Konstantin Jun Brief biography. The most famous canvas Konstantin Jun

Konstantin Jun Russian, and later the Soviet artist who had a significant impact on Russian painting in the second half of the XX century.

The owner of a multitude of awards in the field of art, wore the honorary title of the People's Artist of the USSR.

short biography

Konstantin John was born 24.10 (5.11.). 1875 in a secured family of insurance serving. His mother was engaged in music, so John from an early age joined the art.

Thanks to the Father, the prestigious Moscow School of Painting, Scary and Architecture. Even during the Tsarist Russia, he managed to show his talent. So, his paintings exhibit in St. Petersburg and Moscow.

He entered a number of art associations. Since 1900 he has his own studio. Youon was able to show no only as the creator of excellent paintings.

Since 1907 he is dealing theaters. About his activities during the October Revolution and Civil War are known a little.

Already after these events it becomes clear that the artist show sympathy for Soviet power. At the beginning of the 20s, there are several of his paintings dedicated to the proletarian revolution. Since 1925 consists of the Association of Artists of Revolutionary Russia.

K.Uon Self Portrait Photo

Before his death, he continues to draw pictures and decorate theaters. In 1943, for their merits to the Soviet people, Stalin's winner becomes the winner. On April 11, 1958, an outstanding artist Yon Konstantin Fedorovich died.

Konstantin John style

Konstantin Jouk for his long life (82 years old) has tried many genres of painting. The most characteristic for him are:

• Scenography;
• Graphics;
• Portrait;

Especially it is necessary to highlight the landscape. John is rightly considered the master of this genre.

K.Uon. Pattern Spring in Trinity Lavra Photo

At the same time, love for old days is clearly traced in his style. It can be seen in his early works, such as the Spring Sunny Day and Troika at the Old Yar. As for the style, John is usually ranked with Modern style representatives. There is no stronger inherent in old styles. On the contrary, it is easy to trace the natural chaos in his work. It is not devoid of its paintings and an inherent symbolism symbolism.

A great landscape officer boldly experiments with flowers and lines, which gives his work a special charm. Turning to the subject of his work, the church subject should be noted. Temples occupy a significant place in the paintings. John often wanted to show this effect on the people had an Orthodox faith for people of that time. Also described the educational and cultural role of the Church, not to mention historical.

K.Uon. Picture bathing photo

The symbolic work of the artist emphasizes its historical significance, because it was the faith that helped to defeat the numerous external enemies of the Orthodox Russian people. After the revolution, the style of John does not tolerate significant changes, but the subjects are replenished due to the popularity of socialist realism.

The most famous paintings by Konstantin John

Portraits:

• "Self-portrait" (1912)
• "Self-portrait" (1953)
• Borya Jun
• "Komsomolskaya"
• "Wife"

Church subject:

• "Day of Annunciation"
• "Trinity-Sergeyev Lavra"
• "The Novodevichy Monastery in Spring"
• "Procession on the slope"
• "Spring in Trinity Lavra"

Natural landscapes:

• "Troika in Uglich"
• "Birch, Petrovskoe"
• "Volga region, water"
• "Bathing"

Socialist theme:

• "Morning Industrial Moscow"
• "Parade on Red Square"
• "Kremlin's assault in 1917"
• "People"
• "New Planet"

Konstantin Jun distinguished himself not only as an artist. He also showed himself in cinema and theatrical productions.

Konstantin Fedorovich John (1875-1958) - Russian painter, master landscape, theater artist, art theorist.

Academician Ah USSR (1947). People's Artist of the USSR (1950). Winner of the Stalinist Premium First Degree (1943).

Born on October 24, 1875 in Moscow, in Germanosvian family. Father - an employee of an insurance company, later - its director; Mother is a musician amateur.

Brother - Composer P. F. John, Professor of the Berlin Conservatory, remained after the revolution in Germany, from where, after coming to power, Adolf Hitler, emigrated to the historic homeland, in Switzerland, where he died.

From 1892 to 1898, Konstantin John studied at the Moscow School of Painting, Drainies and Architecture. His teachers were such masters as K. A. Savitsky, A. E. Arkhipov, N. A. Kasatkin.

At the end of the school, Jouu, two years worked in the workshop V. A. Serov. Then he founded his own studio in which he taught from 1900 to 1917 together with I. O. Dudin. His students were, in particular, A. V. Kubrin, V. A. Favorsky, V. I. Mukhina, Brothers Vesnins, V. A. Vatagin, N. D. Collie, A. V. Grishchenko, M. G. Roiter, N. Terratikhorov, Yu. A. Bakhrushin.

In 1903, John became one of the organizers of the Union of Russian artists. He also entered the number of participants in the "World of Art".

Since 1907, he worked in the area of \u200b\u200btheatrical scenery, in particular, was engaged in registration of the opera "Boris Godunov" in Paris, in the framework of the Russian seasons, Sergei Dyagilev.

Before the revolution, the main topic of John's creativity was performed in a special manner, the lights of Russian cities (Moscow, Sergiyev Posad, Nizhny Novgorod and others), with a broad perspective, the image of churches, women in folk costumes, will take the traditional Russian life.

For example, a picture of the dome and swallows uses great fame. Assumption Cathedral of Trinity-Sergiyev Lavra "(1921). This panoramic landscape, written from the Cathedral's bell tower with a clear summer evening, at sunset. Under the gentle sky, the Earth is gracious, and in the foreground shone the dome lit by the sun with gold patterned crosses. The motive itself is not only very effective, but also symbolizes the significant cultural and historical role of the church.

