The book is in itself an entertaining and interesting thing. However, in order for the reader to be easier to carry three hundred pages of solid text, the great people came up with such a thing as illustrations to them. Agree, the moral burden on the brain is wonderful. But in order not to fall into boring monotony, we sometimes do not prevent a drop of visual pleasure on the pages of your favorite book.

Immediately in memory, motley pictures from children's books emerge, however, the more significant the book in world culture, the more serious and deeper the artists are suitable for creating an image. And here there are no pictures of "Aibolit" next to what people are creating under the impression of cult books. Today I want to demonstrate to you 7 different looks of illustrators on books created in different era, but the same leaving in world literature. They are located in chronological sequence. Enjoy!

Romeo and Juliet - Savva Brodsky

And since I decided to follow the chronological sequence, then the first in the list will be illustrations for the famous tragedy of Shakespeare "Romeo and Juliet". Sava Brodsky is a Soviet artist and a book illustrator whose work for the tragedy could not not attract attention. Each of them is literally permeated with the spirit of sad events: dark colors, pale faces and a tint of the Gothic style - all this gives images to the taste of bitterness, and the picture is the atmosphere indeed "the sad story in the world."

"Don Quixote" - Salvador Dali

Salvador Dali - a restless genius, which created the whole four diverse cycles of illustrations to the book known after the Bible - "Don Quixhot". But, perhaps, I will demonstrate you fragments to the very first cycle of Roman Survantes, since it was His Dali loved most and admired them alone. These illustrations, unfortunately, are little known in the world, but deliver aesthetic pleasure is not worse than other famous works of the Great Artist.

"ABC Edgar Allan By" - Ero Nel

The works themselves were obviously not famous for their positivity and irresistibility. And if you remember his "black cat" and "crow", then in general, a feline tail will remain in general, and the body will drive a tremor from the thickening of the nerves with a black pen "Nevermore". It was this atmosphere that the young artist Anastasia Black (Ero NEL) in the so-called "alphabet of software". Each picture is a separate writer's story. Each capital letter is part of Allan Alphabet.

B - "Brenike"

U - "Murder on Morg Street"

H - "Black Cat"

"Jen Air" - Elena and Anna Balbüsso

In order to create a contrast, after gloomy and frightening to introduce you to the "warm" sisters of Balbyusso. The very work of Charlotte Bronte, although there is places frightening events, but, despite this, is a touching and mental novel, where bright love paints are dominated on a dark background. In the illustrations of the artist, it is a big role that the warm shades are played, which pierce even the most frightening moments of the book.

"Transformation" - EDA Akaltun

EDA Akaltun is a modern illustrator that has created a series of images for the notorious Tale of Franz Kafka "Transformation". The drawings performed in three colors were to quickly cover and replace the black humor and the atmosphere of the claustrophobia of the story itself, rather than its narration.

"1984" - Andrei Zamura

Considerate a step. Walk down. No, this is not an army, it's Orwell. It was notity to say a little about the fact that the famous antiutopia "1984" influenced art only. No, she influenced the vision of the whole world. And how to portray it clearer and "safer", except in the image? This is exactly what the modern Russian illustrator Andrei Zamura tried to do. Strict lines, abstract figures and maximalist vision - the perfect image recipe under the impression of "1984" George Orwell.

"Old Man and Sea" - Slava Schulz

A student of the Kharkov Academy of Design and Arts Slava Schulz created an impressive series of illustrations to the story of E. Hemingway "Old Man and the Sea", by which to pass, not admiring, was difficult. The technique of drawing butter according to the photo paper, add to this book schedule and, of course, cold colors, from which the blood in the veins is fastened, is a near-the-union recipe for brilliant labor, the heat taken by the public.

"The Lord of the Rings" - Greg and Tim Hildebrandt

Well, finally, I will still dilute the already created gloomy atmosphere for fabulous illustrations of the Hildebrant brothers on the novel by Tolkina "Lord of the Rings". More bright and impressive illustrations, it is difficult to find. They are so silly with paints, life and emotions. And it seems, looking at them, any adult person on some moment plunges into a fairy tale and feels this wild desire by taking a book and a flashlight, climb under the blanket and drown in the huge world created by the genius writer John Tolkin.

Leviz Nikulina

Creativity of the great Russian illustrators on the example of famous literary works

Ismagilova Evgenia Pavlovna

3rd year student, department "City Construction and Economy", RF, Orel

Books. Source knowledge for a student and scientist, inspiration for the artist, entertainment for a tired. Many years ago was the birth of the book, a cult that still cannot be suppressed even modern technologies.

