, construction. I liked to achieve materiality, texture of objects, color. See the color! " Vasnetsov's work and training with KS Malevich at GINKHUK lasted about two years; during this time, the artist studied the meaning of pictorial textures, the role of contrast in the construction of form, the laws of plastic space.

Paintings made by Vasnetsov during this period: counter-relief "Still life with a chessboard", 1926-1927; "Cubist Composition", 1926-28, "Composition with a Trumpet" 1926-1928; "Still life. In Malevich's workshop "1927-1928; "Composition with Violin" 1929, and others.

In 1928, the art editor of the Detgiz publishing house, V. V. Lebedev, recruited Vasnetsov to work on a children's book. The first books illustrated by Vasnetsov - "Karabash" (1929) and "Swamp" V. V. Bianchi (1930)

Many books for children have been published in Vasnetsov's design many times, in large print runs - "Confusion" (1934) and "Stolen Sun" (1958) by K. I. Chukovsky, "Three Bears" by L. N. Tolstoy (1935), "Teremok" (1941) and “The Cat's House” (1947) by S. Ya. Marshak, “English Folk Songs” translated by S. Ya. Marshak (1945), “Cat, Rooster and Fox. Russian fairy tale "(1947) and many others. Illustrated "The Little Humpbacked Horse" by P. P. Ershov, books for children by D. N. Mamin-Sibiryak, A. A. Prokofiev and other publications. Vasnetsov's children's books have become classics of Soviet book art.

In the summer of 1931, together with his Vyatka relative, the artist N.I.Kostrov, he made a creative trip to the White Sea, to the village of Soroki. Created a cycle of paintings and graphic works "Karelia".

In 1932 he became a member of the Leningrad branch of the Union of Soviet Artists.

In 1934 he married the artist Galina Mikhailovna Pinaeva, in 1937 and in 1939 his two daughters, Elizaveta and Natalya, were born.

In 1932 he entered graduate school at the painting faculty of the All-Russian Academy of Arts, where he studied for three years. In the thirties, Vasnetsov's painting attains high skill, acquires an original, unique character, not similar to the work of artists close to him. His painting of this time is compared with the works of V. M. Ermolaeva and P. I. Sokolov - in the strength and quality of painting, in the organic element of color: "Vasnetsov preserved and increased the achievements of the original national pictorial culture."

In 1932-1935. Vasnetsov painted canvases "Still life with a hat and a bottle", "Wonderful yudo fish whale" and other works. In some of these works - "Lady with a Mouse", "Church Headman" - there is a well-known artist's image of merchant-bourgeois Russia, comparable to the images of merchants by A. Ostrovsky and B. Kustodiev. Some researchers (E. D. Kuznetsov, E. F. Kovtun) attribute these works to the highest achievements in the artist's work

In 1936 he designed costumes and sets for the play “The Bourgeoisie” based on the play by M. Gorky for the Bolshoi Drama Theater in Leningrad. In 1938-40. worked in an experimental lithographic workshop at the Leningrad Union of Artists. Author of greeting cards (1941-1945).

Vasnetsov's pre-war and post-war style in book graphics was created under the pressure of ideological circumstances.

"Having survived the stubborn pressure of socialist realism, Vasnetsov replaced it with a style associated with Russian folk art, in any case, it was thought so, although there was a lot of the market model in it. Some stylization turned out to be acceptable. Understandable and unrelated to formalism, it was not perceived conventionally .. Folk, market embroidery .. All this, together with the real landscape, gradually relieved him of the nickname of the formalist.

In 1941 he was a member of the "Battle Pencil" collective of artists and poets. At the end of 1941 he was evacuated to Perm (Molotov.) In 1943 he moved from Perm to Zagorsk. He worked as the chief artist of the Toy Research Institute. Created a series of landscapes in Zagorsk. At the end of 1945 he returned to Leningrad.

In 1946 he received the title of Honored Artist of the RSFSR.