After the revolution, Konstantin John remained in Russia. As a response to revolutionary events, Jonea was created by the "New Planet" canvas, the interpretations of which art historians vary until the opposite of opposite. In Soviet times it was believed that John portrayed "the space value of the Great October Socialist Revolution" on it. In modern Russia, it was reproduced, in particular, on the cover of the book of Ivan Shmeleva "The Sun of the Dead", describing the Red Terror in the Crimea.

In another "cosmic" picture "People" (1923), it is also about the creation of a new world.

In 1925, John became a member of the Association of Artists of Revolutionary Russia (AHRR). In 1923, he fulfilled the painting "Parade of the Red Army" (1923).

In 1948 to 1950, the artist worked as director of the research institute of the theory and history of the arts of the Ah of the USSR. In addition to work in a picturesque genre, he continued to make the design of theatrical productions, as well as graphics.

In 1951 he joined the WCP (b).

From 1952 to 1955 he taught as a professor at the Moscow Art Institute. V. I. Surikov, as well as in a number of other educational institutions. Since 1957 he was the first secretary of the Board of the USSR.

K. F. John died on April 11, 1958. He was buried in Moscow at the Novodevichy Cemetery (section No. 4).

In the Moscow House in which he lived and worked (Earth's street, 14-16), a memorial plaque was installed.

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Konstantin Fedorovich John (1875-1958) - Russian and Soviet painter, master landscape; Theater artist, theorist of art.

People's Artist of the USSR (1950). Winner of the Stalinist Premium First Degree (1943). Valid member of the AH USSR (1947). Brother P. F. John. Member of WCP (b) since 1951.

K. F. John was born 12 (24) October 1875 in Moscow in the Swiss-German family. Father - employee of an insurance company, later - its director; Mother is a musician amateur.

Konstantin John from 1892 to 1898 studied in men. His teachers were such masters as K. A. Savitsky, A. E. Arkhipov, N. A. Kasatkin.

At the end of the school, two years worked in the workshop V. A. Serov. Then he founded his own studio in which he taught from 1900 to 1917 together with I. O. Dudin. His disciples were, in particular, A. V. Kubrin, V. A. Favorsky, V. I. Mukhina, Brothers Vesnins, N. D. Collie, Roiter, Mikhail Grigorievich.

In 1903, John became one of the organizers of the Union of Russian artists. He also entered the number of participants in the "World of Art".

Since 1907, he worked in the field of theatrical scenery.

1906. At the shores of the river Pskov. B on cardboard, AKV, Belil, coal. 68x104. GTG

From 1925, Jouon - Member of AHRR. In addition to work in a picturesque genre, he actively engaged in the design of theatrical performances, as well as artistic graphics.

In 1948 to 1950, the artist worked as director of the research institute of the theory and history of the arts of the Ah of the USSR.

From 1952 to 1955 he taught as a professor in the MGAHI named after V. I. Surikov, as well as in a number of other educational institutions. Since 1957 he was the first secretary of the Board of the USSR.

K. F. John died on April 11, 1958. He was buried in Moscow at the Novodevichy Cemetery (section No. 4).

1890th. Landscape with church. Cardboard, oil.

1903. Festive day. Cardboard, temperatures 95. 5x70. GRM

1905. Lubyanskaya Square in winter. B., AKV., Belil. 47. 2x57. GTG

1907. Bruzina bush. Decorative landscape. Pskov. H., m. 70.5x123. Tashkent

1908. Blue bush. Canvas, oil. 71x107. GTG

1909. Night. Tver Boulevard. B., AKV., Belil. 60x73. GTG

1910. Trinity laurel in winter. Canvas, oil. 125x198. GRM

1913. Mill. October. Ligachevo. Canvas, oil. 60x81. GTG

1914. Winter. Bridge. Canvas, oil. 68. 6x104. Penza

1913. Carousel. Uglich. B., AKV., Bel. 51x68. Emergency

1920. Portrait A. A. Bakhrushina. B., to. 50x35. HCTM them A.. Bakhrushina

1921. New Planet Cardboard, temperatures 71x101 GTG

1922. Russian province. From alb. lithographs. Moscow, ed. Berendia, 1922.

1922. Symphony of action. X., m. 78x92. Private assembly. Moscow

1923. Parade of the Red Army. H., m. 89,5x111. GTG

1923. People. X., m. 91x121. Kharkov

1924. Portrait of K. A. Jun, artist's wife. X., m. 50x55. Assembly O. I. John. Moscow

1925. Rainbow. Ligachevo. X., m. 63x81. GTG

1926. In those days at the House of Unions in the days of the funeral V.I. Lenin. B., AKV., Bel. 32x49. Central Museum V. I. Lenin

1927. Subject to full cooperation. Poster

1927. The first appearance of V. I. Lenin on Petrosovet Senovet in Smolny 25 Oct 1917. H., m. 132x191. GRM

1929. The outgoing province. H. on plywood, m. 79x104. Voronezh

1942. Morning Moscow. Canvas, oil. 100x150. Irkutsk

1947. Opened window. Ligachevo. H., m. 115x132. GTG

1954. ESC. to SC. Marshak "God to be afraid - do not see happiness." Tsarist Chamber. B., AKV., By 29.3x48. MUZ. Theater them. Vakhtangov

1954. Songs of collective farm youth. Ligachevo. X., m. 65x100. MUZ. music. cult. them. Glinka, M.

1956. Moscow. View of the stadium to them V. I. Lenin in Luzhniki. Emergency

Fully

Konstantin Fedorovich John is a representative of the older generation of Soviet painters. His creative activity began in pre-revolutionary years. And then the name of Joua-artist acquired fame.

He belongs to the circle of those masters, whose activities were a link between the Soviet artistic culture and Russian advanced pre-revolutionary art. Having absorbed the best traditions of the full Russian realism of the XIX century, Jouk entered Soviet art as an artist with a wide creative range, giving the people his talent of the painter, theatrical decorator and teacher, inexhaustible energy of a public figure, his knowledge of the historian and theoretics of art.

