Master of monumental sculpture. Alikushin Mikhail Konstantinovich Anikushin Sculptor Biography

His childhood was held in the village of Yakovlevo Zaoksky district of the Tula region. The father of the future sculptor came to Moscow from the village and worked almost to the last days of his life as a parakelock master. Mikhail was the fourth child in the family. In 1917 - in the year of his birth, the Father called to the army, as the First World War continued. Having barely recovering after childbirth, the mother moved along with all the children in Yakovlevo, to her husband's parents. And already there, in early childhood, the unique abilities of the boy were manifested: Anikushin said that, how much he remembers - he looked and painted.

Studying in the sculptural studio in Moscow under the direction of G.A. Kozlova, Mikhail Konstantinovich met the traditions of the Russian realistic school of the XIX century. After graduating from school, Alikushin sent documents to the All-Russian Academy of Arts. But when I arrived in Leningrad, it turned out that the documents were disappeared, and he was not allowed to exam. Then Grigory Kozlov wrote a letter to the director of the Brodsky Academy and sent a telegram to the receiving commission: "It is necessary to warn the greatest mistake ... Calculate life due to the loss of documents it is unacceptable ... to deprive the possibilities of Alikushina to keep the academy exam - not just a blow to him. It means losing him a year of study, and maybe even losing Alikushzyn ... ".

It was the intercession of the teacher who played a huge role in the life of the future sculptor, who was eventually enrolled in the preparatory classes of the Academy. In 1937, he is already a student of the first year of the sculptural faculty, where he studies at V.A. Sinai and A.T. Matveeva. Study at the Institute interrupted the war. From the first days, the artist goes into the militia, and from November 1941 it becomes in the ranks of the Red Army.

Only after the victory, Anikushin returns to Leningrad. From now on, his whole life and creativity will be inextricably linked with the city on the Neva. In 1947, Anikushin protects the graduation work "Winner Winner". In early 50s, he began working on the monument to Pushkin, and only on June 18, 1957, the monument was opened. "Monumentality is not in gigantic sizes," said Alikushin, and in the clarity and depth of thought, the accuracy of the form, accuracy of relations. " These words were for Anikushina creative credo: "I would like to have some joy and the sun from the figure of Pushkin," said Alikushin said from the monument. And this bright joy is really there in most of the sculptural portraits of Pushkin's sculptural portraits created by a wonderful Russian artist. And in the monument, which is at the Russian Museum in St. Petersburg, and in those that he prepared for Moscow, Tashkent, Gurzuf. Even in a bust that was installed in the square opposite the gymnasium in Dzerzhinsk near Moscow, there is a beam of this joy.

Alikushin worked a lot and over the image of another favorite writer - A. Chekhov, in the works of which he always attracted the accuracy and humanity of the experiences expressed in them. In the 70s, he made a draft grand monument to heroic defenders of Leningrad during the Great Patriotic War, who saw him consisting of individual groups-novel - "pilots and sailors", "in the trenches", "blockade", snipers and others.

Mikhail Konstantinovich Anikushin was a talented teacher. The People's Artist of the USSR, the Hero of Socratrud taught in the Leningrad Institute of Painting, Sculptures and Architecture named after I. Repin and led the Creative Sculptural Workshop of the Academy of Arts. At the very beginning of his creative path, setting the goal in the sculptural image of the great Russian poet Pushkin, the most elusive of the senses experienced by a person - inspiration, Alikushin caught and imprinted in a disjuncting material this impulse.

Where today it flowed this fooling condition, why is true art displacing with frank quantity? - Here are the involuntary questions that pop up when you add to the creativeness of the Masteau and Monumental sculpture masters, which was one of the tops of the domestic art of the second half of the 20th century.

Alexander Aleksandrovich Kadashevsky

Creativity M. K. Alinishhina, Masteau and Monumental sculpture masters, was one of the tops of domestic art of the second half of the XX century. His artistic nature was distinguished by inconsistency: marked with high titles and awards of the state, he allocated among his colleagues with genuine democraticness; To monumental art, he, together, showed an acute interest in the intricacies of human character and psychology. The complexity of the personality of the artist affected its work and on his tense public work and had its consequence the polar opposite in the assessments of its works.

Alinishin was born in a large family of a desktop. A teenager, in 1931, he began to study in the sculptural studio in Moscow under the leadership of G. A. Kozlov, who introduced the future sculptor with the traditions of the Russian realistic school of the XIX century. In 1935, Anikushin rides Leningrad and enters the preparatory courses of Izhsa to V. S. Bogatyrev. In 1937, he is already a student of the first year of the sculptural faculty, where he studies at V. A. Sinai and A. T. Matveyev. Matveyev sought to teach his students creatively interpret nature, set the task of a living plastic search. The style of an outstanding master imposed an imprint of the early creativity of Anikushina, but did not become determining:

In his art, the young sculptor did not break ties with the material visibility of the outside world, while representatives of the so-called Matveev school sought to the limit plastic generalization, transforming nature into an abstract artistic form. But Anikushin adopted the teacher from the teacher: already in his student work "Girl with a goat", "Pioneer with a wreath" (both 1937) affects the ability to solicitly see nature and embody his vision in a bright plastic form. His study at the Institute interrupted the war. From the first of her days, the artist goes into the militia, and from November 1941 it becomes in the ranks of the Red Army.