The book can be a friend and a child and an adult, a Russian man knows about it, since our land gave the literature as many famous writers as no other country did not give. That is why the role of book graphics in the visual arts I consider particularly important.

Book graphics are illustrations, plot drawings. This is one of the types of graphic art, which includes, primarily illustrates, beaks and vignettes. The graphics can be monophonic and multicolored, can fill in the book completely and depict certain stories, and can decorate the binding and prevail the chapters, there the most making a book alive and unique. The most complicated form is the illustration - a storyline.

It would not make sense to separately disassemble this type of art if he only carried the role of decoration. To acquaint the reader with a book, make it more attractive to appearance not enough, in fact his role is much deeper. This is a conductor into the world of the writer, the path leading reader in the storyline of the work. The illustration complements the impression from the read, ideologically and aesthetically enriches the reader. Proper in the form of graphic art, the writer's thought acquires as if new power, finds new ways to the heart and human mind.

Fortunately, most of the greatest works of Russian writers are studied in schools, so everyone consider them relatives, remember and love. This kind of books include Roman F.M. Dostoevsky "Crime and Punishment", illustrated D.A. Shamarinov. Children are brought up on this work, it instills a sense of responsibility for its own actions, develops the concept of honor and time morals. Shamarinov's drawings to this book are especially noteworthy, in addition to their beauty, they are filled with the deepest meaning and as if they live separately, their own lives, while not losing touch with the novel. Many illustrations are devoted to St. Petersburg streets. Why do we admire the old regions of St. Petersburg? Because, walking along this part of the city, we see many old buildings, each of which costs here for many years and creates an unforgettable, unique atmosphere of the book novel. For us, this is a memories, a symbol of the era, so these species are so cute. In fact, D.A. Shamarinov Homes of houses, narrow streets and dark depressing stairs helped to reveal the cold look of the city of the time that was associated with a cold longing of an impregnating novel. The city hides in itself the volatile hopelessness of people who seemed to have lost everything. The artist is not showing persons, only silhouettes transmits the atmosphere of the ruthless contradiction of the novel, the cruel heartlessness of some heroes echoes the despair of others (Fig. 1).

Perhaps Shamarinov would not have achieved such skill if there were no prompts A.M. Gorky. He became for a young artist with another and mentor. Gorky was not only the master of the pen and words, he also knew how to see the talent and reveal him, so he revealed Shamarinov, giving that unobtrusive tips. During the work of the artist on the work of the "Life of Matthew Kozhemyakina", the writer directed the illustrator, helping the instructions. Gorky tried to orient Shamarinov to create not just descriptive paintings, but to use in the illustration of bright, sharp socio-psychological portraits. Perhaps due to these tips and a picture appeared, which it is impossible to leave without attention, especially the image of Sony (Fig. 2) in the soul. A fragile, slender girl, with huge twarm eyes, seems completely defenseless. All her silhouette expresses fatigue, the impossibility of fighting with all the lives of life, which are transmitted through the oppressive, gloomy image of the dwelling. Despite all this, the artist with the help of coal in paper managed to convey the many-sided character of the character of the heroine. Horror, fear, defenselessness and disadvantages of the girl do not fully cover her inner strength and greatness of the spirit.

A vivid example of the excellent illustrator's work is drawings in Taras Gogol Taras Bulba. The writer so describes the Mount of Taras in connection with the death of his son Ostav: "And, putting a gun, full of longing, he sat onto the seashore. He sat for a long time, donating his head and all saying: "My Ostap! Ostap my! " The Black Sea sparkled in front of him; In the far reed shouted a seagull; The white mustache was silver, and the tear dripped one after another. "

Wanting to capture this episode E.A. Cybrik, famous Soviet Illustrator, peculiarly interpreted the plan of the writer. Figure made by coal, is doomed to black and white existence and you need to have a talent to make it light up with emotions. The monolithic figure of Taras with a mournfully lowered head visually connects with the raging waves. Behind the hero, the storm is born, just as in his soul it is born. The long, strong man is associated with the power of the bottomless, bustling sea, the power of the swollen element. Like a writer, the artist has its own funds for those who are forbidden to believe the person being shown, to feel the grief of man (Fig. 3).

It would seem that the skill of the illustrator is concluded in the framework of the paper sheet. This thought is divided into the limitless talent of the older generation of artists, to which V.A. Favorsky. Few people in modern times know the definition of the term - woking. This is called engraving on a tree, this is a very complex view of the illustrations that the workshops owned the Favorovsky. It is in this technique that drawings were made to the tragedy A.S. Pushkin "Boris Godunov". The artist was able to express everything in the tree: rebellious passions of the servants, the heavy Duma of the main characters, the strength of the spirit of the people.