The life and creative way of Jun is closely connected with Moscow. Here he was born on October 24, 1875. In a large and friendly family, Junon were fond of music, brothers and sisters Konstantin Fedorovich studied at the Moscow Conservatory. Music played a big role in the upbringing of the future artist, taught him to understand beauty, poetry, developed a sense of rhythm. There were many young people in the house, there were often live paintings and children's performances were arranged. Melodies and texts wrote to them the elder brother, John was instructed to write scenery under the leadership of a family friend - the artist of the Small Theater K. V. Kandaurova.

Love for the theater brought up in the young man and his mother - Emilia Alekseevna, who made theatrical costumes for masquerades in the Moscow Hunting Club, where artistic young people were going to be gathered.

The Jounov family lived in one of the old corners of Moscow - Lefortovo. This area associated with the era of Peter I could not not be interested in an impressionable boy reading the Romans I. I. Lazhechnikova, M. N. Zagoskin, A. K. Tolstoy. Justa began to passionate monuments of the old Russian architecture, primarily Moscow and Moscow region: Kremlin and China City, Trinity-Sergiyev Lavra, Kolomenskoye. Over time, his interest in the history of the native country, to its original estimation and everyday life, the traditions of folk life became more serious and deeper.

After the first visit in the 1880s, the Talenikovskoy Gallery of the Talented Youth opened a new world of the beautiful in the work of great Russian artists: I. E. Repin, V. D. Polenova, V. M. Vasnetsova, I. I. Levitan and others.

The art of V. I. Surikov was especially important for him. Jouu was understood and the plots of Surikov paintings were understood, their original mighty heroes. Surikov taught a lot of young artist. On this occasion, Jouu wrote in Avtobiography: "My own love of history and ancientifications, to the decorative and eloquent colorful of the forms of the past centuries in conjunction with a lively life and lived in Living - they attracted me to him (Surikov. - Ed.). He knew more than all other Russian painters to associate a story with modernity, reflect the general world ideas in tragedies and the struggle of a living person, to associate art with life. "

As a student of the real school, John began to seriously learn Russian architecture. Therefore, it was completely natural to his receipt in 1894 in the Moscow School of Painting, Scarying and Architecture for the Architectural Branch. Soon, however, he realized that his main vocation was painting and moved to the picturesque faculty. Nevertheless, the occupation of an ancient architecture has played a significant role in the development of his artistic taste and determined the main circle of those pictorial works.

The junction time of John on the path of the painter coincided with the period of complex ideological and artistic struggle in the Russian art of the late XIX - early XX century. This struggle was the result of the deep crisis of the bourgeois culture, which occurred both in the West and in Russia. Representatives of the reactionary art began an open campaign against realism, taking advantage of art, freed from any ideas and trends, for art, understandable only by individual "exceptional individuals".

The Moscow School of Painting, Sculpture and Architecture, where Jouu studied in those years, was a stronghold of ideological realism. N. A. Kasatkin, K. A. Savitsky, A. E. Arkhipov, was taught in N. A. E. Arkhipov. They proved their own creativity to students, what a lot of importance is a picture with a serious and deep social content. Study of these masters certainly determined the progressiveness of views on the art of future artists - the students of the School, in particular the views of John.

The closer to Jouu was bright, sunny art A. E. Arkhipov, the beauty of folk motives in his paintings, virtuoso skill in the transmission of the light-air environment. But the most important for John had classes in the workshop V. A. Serov, where he completed his artistic education in the school. Serov, young people always found a solution to any creative question. Serov was a wonderful artist and anxious teacher. He knew how to reveal the creative personality of each student, to direct him along the path of attentive to study reality, appreciated the simplicity of expression of an artistic image, loyalty to the traditions of national culture. Serov taught young artists to look for three truths: the truth is human, the truth is the social and truth picturesque. John called Serov with his artistic conscience, "without which it is difficult to work and difficult to comprehend new."

"Tretyakovskaya Gallery and my Serov Teacher were two main springs, where I scored that saving principle, which allowed me to carry through my whole life a healthy attitude towards art and did not make it rest from the path of realistic, from the path of respect for Russian classics."

The beginning of the creative path of John was controversial. Expressive and little sophisticated in matters of art, he experienced the influence of many artistic currents that existed then. At first, he was fascinated by the aesthetics of "Miriskussnikov" with their cult of refined art for "chosen personalities", with their search for a new style. Then, John seized the picturesque principles of impressionism, although the desire of impressionists to build the concept of an instant of abnormality and mumbling of creativity, the loss of composite architectonics and plastics of the form was always alarmed and stopped.

Without having another creative "I", but the complete desire to find yourself in art, Jouny takes a foreign journey. He rides in Italy, Germany, Switzerland and France, meets the classic and modern art of these countries. In Paris, Jun works in private workshops, is fond of Hohen. Under the impression of the art of Hogen, he goes on a long journey through the South Caucasus. And here finally, John became clear that his "artistic happiness" should be searched only at home. He understood and realized his attachment to Central and Northern Russia with its expanses and attribute, with its white snow and the radiance of the morning and evening dawn.

"I was back as in a new promised land, but already consciously and convinced. An alien south and an alien effect of the negative way would have had its own sobering effect, and it was clear to me that the circle of my interests and activities was resolutely found, "he wrote in an autobiographical essay.

1900 was a significant in the life of the artist. First of all, this year he finished his classes in the workshop of Serov and went on the path of independent creativity. This year he married K. A. Nikitina, the peasant of the village of Ligacheva in the Moscow province. And, finally, in the same, 1900, John began his pedagogical activities, discovering in Moscow with the artist I. O. Dudine Private art school, called the "Studio of John", which existed until 1917. It studied the largest masters of Soviet art, as V. I. Mukhin, A. V. Kubrin, V. A. Vatagin, V. A. Favorsky and others.