In 1946, in the summer, creates a number of landscapes of Sosnovo, in 1947-1948. - Mill Brook, 1949-1950 Siverskoy, in 1955 - Meryova (near the Luga), in 1952 he painted a number of Crimean landscapes, in 1953-54. paints Estonian landscapes. Since 1959, he annually travels to the dacha in Roshchino and writes views of the surroundings.

From 1961 until the end of his life he lived in house number 16 on Pesochnaya embankment in St. Petersburg.

In 1966 he was awarded the title of People's Artist of the RSFSR.

In 1971 Vasnetsov was awarded the USSR State Prize for two collections of Russian folk tales, songs, riddles "Ladushki" and "Rainbow-arc". In the same year, the cartoon "Terem-Teremok" was shot based on his drawings.

Paintings of the 1960s-70s - mainly landscapes and still lifes ("Still Life with Willow", "Blooming Meadow", "Roshchino. Smena Cinema"). Throughout his life, Vasnetsov worked in painting, but due to accusations of formalism, he did not exhibit his works. They were presented at exhibitions only after his death.

"Legends of deep antiquity" came to life thanks to the brush of Viktor Vasnetsov. Bogatyrs and princesses went beyond the lines of books and illustrations. The artist grew up in the wilderness of the Ural forests on Russian fairy tales that sounded to the crackle of a torch. And already being in St. Petersburg, he did not forget his childhood memories and transferred those magical stories to the canvas. We consider fabulous canvases with Natalia Letnikova.

Alyonushka

Barefoot simple-haired girl on the bank of a forest river. With inexpressible sadness, he looks into a deep pool. The sad picture was inspired by the tale of sister Alyonushka and brother Ivanushka, and he drew an orphan from a peasant girl from the Akhtyrka estate, adding, as he himself admitted, the features of Verusha Mamontova, the daughter of a famous Moscow patron of arts. Nature echoes the girl's sorrow, intertwining with the poetry of folk tales.

Ivan Tsarevich on the Gray Wolf

Gloomy dark forest. And a gray wolf, quite expected for such a thicket. Only instead of an evil grin, the predator has human eyes, and on it there are two riders. Alert Ivanushka carefully holds Elena the Beautiful, resigned to fate. We recognize not only the plot of the Russian fairy tale, but also the image of the girl. The artist endowed the fairytale heroine with real features - the niece of Savva Mamontov, Natalia.

V.M. Vasnetsov. Alyonushka. 1881 g.

V.M. Vasnetsov. Ivan Tsarevich on the gray wolf. 1889 g.

Bogatyrs

Viktor Vasnetsov. Heroes. 1898

Vasnetsov devoted 20 years of his life to one of the most famous paintings in Russian painting. "Bogatyrs" became the most ambitious painting of the artist. The size of the canvas is almost 3 by 4.5 meters. Bogatyrs are a collective image. Ilya, for example, is the peasant Ivan Petrov, and the blacksmith from Abramtsevo, and the cabman from the Crimean bridge. The painting is based on the author's childhood feelings. “So it came before my eyes: hills, space, heroes. A wonderful dream of childhood. "

A song of joy and sorrow

Viktor Vasnetsov. Sirin and Alkonost. A song of joy and sorrow. 1896

Alkonost and Sirin. Two half-birds with ghostly promises of a cloudless paradise in the future and regrets about the lost paradise. Vasnetsov embellished asexual birds, giving the mythical creatures beautiful female faces and rich crowns. The singing of the Sirin is so sad that the leaves of an age-old tree have turned black, the delight of the Alkonost can make you forget about everything ... if you linger at the picture.

Magic carpet

Viktor Vasnetsov. Magic carpet. 1880

Painting for the Railway Office. Not a train or even a postal troika. Magic carpet. This is how Viktor Vasnetsov responded to the request of Savva Mamontov to paint a picture for a new project of the industrialist. The fabulous flying machine, a symbol of victory over space, puzzled the board members and inspired the artist himself. Mamontov acquired the painting, and Vasnetsov discovered a new world for himself. In which there is no place for the ordinary.