It is impossible not to be amazed by the richness of the artist's fantasy, because he was able to revive the ornament. In his hands, an intricate graphic liking revived, helping to outlines the versatile gamut of human characters. Each drawing was unique, reflecting different sides of the spiritual life of a person. The ornament is unobtrusive by framing the picture, speaking somewhere imitating a wooden thread, somewhere a complex pattern framing the frame as if he grows with thin poisonous tentacles (Fig. 4), resembling the viewer about the flour of conscience and the dark past of the chief hero.

Great books do not die along with the author, they continue to live for him, perpetuating his memory. The work dies and through the generation if the moral embedded in it is really deep. Each person is looking for a response to his questions in the books of classics, reflection of his experiences, thoughts.

The true artist will never "finish", complement someone's work, will not be a passive "translator" from the world of text to the world of paints, he will remain a full Creator of these images, using the text of the work only as an inspirational muse. This complex problem decides in its own way, that is why one and the same work can illustrate hundreds of different artists and their drawings will never be identical, everyone will contribute something new, sharing all new and new verge of heroes.

Who can love a book more than an artist illustrator? Only he can truly understand the idea of \u200b\u200bthe author, because there is not enough attentive reading the work, understanding the idea and the stories, studying the props and things described by the era. The artist is forced to rely on his impressions and have a stunning imagination that will not be limited to the rows of a novel or a story. He must be able to notice in the surrounding life such situations, which will then help in his creative activity for the bright expression of the essence of the episode and spiritual experiences of the heroes.

Figure 1. D.A. Shamarins. Illustration to the novel F.M. Dostoevsky "Crime and Punishment"

Figure 2. D.A. Shamarins. Illustration to the novel F.M. Dostoevsky "Crime and Punishment"

When working on a book, the artist must comprehend the essence of the work, feel the manner of the author's presentation and choose to this whole special style of graphics.

Figure 3. E. Kibrik. Illustration for the story N.V. Gogol "Taras Bulba"

Figure 4. V. Favorsky. Illustration to Drama A.S. Pushkin "Boris Godunov"

Bibliography:

1.Gogol N.V. Taras Bulba: studies. benefit. M.: 1986. - 123 p.

2.Dostoevsky F.M. Crime and punishment: studies. benefit. M.: 1980. - 383 p.

3. History of Russian art. Abstract lectures Zhukovsky V. Inuf, 2007. - 397 p.

4.Pushkin A.S. Boris Godunov / Pic. V. Favorsky. Ed. 10th. M.: Children. lit., 1980 - 240 s.

5.Stantyko N.I. Creativity of illustrators. Publishing House of the Academy of Arts of the USSR.: 1962. - 74 p.

Who is the artist V.A. Polyakov unfortunately unfortunately could not tell any of the encyclopedias, nor such an all knowledgeable source in the world as the Internet. Therefore, just look illustration without any knowledge about the artist. Although of course it is a pity, drawings are quite interesting. They are executed for the two-volume full collection of works by Mikhail Yurevich Lermontov 1900 of the publication. It includes poems poems, poems and prose. In general, everything that earlier during the existence of this education in the USSR was studied in our schools, without quarrelling time.

Illustration to the novel "Hero of Our Time" - "Princess Mary"

- I feel bad, "she said a weak voice.

I quickly leaned toward her, hugged her flexible waist my hand ...

ANGEL

In the sky midnight angel flew

And he sang a quiet song;

And month and stars and clouds crowd

Ate the saint song.

He sang about blissful spirits

Under the gloys of the paradise gardens;

About God he sang and praise

His uncovered was.

He soul Mlata in the arms carried

For peace, sadness and tears;

And the sound of his song in the shower

It remained - without words, but alive.

And for a long time she languished she languished,

The desire is wonderful full;

And the sounds of heaven could not replace

She is boring land songs.

Illustration to the poem "Borodino" - "Yes, there were people in our time ..."

PRISONER

Take me a dungeon

Give me a shine of the day

Cherno-eyed girl

Chernogril horse.

I am Mladuy's beautiful

Before a sweet kiss,

On the horse then I will continue

In the steppe like the wind, leaf.

But the prison window is high

The door is heavy with the lock;

Blackfoot far

In a lush terme;

Good horse in a green field

Without udes, one, by will

Jumps of cheerful and playing,

The tail in the wind is dissolved.