Pedagogical work for a much obliging John: he had to give accurate and clear answers to all the questions of students. To do this, he himself primarily to gain clarity in artistic views. John recalled that the pedagogical work had for him in those years "disciplining value": she saved him from youthful hobbies with fashion artistic directions, helped to produce the hardness of beliefs.

If during the years of stay in the school, Jun wrote mainly lyrical landscapes of intimate corners of the Moscow region, then after the end of study, it was uncontrollably pulled to wide expanses of the Volga. At the beginning of the 1900s, he made a long trip over the old Volga cities. Uglich, Rostov, Kostroma, Nizhny Novgorod conquered a young artist with the colorful wealth of ancient architecture, Kremlin walls, monasteries, churches, white-stone arcades of retail space and rows, multi-colored carved patterned wooden houses, a variegated signs and a blue unreasonable distant Volga expanser.

John opened a new world of amazing beauty.

"I wanted to write pictures as songs about life, about the history of the Russian people, about nature, about the ancient Russian cities" ...

The bright impressions he received from acquaintance with Volzhsky cities, intensified by another effect of creativity M. Gorky. John read on Gorky books. Especially close to him was the novel "Thoma Gordeyev". The artist attracted the wonderful descriptions of paintings by the Volga Nature and how deeply understood the author of the spiritual wealth of the people. These qualities in the work of the Great Writer were referred to Jouu.

Jouu, as well as bitter, worked for a long time in Nizhny Novgorod; It was amazed by the extraordinary painting and beauty of the historic city, in which the key of the contemporary, the life imbued with the People's Spirit. Here, Jouu wrote a lot of etudes from nature and created a large picture of "over the Volga" (1900), where the main actors became similarities such as Gorky heroes, artisans and bosias.

An interesting scenery of the scenery "Winter on the barges" (1902), depicting the corner of the Volga Bay from Nizhny Novgorod in a gray winter day. Dressed in the ice densely shredded by the snow barge, as if he was diverting into a long winter dream. Surely cost shapes of watchmen in huge red toulups. White snow flakes contrast with bright coloring blue house on a barge; Plowly miserable on the background of gray winter sky. Thin web of ropes and slender masts. Weathered in a harmonious silver range, the Etude talks about the dressedness of the observation and the taste of the artist, about the wealth and sophistication of his palette.

A variety of paintings, etudes and drawings dedicated to Jou'i Monument to the Old Russian architecture of the XVII century - the Trinity-Sergius Lavra near Moscow. The folk pearl, inexhaustible in their picturesque and decorative wealth, called the artist this wonderful architectural ensemble.

One of the first works devoted to this topic was the picture "To Trinity" (1903). In a small room, the artist reproduces bright and at the same time an ordinary scene from the life of Trinity-Sergiye Lavra. Against the backdrop of pink, red, white towers and buildings of Lavra and picturesquely scattered from their foots, small houses and Posad's shops ride a zugom in the sleigh on the "bow" to the Trinity of the famous Muscovites. Measured, calm step go along the red-brown dirty spring horses road. On the irradiation of the sleda, the long figures of matters in black monastic robes will come out.

Written from nature, the picture is full of immediacy. John masterfully reports the air haze of a gray winter day, through which multicolored towers with gold and blue dome bulbs are identified. A wide pastoral smear, which is written in the picture, contributes to the feeling of movement, enhances its colorfulness and decorativeness.

On the fine observation of the young artist testified the picture "Red Product" (1905), depicting the corner of the market in Rostov Great. Characteristics of Juna Tags: here is a merchant, which concentrates money; The wealthy bureau of the Delvito pays for the purchase; Woman with a girl choose new clothes, swinging in a pile of a pedestrian goods. Jou'u perfectly felt the flavor of the winter Russian bazaar with birds, raves and laid out on Earth, shops and two-story filties, combined dry snow. Only the artist, in love with Russia, could see so much beauty and poetry in an ordinary scene.

At the end of the 1900s, Jun worked over a series of paintings in which the task sets itself to convey the effect of night lighting. These are pictures "Night. Tver Boulevard "(1909)," Troika at the Old Yar. Winter "(1909) and others. In the first of them, on the background of a bright illuminated night cafe, fancy, slightly grotesque silhouettes of his visitors - men in high cylinders and ladies in huge trendy hats. This picture is to some extent tribute to the artist Impressionism. However, in contrast to the late impressionism, refucing the etude, Jun continues the classical traditions of Russian realism, which has always considered the highest outcome of the creative work a complete picture. Jun principledly remained faithful to realistic traditions. Remembering your hobbies by impressionists, the artist wrote: "I was not able to even weaken in my mind the greatness of the art of the mobileians and masterpieces, collected in the Tretyakov Gallery ... Communication to Russian national forms, to the images of the native past and present, to ideas folk art ... was a sober regulator in my mind. It dictated to me the need not to turn the system of impressionism in the end of the end. "

In 1908, Joun settled in Ligacheva. Here he lived for a long time at all times of the year. "... I had the opportunity to approach the people and folk life, in particular, to the life of a village, which a lot was fed and nourishes my art."

In 1910, Jouu wrote one of his best works dedicated to the Trinity Lavra - the picture "Spring Sunny Day". This is a very joyful product, drawing corner of Sergiev Posad on a sunny day of early spring. Very loose, naturally and visited the artist of the figures of people: Stand, Burnt in the sun, two girls, passing by, loved on them a born little old woman, having fun children's snowpads. They are noisy from their gri. For the artist, everything is important and significantly, it displays both big and small.