Three princesses of the underworld

Viktor Vasnetsov. Three princesses of the underworld. 1884

Gold, copper and coal. Three riches that are hidden in the bowels of the earth. Three fairy princesses are the embodiment of earthly blessings. Proud and haughty gold, curious copper and timid coal. The princesses are the mistresses of mountain mines, accustomed to commanding people. There are two pictures with such a plot at once. On one of them in the corner - as supplicants, the figures of two men, obsequiously peering into beautiful cold faces.

Koschei the Deathless

Viktor Vasnetsov. Koschei the Deathless. 1917-1926

Rich mansions with chocolate, red and gold hues. The luxury of brocade and rare types of wood is a worthy setting for overwhelming treasure chests, and the main treasure that Koshchei cannot get into his hands is a young beauty. The girl is interested in the sword, which, however, cannot be defeated by Koshchei. Viktor Vasnetsov painted the image of the main fabulous villain for nine years. Chronologically, the painting was the last for the artist.

This artist has proved his skill both in the creation of paintings, and in the design of performances in theaters, and as a graphic artist. Still, it was the illustrations for the fairy tales of Yuri Vasnetsov that won special love and recognition of little readers. This became the main business of his life. We, former children, readers of books in which it was no less exciting to look at the illustrations created by this artist, than to disassemble our first texts at that time, remember this now.

What do we know about the biography of Yuri Vasnetsov?

The artist's youth

The future artist was born in 1900 in the Russian town of Vyatka, in the family of a priest who served in a local cathedral. Distant ties of kinship connected this family with other Vasnetsovs - artists Viktor and Apollinaris, as well as Alexander Vasnetsov, a famous folklorist, collector of folk songs. Of course, such a family heritage could not but affect the future work of the artist.

Yuri Vasnetsov spent all his childhood in Vyatka. A large number of handicraft workshops and artels worked in this provincial town. Crafts were very different - furniture, chest, toy. And Yuri's mother herself was known in the district as an excellent embroiderer and lacemaker. Impressions of childhood are the most vivid and they influence the formation of our ideas about the world, on the memories that remain with us until the end of our days. Towels with embroidered roosters, boxes and chests painted in the Russian folk spirit, bright wooden and clay toys - rams, bears, horses, dolls ... All these images, for a reason, found their way onto the pages of books with Vasnetsov's famous "fairy-tale" illustrations.

Young Yuri really wanted to become an artist - so in 1921 he entered the Petrograd State Free Art Workshops (abbreviated as GSKhM) in the painting department. Among the teachers Vasnetsov is named Osip Braz, Alexander Savinov and even Russian avant-garde artists - Kazimir Malevich and Mikhail Matyushin.

Work in a publishing house

After training, the artist began to collaborate with the famous Detgiz, where he created his first masterpieces under the supervision of the painter and, by all accounts, the outstanding master of the poster, Vladimir Lebedev. The illustrations for the children's books "The Swamp" and "The Little Humpbacked Horse", as they say now, "made him a name." Following them were published designed by Yuri Vasnetsov "Three Bears" by Leo Tolstoy, "Fables in faces", "Ladushki", "Rainbow-arc". At the same time, he also created a series of paintings created by the so-called "flat printing technique" - children's lithographic prints on traditional folklore themes.

After a trip to the North in 1931, the artist Yuri Vasnetsov finally consolidated his chosen path. Already possessing all the skills of a master painter, he approached the study of folk origins even more carefully.

The phenomenon of painting by Yuri Vasnetsov

Having made a journey to the Russian northern lands, the artist began to master new subtleties of craftsmanship. Then they started talking about "the phenomenon of Vasnetsov's painting". For example, here is one of the still lifes with a large fish depicted on it: on an oblong, red tray lies a large fish with silver scales. The painting is stylistically executed in such a way that it is not clear whether it is a heraldic sign, or just a rug from the wall of a peasant hut. Red, black and silver-gray tones are contrasted, but at the same time balance each other in the general artistic plane of the still life.