Lonely I am not a reflection:

Walls bare circle

Dim light beam lamp

Dying fire;

Only hear: behind the doors,

Ringing steps

Walks in silence night

Unrequited clock.

DAGGER

Love you, my bouquet dagger,

Comrade light and cold.

Pensive Georgian to revenge you

At the Grozny fight sharpened Circass free.

Lily's hand brought to me

In memory, per minute of parting,

And for the first time it did not flow blood along you,

But the light tear is the pearl of suffering.

And black eyes stopping me

Filled with mysterious sadness,

How is your steel with trembling fire,

That suddenly tuck, - then sparkled.

You give me satellites, love must be pledged,

And the wanderer in you an example is not useless:

Yes, I will not change and I will hard soul

How are you, like you, my friend is iron.

SLEEP

In half-day heat in the Valley of Dagestan

With lead in the chest lay real estate;

Deep still smoked the wound,

Along the blood, my blood rushed.

I lay one on the sand of the valley;

The ledges of the cliffs were crowded around

And the sun laughed their yellow peaks

And I burned me - but I slept dead sleep.

And I dreamed of shining lights

Evening feast in the ridden side.

Between young wives who are crowned with flowers

It was a conversation cheerful about me.

But in the conversation is cheerful without entering

Sitting there thoughtfully alone

And in the sad sleep of the soul of her mladay

God knows what was immersed;

And dreamed of the Valley of Dagestan;

Familiar corpse lying in the valley of that;

In his chest, smoking, Chernela Rana,

And the blood flowed by the creation jet.

They loved each other for so long and gently

With longing deep and passion of insanely rebellious!

But, as enemies, they avoided recognition and meetings,

And there were empty and chlad their brief speeches.

They broke up in silent and proud suffering,

And a cute image in a dream only spelled.

And death came: The coffin came ...

But in the world of new friend they did not recognize.

PROPHET

Since the eternal judgment

I gave me all the prophet,

I read people in the eyes of people

Pages of malice and vice.

To proclaim, I became love

And truth pure teachings:

I'm all the closest my

Throw mad stones.

I sprinkled as the ashes, I chap

I fled from the cities,

And here in the desert I live,

Like birds, the gift of God's food;

Covenant eating storage

I creature is submired there;

And the stars listen to me

Rays happily playing.

When through a noisy hail

I make my way hurriedly,

Then older children say

With a smile proud:

In "See: Here is an example for you!

He Gord was, did not get along with us:

Fool, wanted to assure us

That God says him with mouth!

See, children, at him:

How he is sullen, and thin, and pale!

See how he is naked and poor,

How to despise all it! In "

CANE

Sitting fisherman Merry

On the river bank;

And in front of him in the wind

Canes swore.

Dry cane he cut

And the wells puck out;

One end he called

To the other end, blew.

And as if livenily,

And the cane sang sadly:

In "Leave, leave me;

Fisherman, fisherman beautiful,

Try me!

In "And I was a maiden

Beauty was

Stepmother in the dungeon

I once bloomed,

And a lot of tears combustible

Innocently I lily;

And the early grave

I godlessly called.

Three palm trees

(Eastern legend)

In the sandy steppes of the Arabian land

Three proud palm trees grew highly.

Spring between them from the soil is fruitless,

Zhurch, pierced the wave of cold,

Stranged, under the shadow of green sheets,

From hot rays and volatile sands.

And for many years they have passed away;

But the wanderer is tired of alien land

Flaming breasts to moisture student

Not yet inclined under a bunch of green

And began to dry from hot rays

Luxurious leaves and sonorous stream.

And three palm trees were rapped:

In "So we were born to fade here?

Without benefit in the desert grew and we bloomed,

Hesitable swirl and dyeing palima,

Nothing favorable not glad.

Not your rights, about the sky, holy sentence!

And only swallowed - in Dali Blue

The post spinning the sand is golden,

Calls were distributed non-stroke sounds,

Motley carpets covered blides,

And walked, breaking like in the sea shuttle,

Camel camel, exploding sand.

Voting, hung between solid humps

Patterned floors of hiking tents;

Their dark handles sometimes raised,

And black eyes sparkled ...

And, the camp is thin to Luka tilting,

Arab hot ravened horse.

And the horse on the piles sometimes rose,

And jumped like a leopard hit by an arrow;

And white clothes beautiful folds

On the shoulders of Pharis crowned in disarray;

And, with a cry and whistle staring in the sand,

He threw and caught his spear on the race.

Here to palm trees, noise, caravan:

In the shadows, their cheerful spread the camp.

The jugs of the sound were poured with water,

And, proudly nodding terry glasses,

Welcome the palm trees of unexpected guests,

And the generously will sing their studny stream.