Coloring paintings is extremely celebrated. Lovely reproduced Jun Blue and Green Shinery, White and Red Shawls of Girls, Colored Waste Cups, Yellow Dominations, Pink and White Birch Stems and Lace of their branches on the background of blue sky, Solemn blonde houses, towers, bell tower Trinity-Sergius Lavra. This is perhaps the most emotionally rich work from the entire cycle dedicated to the Trinity Lavra. In Nim, John made a genuine poet as a subtle master of realistic captive painting. In this work, the picturesque language of the artist, characterized by the decorativeness of the flavor, the bright sound of color spots, built on clean local paints, was already clearly defined. Moreover, in Juna, this bright decorativeness is combined with strict compositional constructions, thoughtful placement of items in space, a clear graphic drawing of plans and forms.

For John, the love of epic landscapes was always characterized, wide, solemn, drawing the old Russian architecture and a new, boiling around her life. Such landscapes include a large canvas "Trinity Lavra Winter" (1910).

"The shine gave, the all-consuming space of immense spaces, a rhythmically uniformly worker anthill - Snorgeous people, homogeneous horses, - flocks of homogeneous birds, thousands of homogeneous houses, pipes, cheeks, were merged into the solemn unison, in a single element", - so perceived the winter Lavra Sam's artist.

All his life, John was a patriot, a singer, a lifeman of the old and new Moscow. In the student years, he wrote household scenes from the life of Moscow Okrain. In the paintings with the effects of night lighting, the action also occurred in Moscow. In the mature years of the Square and Street of the Old Moscow, the wonderful monuments of her architecture inspired the artist to create beautiful paintings. "I write Moscow all my life - and everything will not be satisfied. Moscow played a big role in my artistic life. My painting began in Moscow. Moscow focused in me the basic interests and hobbies, "said John.

Among the Moscow works of the pre-revolutionary period, the large watercolor "Moskvoretsky Bridge" (1911) is significant. This is a typical Junovskaya composition: the action is deployed against the architecture of the Kremlin and China-Cities. The wide Moskvoretsky bridge burned the flow of pedestrians. As always, by John, in a crowd, individual genre groups are easily distinguished: men who are confused from the metropolitan lumps with huge bags, business clarifiers, important merchants, dashing cabins and slow lambs. All this is shown very vividly, directly, aptly.

Transparent clarity and softness of tones of watercolor paints, light air haze soften the contours of the panoramic landscape and the variety of color. In this work, as in a number of other time, John showed himself a talented Watercolor Master.

In all periods of their artistic activities, Jun with enthusiasm wrote a modest and excellent Midground russian nature. The favorite theme of the artist was early spring. The joyful moment of the awakening of nature from the winter sleep, when very clean the air, the bright skyline of the sky, when everything is permeated with sunlight, and the blue-white snow is a special crunch under his feet, the very moment, which M. M. Svienne laid aptly called "Spring Light "Appeared the theme of his landscape" Martov Sun. Ligachevo "(1915). This landscape is strict and lyric at the same time. Strict architectonics of the composition is underlined by slim trunks of poplars and gentle, pinking against the background of the blue sky of the spring birches. There is some special freshness and cleanliness in this picture. Looking at her, the constant aspiration of the artist "Pushkinski" is remembered to stop the scenery of the Moscow region and the middle strip of Russia.

By the time of the Great October Socialist Revolution, K. F. John - the already established master. In the first years of the Soviet power, he began to engage in public activities. He worked in the Moscow Department of National Education as an instructor-organizer on visual art, read over art schools, studios, houses of folk art.

In the face of John, young, novice artists and talented self-tanks have always seen an experienced mentor, a sensitive, attentive, sincere person, ready to always come to the rescue and give the right, good advice.

The circle of topics that the artist worked at first after 1917 was not new. He wrote winter and summer landscapes, created pencil portraits of Russian culture figures, types of Russian cities. Sometimes he varied some of the old topics. At the same years, John began to engage in autolithography and made two albums: "Sergiev Posad" and "Russian Province". Separate album sheets were graphic repetitions of previously executed paintings.

From the works of the first years of revolution, the painting "Dome and Swallow" (1921). In it, the artist again turned to the topic of the Trinity-Sergius Lavra. He wrote her in a fresh, sunny, windy May day. Interesting and new compositional decision picture. Assumption Cathedral is depicted from the height of the domes, highly treated in the blue sky. Downstairs is deployed wide, unbarrible expanse of land. The smoke of the steam locomotive from the rush among the trees of the train, as a mosaic scattered on the ground. Light chassis. In the blue sky, the sky is filled with flocks, and the outgoing clouds are visible on the horizon.

In this work, the same wide panoramic of landscape, which was at John and earlier. But at the same time there is in it and something new. This new is a peculiar, lightest and elevated worldworking of the artist, a more brave and wide view of the world. In this intimacy of the Junonian landscape, the wonderful landscape of the Ryll "in the blue space".

The first works of Jone on revolutionary topics were a symbolic-allegorical character. "I wrote and lived at the time, as if in two epochs, capturing the past and the present, - recalled the artist ...- Under the influence of war and the revolution, it is difficult to find the artistic language, artistic formulas that can express and express the stunned flow of ideas and images, In me, I was very strengthened and it takes me very much - and here without fantasy can not do. "

In the picture "New Planet" (1921), Jun presented the birth of a revolutionary era in an abstract-fiction image: a pollen red planet rises over the globe into outer space. Crowds of people - residents of the Earth rushed to her, stretching hands, as if praying for happiness. Many, disassevial, fall and die. Those who are rushing are weak on themselves. Their silhouettes against the background of enchanting rays are dramatic. The artist a lot and seriously thought about revolutionary events, accomplished in his homeland, seeking to understand the essence of that beautiful that the revolution carried the people. It was characteristic of many representatives of the old Russian artistic intelligentsia of that pore - B. M. Kustodiyev, S. T. Konenkov, A. A. Blok, V. Ya. Bryusov ...