Highly appreciating both the folk "bazaar" art and the canons of refined painting, by 1934 Yuri Vasnetsov created such canvases as "Lady with a Mouse", "Still Life with a Hat and a Bottle", etc. However, fearing persecution that affected the creative workers of that time in connection with the campaign against formalism that began, Vasnetsov painted what is called "on the table", making this part of his painting a secret and showing the pictures only to close people.

Only after his death at exhibitions, the works of Yuri Alekseevich Vasnetsov fully found their fans. Then it became clear how great this man's gift was - being an outstanding "children's" artist, he was also a wonderful master of painting of the 20th century.

Images of illustrations

It is not by chance that the artist later wrote that he always lived by what he remembered from childhood.

And so, almost in the same way as the Vyatka toys, elegantly and festively, the artist "dresses" his heroes. Cats and goats, mothers of numerous families, wear skirts adorned with frills and lace in his illustrations. So they manage. But the Bunny, offended by Fox - the artist must have put on a warm blouse out of compassion for him. Bears and wolves, according to the logic quite understandable to all children, were often not supposed to wear clothes, because they were dangerous and predatory enemies to all other animals.

And here is an unusually kind cat:

I bought a cat pie

The cat went to the street,

The cat bought a bun.

Do you have it yourself?

Or to demolish Borenka?

I'll bite myself

Yes, and Borenka will take it.

In winter, the cat wears good-quality painted felt boots, a pink bow is tied around its neck, and the woman on the side of the walking cat is noisily rejoicing at its appearance, and the dog is in no hurry to bark. And even farther away are houses with snow-covered roofs, with burning windows, and a pillar of smoke from chimneys straight into the sky - which means that the weather is calm, calm, clear.

And how stupid it is to live in enmity! Here are two crows sitting, facing away from each other, cackling, looking in different directions:

On the edge, on the shed

Two crows are sitting

Both look apart:

Because of the dead beetle

They quarreled.

And the landscape surrounding these miserly ravens is not at all the same as in other pictures. He is much more stingy with colors and joy is clearly lacking in him.

In the illustrations by Yuri Vasnetsov, a special world comes to life - cozy, kind, calm. And extraordinarily colorful. In such a world, any child, and maybe sometimes an adult, will want to stay longer, peering at his heroes, recharged with their spiritual generosity, living with them, albeit "gingerbread", but such touching stories. At the same time, the animals drawn by Vasnetsov are not luscious, but mysterious. Some critics even believed that the artist painted "scary" pictures, frightening children.

And it’s also very Russian: if it’s scary, then it’s shivering, it’s sad, it’s to tears, and if it’s joy, then it will certainly be a feast for the whole world.

Style and color

The emotionality of Vasnetsov's drawings is dictated primarily by color, which plays a decisive role in the perception of images. He is decorative, which is generally characteristic of folk art, and poetic, which, in turn, distinguishes all of the artist's work.

Vasnetsov's illustrations - a color alphabet for a child. Everything is simple, like in a fairy tale: the wolf is gray, the bunny is white, the fox is red, etc. The artist actively uses the principle, as art historians call this technique, "a magic lantern". The action takes place on a certain, necessarily festive, bright background color (red, yellow, blue, etc.). This environment, in which the characters communicate, is compositional in itself, and at the same time, it is a new bright spot that is so necessary for children who turn the next page in anticipation of new impressions.

Finally

A book, especially in children's hands, is a penny, perishable commodity. Who of us in childhood did not have "Sails-Sails A Boat" illustrated by Konashevich? Or the famous "Baggage" with drawings by Lebedev? And "Rainbow-arc" with the wonderful animals of Vasnetsov is completely impossible to forget. But who has these books "survived" to this day? Probably only very few. But these were well-made, beautifully designed, made in a convenient large format, children's books. And those who still have them know perfectly well how today's children perceive them. Yes, just like adults many years ago - with joy and admiration.