But just that dusk fell to the ground,

On the roots elastic ax stagger

And fell without life pets centuries!

Clothes of them crushed small children,

There were bodies of them later

And slowly burned them to the morning.

When the fog bent to the west,

The faithful path made a caravan;

And followed sad on the soil fruitless

Severe only ashes gray and cold;

And the sun remains dry wait

And the wind of them in the steppe then spread.

And now everything is wild and empty around

Do not whisper the leaves with a ratcheter key:

In vain, he asks for the prophet about the shadows

Its only the sand has grown,

Yes crested crown, steppe notice,

Prey torments and pinch over it.

Georgian song

Georgian has lived,

In the harem of a stuffy fading.

It happened once:

From black eyes

Diamond love, sadness Son,

Rolled.

Ah, her old Armenian

Proud! ..

Around it crystal, rubies,

But how not to cry from the clever

At the old man?

His hand

Caresses the virgin every day

And what? -

The beauties are hidden as shadow.

Oh my God!..

He fears treason.

His high, strong walls,

But all love

Despised. Revenge

Rushes on the cheeks of alive

And pearl between eyelashes sometimes

Not fought ...

But Armenian opened cunning,

Treason and ungratefulness

How to transfer!

Annoyance, revenge,

For the first time you he only himself

Izped!

And corpse of criminal waves

He betrayed.

Tamara

In the deep tesnin Daryaal,

Where the trees rushes in the MGL

The old tower was standing

Chernoi on a black rock.

In that tower high and cramped

Queen Tamara lived:

Beautiful as angel heavenly,

As a demon of cunning and evil.

And there through the fog of midnight

Brightened light gold,

He threw a traveler into the eyes,

He was on the rest of the night.

He was all the desire and passion,

In it were all-grade charms,

There was incomprehensible power.

Walked warrior, merchant and shepherd ...

No discard

(Story)

In the old years, people were

Not at all that these days;

(Kohl in the world there is love) loved

It is more comprehensive.

About ancient loyalty, of course

Heard somehow and you

But how do we say tin

All the case will be converted forever

Then I have an accurate pattern

I want to imagine finally.

Moisture is cold,

Under the shadow of the lime branches,

Without fear evil eyes

One day Knight noble

Sat with my love ...

Quietly handle young

She hugged her handsome man.

Fully innocent simplicity

The conversation peaceful flowed.

In "Friend: Do not swear in vain,

Said Virgo: I believe

Clear, chista love your

Like this ringing jet,

As this arch on us is clear;

But how strong is it in you,

Do not know yet. - see-please

There is a magnificent carnation,

Slightly visible blue flower ...

Sorvi me him, my dear:

He is not so far for love! In "

Jumped up my knight admired

Her spiritual simplicity;

Through the stream jumping, arrow

He flies testicular tegal

Tear hastily hand ...

Close the goal of his aspires,

How suddenly under it (terrible view)

Earth is wrong trembling,

He will join, there is no salvation! ...

Short throwing full of all fire

His beauty is fragrant

In "Sorry, not forget me! In"

An unhappy young man exclaimed;

And mig a destructive flower

Grabbed the hand with hopeless;

And heartless heart

He threw him tender.

Flower sad since then

Love of roads; Heart beats

When it does not notice.

He is uncomfortable calling;

In places of raw, near the marsh,

How would be a touch of touches,

He is looking for solitude there;

And the color of the sky is blooming,

Where there is no death and no fear ...

Here is the end of my end;

Judge: the fair Ile of Nesbylitsa.

And whether the girl is guilty -

Said, right, conscience to her!

Tale for children

In "When you sleep, about my earth angel,

And chibs beats virgin blood

Mlading breasts under the dream night,

Know, it's me, bending to the head of the head,

Loubted - and talking to you;

And in silence, your casual mentor,

Wonderful telling secrets ...

And a lot was my eyes

Available and understandable, because

That I'm not bound by the earth

And eternity and knowledge punished ...

Illustrations for poems

Poem "Angel of Death"

Three illustrations of the poem "Izmail Bay"

Poem "Caucasian captive"

Poem "Boyar Orsha"

Poem "Treasury"

Vasily Ivanovich Shukhaev (1887-1973), portraitist, theater artist, teacher, illustrator of the works of Russian classics, well known to the general public, first of all, as one of the best domestic illustrators of creativity A.S. Pushkin

In 1906, Vasily Ivanovich Shujaev enters the Academy of Arts in St. Petersburg.