Close proximity to the people, understanding of his interests and commitment to realistic traditions made it possible to John to correctly determine the tasks of the tasks in front of Soviet artists.

"Reflecting on the paths and objectives of the revolution," he wrote, "I need to follow the people, to depict it, as I portrayed him before, but to show his activities already covered and rich revolution. The transition to the theme of the revolution was natural, organic for me; I continued to live with the people, as before, seeking to express the new, which introduced the People's Revolution, its new culture, new goals and new people. "

The people of the Soviet country and new events become themes of John's paintings. The ancient architecture of Moscow is woven with the image of revolutionary affairs.

In 1923, at the exhibition of the Association of Artists of Revolutionary Russia (AHRR), a small product of the "Parade on Red Square" appears. The author handed over the main thing - the beating of a new life, the appearance of the Soviet man, the past years of the Civil War and celebrating the first five years of the Great Victory. Strict rows of marching soldiers, glitter of the orchestra pipes, scarlet color of banners and posters, a festive crowd, admiring the troops, the majestic beauty of the Kremlin architecture and the temple of Basil Blessed - all this gives a picture of a festive, high-quality character.

The theme of several Junok watercolors of the late 1920s became the events that took place in Moscow in November 1917, when workers and soldiers stormed the Kremlin, captured by Junkers.

Watercolor "Entry into the Kremlin through the Nikolsky Gate" (1926) draws a tense moment of struggle for the Kremlin: the revolutionary people attack the Kremlin gate. And although the figures of people are given almost silhouette, they are very expressive. The artist managed in this work to transfer the revolutionary, martial spirit of time. In the future, the same topic Jouu repeated in the picture "Kremlin's assault in 1917" (1947).

In 1925, John became a member of the Association of Artists of Revolutionary Russia (AHRR) - a progressive association, fought for the revival in the Soviet art of the traditions of Russian classical painting. The tasks and requirements set by the artists of Ahrra played a large role in the formation of new looks of the artist on the art and his role in the life of the country.

Creativity of John has become more purposeful. In his works, characteristic, typical images of Soviet people appear. These are the paintings "young. Laughter "(1930) and" YouTher's Moscow Region "(1926). The latter is one of the best works of Jun in the 1920s. This is a group portrait of girls - residents of Ligacheva. They are very different, and at the same time there are in them and something in common. This is common - their youth, sincerity, cheerfulness. The original composition in his fragmentation gives a portrait of a special vitality, as if snatched from the masses of the people who immediately surround us this group of young people.

A special place in the Soviet painting of the 1920s and 1930s is occupied by household paintings of Jun. They again very brightly showed characteristic Junovsky features: a sharp look at life, noticing and fixing new forms of rustic and city life, coloring decorativeness and, of course, the ability to organically combine architecture, landscape and genre scenes.

The painting "Holiday of Cooperation" (1928) depicts a meeting of members of the Ligachevsky Agricultural Cooperative. Jouu draws the attention of the viewer to the red banner, the glitter of the copper pipes of orchestrants, homemade posters, festive white shirts, sweaters, bright handkerchiefs - from these skillfully noticed parts and accents are composed of a unique image of a modern village.

Recalling her creativity, John said that after the revolution, it developed towards the complication of the content. Consciousness of the need for a new approach to solving big tasks of modernity dictated the desire to look for new art forms - the art of a large style that can express the beauty, significance and essence of the new Soviet reality.

In 1940, John appeals to work on the works of monumental art. He makes the mosaic sketches for the Hall of Constitution of the Palace of Soviets. This work was not carried out, only pencil sketches were preserved. They talk about deep and versatile coverage by the artist of those modern. This can be convinced of this, at least transfer their names: "Cities and transport", "Industry", "Aviation", "Earth's subsoil", "state farms and collective farms", "on guard of marine borders."

In the harsh years of the Great Patriotic Warriors, Jouny worked hard, living all the time in Moscow.

Favorite city appeared in front of him in a new Terrible appearance. The events of the first years of war demanded a serious creative understanding. Gradually arose the idea of \u200b\u200ba new picture dedicated to Moscow. The painting "Parade on Red Square in Moscow on November 7, 1941" became one of the most significant in the work of the artist. She draws Red Square, the Kremlin, the Soviet people on the historic day of the parade on November 7, 1941, when the war was declared "sacred, domestic". In this gray, the gloomy day fell the first snow, the sky was covered with heavy, lead clouds, the Kremlin, the Red Square, the Church of Vasily Blessed looked especially harsh and majestically. Moscow, as it were, froze, froze in Grozny silence before a decisive crushing strike on the enemy.

A measured, chased step of slender rows of Red Square go troops. In their hard swore - power, confidence in the victory over the enemy. In this very significant content and picturesque decision, the picture was reflected in deep meditation of the artist about the fate of the Motherland in the godine of heavy tests. Small in its size, the picture is truly monumental and significant.

During the war, Jun creates a number of works dedicated to the combat events and heroes of the war: "Sandloves at the front" (1942), "After the fight near Moscow" (1942) and others. For the Novosibirsk and Kuibyshev's theaters of the Opera and Ballet, Jun during the war, writes sketches of decorations to opera M. I. Glinka "Ivan Susanin".