Several generations of young readers have already grown up on the bright, witty and entertainingly executed illustrations by Vasnetsov, and the artist himself was called a classic of children's book illustrations during his lifetime.

Paintings made by Vasnetsov during this period: counter-relief "Still life with a chessboard", 1926-1927; "Cubist Composition", 1926-28, "Composition with a Trumpet" 1926-1928; "Still life. In Malevich's workshop "1927-1928; "Composition with Violin" 1929, and others.

In 1928, the art editor of the Detgiz publishing house, attracted Vasnetsov to work on a children's book. The first books illustrated by Vasnetsov were "Karabash" (1929) and "Swamp" by V. V. Bianki (1930).

Many books for children have been published in Vasnetsov's design many times, in large print runs - "Confusion" (1934) and "Stolen Sun" (1958) by K. I. Chukovsky, "Three Bears" by L. N. Tolstoy (1935), "Teremok" (1941) and “The Cat's House” (1947) by S. Ya. Marshak, “English Folk Songs” translated by S. Ya. Marshak (1945), “Cat, Rooster and Fox. Russian fairy tale "(1947) and many others. Illustrated "The Little Humpbacked Horse" by P. P. Ershov, books for children by D. N. Mamin-Sibiryak, A. A. Prokofiev and other publications. Vasnetsov's children's books have become classics of Soviet book art.

In the summer of 1931, together with his Vyatka relative, the artist N.I.Kostrov, he made a creative trip to the White Sea, to the village of Soroki. Created a cycle of paintings and graphic works "Karelia".

In 1932 he became a member of the Leningrad branch of the Union of Soviet Artists.

In 1934 he married the artist Galina Mikhailovna Pinaeva, in 1937 and in 1939 his two daughters, Elizaveta and Natalya, were born.

In 1932 he entered graduate school at the painting faculty of the All-Russian Academy of Arts, where he studied for three years. In the thirties, Vasnetsov's painting attains high skill, acquires an original, unique character, not similar to the work of artists close to him.

In 1932-1935. Vasnetsov painted canvases "Still life with a hat and a bottle", "Wonderful yudo fish whale" and other works. In some of these works - "Lady with a Mouse", "Church Headman" - there is a well-known artist image of merchant-bourgeois Russia. Some researchers (E. D. Kuznetsov, E. F. Kovtun) attribute these works to the highest achievements in the artist's work.

In 1936 he designed costumes and sets for the play “The Bourgeoisie” based on the play by M. Gorky for the Bolshoi Drama Theater in Leningrad. In 1938-40. worked in an experimental lithographic workshop at the Leningrad Union of Artists. Author of greeting cards (1941-1945).

In 1941 he was a member of the "Battle Pencil" collective of artists and poets. At the end of 1941 he was evacuated to Perm (Molotov.) In 1943 he moved from Perm to Zagorsk. He worked as the chief artist of the Toy Research Institute. Created a series of landscapes in Zagorsk. At the end of 1945 he returned to Leningrad.

In 1946 he received the title of Honored Artist of the RSFSR.
In 1946, in the summer, creates a number of landscapes of Sosnovo, in 1947-1948. - Mill Brook, 1949-1950 Siverskoy, in 1955 - Meryova (near the Luga), in 1952 he painted a number of Crimean landscapes, in 1953-54. paints Estonian landscapes. Since 1959, he annually travels to the dacha in Roshchino and writes views of the surroundings.

In 1966 he was awarded the title of People's Artist of the RSFSR.

In 1971 Vasnetsov was awarded the USSR State Prize for two collections of Russian folk tales, songs, riddles "Ladushki" and "Rainbow-arc". In the same year, the cartoon "Terem-Teremok" was shot based on his drawings.

Paintings of the 1960s-70s - mainly landscapes and still lifes ("Still Life with Willow", "Blooming Meadow", "Roshchino. Smena Cinema"). Throughout his life, Vasnetsov worked in painting, but due to accusations of formalism, he did not exhibit his works. They were presented at exhibitions only after his death.

A site dedicated to the work of Yu.A. Vasnetsov