Six years (1906-1912) He comprehends the complex mastery of the painter, of which four years in the workshop of Professor D.N. Kartovsky.

Huge importance in the workshop of Kardovsky was attached to work on nature and with kind, high technique of drawing, improving technological techniques.

These principles of Shukhayev carried through all their creativity - artistic and pedagogical.

A significant part of his life V.I.Shukhaev (1921-1935) spent in France.

In these years, he illustrated for the publishing house "Pleiad" books of Russian writers:

"Peak lady" and "Boris Godunov" Pushkin,

"The first love" Turgenev,

"Petersburg story" Gogol,

"The Enchanted Wanderer" Leskova,

"Hero of our time" Lermontov,

"Boring Story" Chekhov.

In 1922, V.I.Shukhaev created an illustration for the Parisian publication of the Pushkin "peak lady", which was published in French with a circulation of only 340 copies (Pleiad Paris Publishing House; Translation of Schifrin, Schlezer and Andre Zhaid, 1923).

Illustrations for the "peak lady" are regarded as "one of the highest achievements of Shujaev in the field of book art."

These illustrations are made in a picture of a drawing with a watercolor cream.

The researcher of his creativity, I. Mäsamlin, notes in the illustrations to the "peak lady" "Truly the jewelry skill of the artist in the transfer of portrait characteristics, sometimes ironic-satirical."

In the artists of the Artists of Art, painted from the hands of the artists in the style of artists with special care, the costumes and household details of the era are made, although there is proximity to French engravings of the XVIII century.

The absence of the detailed "finished" characteristics of the characters, laconicism, simplicity, "non-prosecution" of Pushkin prose requires a careful attitude towards the word and activity of the recreation and creative imagination.

The tragedy of the hero of Pushkina is given in an ironic key, although it seems to be initially the reader that it affects all the characters, except for the main character: none of the friends of Hermann allowed himself to jerked over him, during the narration a smile never appeared on his face.

"Gambling House". In 1925, in Paris, V.Shukhaev creates scenery for the "peak lady".

Drawings to the tragedy "Boris Godunov" belong to the undoubted achievements of the artist.

IN AND. Shujaev illustrated Pushkin tragedy in the icon-painted manner, i.e. In the stylistic key, which is the closest era of Boris Godunov.

"Postshoire" (Franz. Pochoir - "stencil") - Method of manual screen tint engraving or drawing through "windows" cutting into paper or other material.

If the stencil made from a thin copper plate by etching it with acid, like etching, it appeared the ability to obtain as a result not only local colored spots, but also quite thin lines.

This method at the beginning of the twentieth century began to often find application when creating albums of copyright and reproduction equipment.

The same technique was used in the creation of watercolor illustrations for biblible minor books.

Lhadmitry and Boyarin . Illustration to the tragedy A. S. Pushkin "Boris Godunov"

Two years after the Pushkin "Peak Lady" Paris Publishing House Pleiad released the Bibliophile edition of Boris Godunov in translating J. Schifrin with Hypology. Shujaev. In these illustrations, solemn and "few", the artist was repelled from the iconographic tradition of the XVI-XVII centuries.

At the time of the discipleships, Shujaev copied the frescoes of Dionysius in a franpporto monastery. In 1925, living in Paris, he, together with his friend A.E. Yakovlev received an order to paint the concert hall in a private house on Person's street.

Painting on the topic "Tales A.S. Pushkin in music "was performed in the stylistic manner of the frescoes and icons. The appeal of the artist to the ancient Russian painting in Boris Godunov naturally to illustrate the work, the action of which occurs at the beginning of the XVII century.

Archbishop of Anastasius (A.A. Gribanovsky) In the article "The spiritual insights of Pushkin in the drama" Boris Godunov "", published in the "Herald of the Russian Student Movement in Western Europe" (Paris, 1926), especially noted the correspondence of the Pushkin Tragedy of the Spirit of the time described: " Orthodox-spiritual element, penetrating the whole building of Russian life in the era of Godunov, organically enters all moments of the Drama Pushkin, and everywhere, wherever the author comes with her, he describes it with bright and true paints, without allowing any false notch in the same narration about this side of Russian life and not a single technically incorrect detail in its image. "

Boris Godunov was published "Pleiad" in the amount of 445 copies. Of these, 18 copies are printed on Japanese paper, 22 - in Dutch paper, 390 - on paper Weight. 15 copies (5 - on Japanese paper and 10 - on paper versions) were not intended for sale. In France, as in general, abroad, about Pushkin "Boris Godunov" learned mainly due to the Opere Opera M.P. Mussorgsky. Shujaev illustrations and text translation into French J. Schifrina has become another remarkable interpretation of the tragedy approaching it to a foreign reader.