In the postwar years, the Pictures of John are becoming more complicated by the composition and summarized on topics. "Recently, the artist wrote," I began to work not only analytically, as before, and more synthetically. " An example is its landscapes of the 1940s. The artist, as before, lives for a long time in Ligacheva and works a lot. In "Russian Winter" (1947), Jun acts as a genuine poet of Russian Nature. With wonderful skill, he creates a clear, completed composition. Looking at this large canvas, unwittingly admire with soft, fluffy snow, dense cover, dressing the land, the fairy-tale joke, deciding the branches of the powerful trees, a frosty haze that wrapped all the items. Everything is observed in life. This is a real Russian "Mother-Winter".

In the picture "Morning of Industrial Moskva" (1949) the artist gives the image of a huge industrial city. The city awakens to a new labor day. People go to work, the commodity train swears, smoke factory and factory pipes.

The seriousness of the topic, great skill in the transfer of life of the city in the morning hour, the desire to show the poetry of the ordinary and beauty of labor - all this makes the work of John an interesting industrial landscape.

John's artistic activity was closely connected with the work of Gorky. This has already been stated in relation to his early works. In mature years, John is fond of Gorky plays and writes sketches of scenery.

In 1918, he created the decoration of the play "Old Man" for the State Academic Small Theater, in 1933 in the Moscow Art Academic Theater goes with decorations on his sketches "Egor Boycev and others", in 1952 in the name of the name VL. Mayakovsky artist declares the play of the "Zykov". Great success fell to the last work of John - sketches of decorations and costumes to the stage of the novel of Gorky "Thoma Gordeyev" in the theater named after the Evg. Vakhtangov, over which he worked together with the People's Artist of the USSR R. N. Simonov.

Justa created a lot of picturesque and graphic portraits of Gorky. He sought to show the Great Writer in different periods of his life. In addition to the portraits, they created several paintings dedicated to them. In 1949, Jouu graduated from the picture depicting the Giant Soverhabitant in 1929. The last big picture of the artist was "A. M. Gorky and F. I. Shalyapin in 1901 in Nizhny Novgorod "(1955).

The work in the theater always fascinated John. He issued about twenty five plays and operas. The diversity of the repertoire of theatrical performances with the participation of John: Pieces V. Shakespeare and Lope de Vega, A. N. Oostrovsky and A. M. Gorky, N. F. Pogodina, A. N. Tolstoy and S. Ya. Marshak, Opera M . I. Glinka, M. P. Mussorgsky, P. I. Tchaikovsky.

The earliest work of John in the theater was sketches of scenery to opera Mussorgsky "Boris Godunov", set in Paris in 1913 during the "Russian season", organized by S. Ya. Dyagilev. Boris's party sang Chaliapin. Simultaneous work with Shalyapin over the play inspired and fascinated the young artist. In the scenery to Opera, Jun showed himself not only a deeply national artist, but also a serious researcher of the history of Russia, her life and architecture. Freshness and juice of the Junoch sketches led to the delight of Shalyapin. He immediately acquired them with the author.

"Every day I admire and do not stick to them - excellent things ... - wrote Shalyapin Gorky in 1913.- Eki Charm, her God, a talented guy ..."

I especially wrote a lot of Jouu for theater after the Great October Revolution. Along with work in a large, small, artistic theaters of Moscow, he created decorations and for theaters of Kazan, Novosibirsk, Kuibyshev.

The work of the artist in this area characterizes deep penetration into the essence of a dramatic or musical work. Creating sketches of scenery to a particular spectrum, Jouv usually made many preliminary options, achieving the most expressive solution. He also worked painstakingly and over the sketch of each costume, taking into account the individual features of actors' actors.

We were successful to the decorations to the plays of the Ostrovsky "Heart Non-Stone" (1920-1921), "Magnible Money" (1934), "On all sages of pretty simplicity" (1940), "without guilt" (1940), "Poverty is not vice" (1945) in the formulation of the State Academic Small Theater. Life and types in the plays of Ostrovsky Jouu - the old Muscovite - were very familiar. His scenery and sketches of costumes differed great persuasive.

A major achievement of John as the theater artist was sketches of scenery to opera Mussorgsky "Hovanshchina", set at the State Academic Bolshoi Theater of the SSR Union in 1940. They found deep internal compliance of the visual language of scenery with the musical speech of the opera.

The characteristic of the creative personality of John will not be complete, unless to recall his numerous literary and research work on art issues. Just theoretian raised serious philosophical issues in his articles and oral speeches: on the synthesis of arts, about the concept of artistic, about the problems of innovation in the Soviet art, etc.

I also worried about artistic pedagogy issues. In his articles, Jun put very serious and responsible tasks before artists. He believed that Soviet art should not be limited to simply illustrating events. It should be the art of a large style that argues in perfect artistic forms of high ideas of morality.

John was a doctor of art history, a valid member of the Academy of Arts. In 1956, he was unanimously elected first secretary of the Union of Soviet artists of the USSR.

John was awarded the title of People's Artist of the USSR, state award and was awarded the orders of Lenin and the Labor Red Banner.

Konstantin Fedorovich John died in April 1958. The whole life of a talented Soviet artist is an example of selfless service by his own art, his country, the life and nature of which he challenged.

According to the book: I.T. Rostovtseva "Konstantin Fedorovich John"

russian painter, master landscape, theater artist, theorist of art

Konstantin Jun

short biography

Konstantin Fedorovich John (1875-1958) - Russian painter, master landscape, theater artist, art theorist.

Academician Ah USSR (1947). People's Artist of the USSR (1950). Winner of the Stalinist Premium First Degree (1943).

Origin and family

Born on October 24, 1875 in Moscow, in Germanosvian family. Father - an employee of an insurance company, later - its director; Mother is a musician amateur.

Brother - Composer P. F. John, Professor of the Berlin Conservatory, remained after the revolution in Germany, from where, after coming to power, Adolf Hitler, emigrated to the historic homeland, in Switzerland, where he died.