The release of the book coincided with a significant event: From 1925, since 1925, foreign Russia began to celebrate the Day of Russian culture-holiday, dedicated to the birthday of Pushkin.

Fate was pleased to V.I. Shukhaev fully happened to find out what a "troubled time", in which he was immersed, illustrating the Pushkin tragedy. In 1937, two years after returning from emigration, the artist and his wife were arrested and spent 10 years in the link in Magadan.

After the liberation, they settled in Tbilisi, but they didn't end up on this torment: they were arrested and sent more than once.

We continue to consider images prepared by illustrators of various countries performed at different times. Today we will enjoy the illustrations created for the fairy tales of the greatest Russian poet and Prosaik, "our total" - Alexander Sergeevich Pushkin.

Tales A. S. Pushkin in illustrations 1820

Title page to the first publication of the poem "Ruslan and Lyudmila", 1820. To our unfortunately, the name of the author is not known. You can only say that the illustration is made in a classic engraving manner. And the interest is that this is the lifetime edition of the poem, and most likely Pushkin himself regulated illustrations for its work.

Tales A. S. Pushkin in illustrations 1893

The work of Alexander Sergeevich is a comprehensive and incredibly beautiful. His imagery and simplicity of the word has always attracted the attention of artists. And let the work provided, is not directly illustrated to Pushkin's book, it is an illustration for a fairy tale. This is the work of "Ruslan and Lyudmila", performed by the greatest artist of the 19th century Nikolai Ge.

Fairy Tales A. S. Pushkin in illustrations 1905

Edition of 1905. Illustrations for this edition, and in general, by many editions of A. S. Pushkin began the beginning of the 20th century, made the greatest Russian book illustrator, an artist - Ivan Bilibin.

Ivan Bilibin was born in the suburbs of St. Petersburg. He studied at art school in Munich, then Ilya Repin in St. Petersburg. In 1902-1904, Bilibin travels through the Russian North. This journey is very fond of old wooden architecture and Russian folklore. This hobby had a tremendous impact on the artistic style of the artist. Fame came to Bilibin in 1899, after the release of a collection of Russian fairy tales, the artist performed illustrations. During the Russian revolution of 1905, he works on revolutionary caricatures.

Tales A. S. Pushkin in illustrations 1919

The edition of 1919, the illustrations to which were prepared by the Russian artist of the avant-garde - Love Popova. As the brightest representative of the cultural Russian environment of the beginning of the 20th century, love Popov focused a huge number of areas, both in the techniques and in the works. She was an artist, an illustrator of books, the creator of the posters, worked on the design of the fabrics. In his work, he used the development of cubists, modernists, suprematists and constructivists. The publication of the fairy tales A. S. Pushkin of 1919 coincided with the very stage in the work of the illustrator, when the author simultaneously worked as a suprematist, and as an avant-garde.

Tales A. S. Pushkin in illustrations 1922

The edition of the 1922 fairy tales "about fisherman and fish", with the illustrations of the Russian artist Vladimir Konashevich. We wrote about the work of this wonderful artist and illustrator when we considered illustrations for the fairy tale. " Konashevich is one of those artists and illustrators who use all their creative life and work out one stylistic approach. In the case of Konashevich - bright illustrations, with finely worked pencil sketches, contrasting courageous flowers. Staying faithful to his style, the artist only increased his skills in detailing and nuunting.

Fairy Tales A. S. Pushkin in Hands of 1950

The French edition of 1950, the illustrations to which were prepared by Elena Gyertik (Helene Guertik). We have already written about the illustrations of this Russian artist, in the context of the illustrations for the fairy tale "". This publication was a collection of popular fairy tales, including the "Tale of Tsar Saltan". An interesting approach that uses an illustrator in this work. The artist creates illustrations, using just a few colors, overlapping images, to each other, thereby giving a figurative idea of \u200b\u200bthe act of action.

Tales A. S. Pushkin in 354

The publication of the "fairy tales of dead princess and seven heroes", 1954 with illustrations of the artist-illustrator Tamara Sudek. The graduate of the Leningrad Art and Pedagogical School, began with teaching drawing and drawing at school. At the same time, begins to try his strength in a book illustration. In addition to the book illustration, it is also engaged in the creation of suits and scenery sketches for theater.

Fairy tales A. S. Pushkin in illustrations 1963

Another edition of the fairy tale A. S. Pushkin, on this time the "Tale of the Golden Cockerel", 1963, with the illustrations of the artist's already familiar to us and illustrator Vladimir Konashevich.