Before the revolution

From 1892 to 1898, Konstantin John studied at the Moscow School of Painting, Drainies and Architecture. His teachers were such masters as K. A. Savitsky, A. E. Arkhipov, N. A. Kasatkin.

At the end of the school, Jouu, two years worked in the workshop V. A. Serov. Then he founded his own studio in which he taught from 1900 to 1917 together with I. O. Dudin. His students were, in particular, A. V. Kubrin, V. A. Favorsky, V. I. Mukhina, Brothers Vesnins, V. A. Vatagin, N. D. Collie, A. V. Grishchenko, M. G. Roiter, N. Terratikhorov, Yu. A. Bakhrushin.

In 1903, John became one of the organizers of the Union of Russian artists. He also entered the number of participants in the "World of Art".

Since 1907, he worked in the area of \u200b\u200btheatrical scenery, in particular, was engaged in registration of the opera "Boris Godunov" in Paris, in the framework of the Russian seasons, Sergei Dyagilev.

Before the revolution, the main topic of John's creativity was performed in a special manner, the lights of Russian cities (Moscow, Sergiyev Posad, Nizhny Novgorod and others), with a broad perspective, the image of churches, women in folk costumes, will take the traditional Russian life.

For example, a picture of the dome and swallows uses great fame. Assumption Cathedral of Trinity-Sergiyev Lavra "(1921). This panoramic landscape, written from the Cathedral's bell tower with a clear summer evening, at sunset. Under the gentle sky, the Earth is gracious, and in the foreground shone the dome lit by the sun with gold patterned crosses. The motive itself is not only very effective, but also symbolizes the significant cultural and historical role of the church.

After the revolution

After the revolution, Konstantin John remained in Russia. As a response to revolutionary events, Jonea was created by the "New Planet" canvas, the interpretations of which art historians vary until the opposite of opposite. In Soviet times it was believed that John portrayed "the space value of the Great October Socialist Revolution" on it. In modern Russia, it was reproduced, in particular, on the cover of the book of Ivan Shmeleva "The Sun of the Dead", describing the Red Terror in the Crimea.

In another "cosmic" picture "People" (1923), it is also about the creation of a new world.

In 1925, John became a member of the Association of Artists of Revolutionary Russia (AHRR). In 1923, he fulfilled the painting "Parade of the Red Army" (1923).

In 1948 to 1950, the artist worked as director of the research institute of the theory and history of the arts of the Ah of the USSR. In addition to work in a picturesque genre, he continued to make the design of theatrical productions, as well as graphics.

In 1951 he joined the WCP (b).

From 1952 to 1955 he taught as a professor at the Moscow Art Institute. V. I. Surikov, as well as in a number of other educational institutions. Since 1957 he was the first secretary of the Board of the USSR.

Grave K. F. John.

K. F. John died on April 11, 1958. He was buried in Moscow at the Novodevichy Cemetery (section No. 4).

Pupils and followers

• Ivanov, Gerasim Petrovich (1918-2012)
• Circular, Alexey Eliseevich (1886-1968)
• Melamud, Shaya Noewovich (1911-1993)
• Popova, Love Sergeevna (1889-1924)
• Rosanova, Olga Vladimirovna (1886-1918)
• Skulma, Otto (1889-1967)
• Stepanova, Varvara Fedorovna (1894-1958)
• Strahov, Andrei Aleksandrovich (1925-1990)
• Udaltsova, Nadezhda Andreevna (1886-1961)
• Falileev, Vadim Dmitrievich (1879-1950)
• Falk, Robert Rafailovich (1886-1958)
• other.

Main works

• "Russian Winter. Ligachevo ", 1947 Tretyakov Gallery
• "To Trinity. March ", 1903, GTG
• "Blue bush", 1907, gtg
• Spring Sunny Day, 1910, timing
• "Spring evening. Rostov Great ", 1906, Serpukhov Historical and Art Museum (Sh)
• "Sergievsky Posad", 1911, written from the window of the old Lavrian hotel. In the collection of the CAC MPDA.
• "Wizard-Winter", 1912
• "Martov Sun", 1915, GTG
• "Dome and swallows", 1921, gtg
• "New Planet", 1921, GTG
• "Youth Moscow region", 1926; GRM
• "Before joining the Kremlin in 1917. Trinity Gate ", 1927. HCMSIR.
• "The first collective farmers. In the rays of the sun ", 1928, gtg
• "MOSCOW SALUTUT", 1945
• "Opened Window", 1947, GTG
• "Kremlin's assault in 1917" 1947, GTG
• "Parade on Red Square in Moscow on November 7, 1941", 1949, GTG
• "Morning Industrial Moskva", 1949, GTG
• "The end of winter. Noon ", 1929, gtg
• "Martov Sun", 1915, GTG

Registration of theatrical performances

• opera "Boris Godunov" M. P. Mussorgsky, 1912-13, theater of the Champs Elysees, Paris, Antrepass S. P. Dyagileva;
• piece "Egor Bulychev and others" M. Gorky, 1934, MCAT;
• opera "Khovanshchina" M. P. Mussorgsky, 1940, Big Theater, Moscow.

Movie artist

• Ivan Nikulin - Russian Sailor, 1944

Artist cartoon

• Kashtanka, 1952.

Composition of artist

• Moscow in my work, M., 1958;
• About art, t. 1-2, M., 1959.

Awards and Prize

• Stalin's first degree premium (1943) - for many years of outstanding achievements in art
• Order of Lenin (10/25/1945)
• 2 Orders of the Red Banner of the Red Banner (1943; 27.12.1955)
• Honored Art Worker of the RSFSR (1926)
• Popular artist RSFSR (1945)
• People's Artist of the USSR (1950)

Memory

In the Moscow House in which he lived and worked (Earth's street, 14-16), a memorial plaque was installed.