Tales A. S. Pushkin in 374

The edition of 1974 with the illustrations of the Russian artist, illustrator and graphics - Tatiana Maurina. Very fruitful illustrator, Tatiana designed more than 200 books, painted for the film and theater, painted painting. Tatiana is one of the owners of the name of the city of H. Andersen, for his contribution to the development of children's illustration. Traveling a lot in the country, Maurine was soaked in traditional old-circuit culture, which reflected in the articles of the author. The edition of 1974 was not the only publication of the works of Pushkin, the illustrations to which Maurina were prepared.

Tales A. S. Pushkin in illustrations 1975

The publication of the fairy tale "On the dead princess and seven heroes" of 1975 with the illustrations of V. Vorontsov. Illustrations made watercolor. The artist uses a very interesting tone running in illustrations. If we speak in general about all work, all the illustrations are made by several basic colors: blue, red, yellow and white, as a background. If we consider each illustration separately, then in each of them the use of these basic colors varies. In one illustration, the emphasis is placed on cold blue tones, in which red and yellow perform only an emphasis and addition. In other - the dominant color becomes warm red or yellow. Such a color use immediately contributes a unique characteristic load.

Fairy Tales A. S. Pushkin in illustrations 1976

The publication of the "Fairy Tales of Fisherman and Fish", 1976, with the illustrations of the Russian painter and book illustrator Nikifora Razchktayev. Illustrations for a fairy tale are made in a classic picturesque manner. Illustrations of Razchktayev are very rich and color and composition. All elements of decor, interior, clothing are worked out. Faces of heroes are perfectly artistically worked out, each of which is endowed with its unique character and emotions.

Fairy tales A. S. Pushkin in illustrations of 1980

1980 edition with illustrator illustrations, graphics and artist Oleg Zotov. The illustrations of the zotov are made in the style of the Lubka. This is a traditional Russian illustration style, in which simple graphics are combined with text material. In this illustration, the author adheres to the classic canons of Russian Lubka - the drawing is made with a pencil, a point color applying is used, and the text is entered in an illustration.

Tales A. S. Pushkin in 385

The edition of 1985 with the illustrations of the Soviet artist, schedule and painter - Viktor Laguna. Graduate of Palehovsky schools. M. Gorky, the lagoon works a lot and as an artist, and as an illustrator. The author's paintings are exposed in museums around the world, as well as are in private collections. Palekhskaya school provided on the stylistic formation of the artist.

Fairy tales A. S. Pushkin in graphics 1987

The 1987 edition, with the illustration of a master of book illustration, Anatoly Eliseeva. A graduate of the Moscow Printing Institute, Eliseev, immediately after graduation, will dip in the book illustration, which still does not part. Works a lot. Draws for magazines: "Crocodile", "Murzilka", "funny pictures". Illustrations for the "tale of Tsar Saltan" - made in a dense watercolor manner, using dark, almost black colors, when light colors play on bright contrast. Thus, the artist determines points to concentrate the attention of the audience.

Tales A. S. Pushkin in graphics 1991

Edition 1991 with artist illustrations, illustrator and graphics - Boris Dehterev. We have already acquainted with the creativity and illustrations of Dehterev in the context of the fairy tale "Red Hap". Boris Dehterev is one of those classic examples of an ideal illustration, with ideal forms, ideal use of all visual expressive ways. The characters of the artist are understandable and clear.

Tales A. S. Pushkin in illustrations of 2003

2003 edition with illustrations of Illustrator Mikhail Samorezov. Very beautiful, characteristic illustrations made by watercolor. Self-tapes gently use both color and composite techniques, without overloading the drawing. At the same time, the illustrations are full of parts that help to fully reveal the content of the literary material.

Tales A. S. Pushkin in 3 years old

Edition of 2008, with illustrations of a Russian artist, illustrator, graphics, ornamentalist - Boris Zvorikina. The interest of this publication is, the author of the illustrations died 66 years before his illustrations were published. It is very beautiful, juicy, dense in shape and content, the publication illustrated in the style of the beginning of the 20th century. All pages are framed by ornamental salary. All heroes have been worked out. Each illustration plays flowers.

Tales A. S. Pushkin in illustrations 2011

The publication of the "Fairy Tales about Fisherman and Fish" of 2011, with the illustrations of a modern young Moscow architect and a book illustrator - Cyril Melushkin. A graduate of the Moscow Architectural Institute, Chelushkin is a member of the International Federation of Schedule Union. Works a lot, both in Russia and abroad. The works of the author are in private collections worldwide.