Only after the victory, Anikushin returns to Leningrad. From now on, all life and creativity will be inextricably linked with the city on the Neva. In 1947, Anikushin protects the diploma work "Winner Winner". Lained external expression, the sculpture is made in a laconic manner that determines the work of the artist 1940-60s. The internal energy of the potential movement is hidden behind external staticness, the absence of detail is compensated by philosophical generalization and deep psychologism. These features were manifested in the portrait sculpture of Anikushina: "Portrait of Mother", "Portrait of P. A. Kuryovanova" (both 1948), "Egyptian", "Youth from Sudan" (both 1957), "Portrait O. E. Usova" ( 1961), "Portrait of Academician A. F. Ioffe" (1964) and others , Yu. M. Yuriev (1961), P. A. Kupriovna (1968). Works in the field of memorial plastics should be noted - E. P. Korchagina-Alexandrovskaya (1958) and R. M. Gliera (1960).

The search for a new, alternative decision was noted by the work of Alikushina over the way V. I. Lenin (portraits, sketches of monuments). By leaving the usual standards, the sculptor tries to show the leader in action, in active movement. The completion of this topic was a monument at the Moscow Square in Leningrad (1970).

The desire of the artist to dynamic expressiveness manifested itself in the work on one of the main creations of his life - the monument to A. S. Pushkin on the square of Iszsts in Leningrad (1957). In the 1940s, the Pushkinskaya Theme, after the first, who were not crowned with the success of the All-Union Competition, who did not succeed for the best project of the monument to the poet. In 1949, the sculptor presented his sketch at the IV Open Tour of the Competition, which became the winner. While working on the final project of the monument, he created a large number of sculptural and graphic portraits of Pushkin, as well as curly compositions for Moscow University (1953) and for the station Leningrad Metro Pushkinskaya (1955). As a result, the sculptor stopped at the embodiment, the most precisely transmitting the state of the creative impulse and inspiration. Isyushina brilliantly managed to embody the image of Pushkin-Paul, Creator. The monument surprisingly harmoniously fit into the architectural ensemble of ancient square.

The master continuously develops Pushkin theme and further - work on the monument to the poet for Gurzuf (sketches, 1960, 1972, the monument is not established), Tashkent (1974), above the statue for the Black River metro station in Leningrad (1982), busts for Chisinau (1970), Pyatigorsk (1982), etc.

In the work of Alikushina 1970-80s. Expressive manner dominates: the artist now prefers to portray not a complex state of transition from in-depth self-filing to action, and the movement itself, passionate gust. In portraits there is an underlined individualization of character. This trend was clearly expressed in the monumental bas-relief "Victory" for the Big Concert Hall "Oktyabrsky" in Leningrad (1967), in the tombstone N. K. Cherkasov (1974), in the "Portrait of S. Ulanova" (1981) and especially acute - In working on the monument "Heroic Defenders of Leningrad during the Great Patriotic War", established on Victory Square (1975). Even in the early 1960s. The master began to work on a complex composition consisting of several sculptural groups. The expression character of the plastics of Alikushina is already visible in numerous sketches to the monument, which manifested itself the main director of the artist, the expression of the typical features of the era through the disclosure of the characters of individual characters. In this cycle, the humanistic pathos of the art of Anikushina sounded throughout the power.

A other embodiment found these aspirations of the artist in the work on the way A. P. Chekhov for the monument in Moscow. The result of the perennial searches was the drawings gallery, portraits A. P. Chekhov and I. I. Levitan, - initially the master conceived the monument as a paired composition (sketch "A. P. Chekhov and I. I. Levitan", 1961). Restrained, but expressive on plastic, the image of Chekhov is characterized by internal tragedy. Work on the monument to Chekhov was a kind of continuation of the Pushkin cycle, his dramatic development. Both great Russian writers worked out the creative imagination of the master until the last days of his life.

Monument to A. S. Pushkin on art square in St. Petersburg. 1957. Bronze, Granite


Monument V. M. Bekhterev on Bekhtereva Street in St. Petersburg. 1960. Bronze, Granite


Group "Soldiers". The monument "Heroic Defenders of Leningrad during the Great Patriotic War". 1975. Bronze, Granite


Group "Winners". The monument "Heroic Defenders of Leningrad during the Great Patriotic War". 1975. Bronze, granite

Installed in St. Petersburg opposite the building of the Russian Museum, but the sculptor is also the author of more than twenty monumental compositions. The most famous work of Mikhail Konstantinovich Alikushina - "Monument to the defenders of Leningrad", opened in 1975.

Although all the creative life of Mikhailf Anikushina Will of the circumstances turned out to be associated with Leningrad, but he considered himself a Muscovite in spirit and by origin. Alinishin was born in Moscow, in one of the alleys located near the Big Serpukhov Street. His father came to Moscow from the village and worked almost to the last day of life.

Mikhail was the fourth child in the family. In the year of his birth, his father was called up to the army, since the First World War continued. I barely recovering after childbirth, the mother moved along with all the children to the village, to her husband's parents. Only in 1926, when Mikhail finished the second class, the family was again in Moscow, where the father returned to that time.

Even in early childhood, the unique abilities of the boy were manifested. He said that, how much I remember myself, I looked and painted. In Moscow, he entered the school, where he became a school artist, decorated the wall newsnets and painted posters for the holidays. Drawing teacher advised Mikhail to study in the studio at the House of Pioneers of the Leninsky District. She was led by the famous teacher and artist G. Kozlov. He noticed that Mikhail feels good volume, and began to engage with a stupid boy.

Under the leadership of Kozlov, Mikhail Anikushin is mastering the necessary skills and begins to sculpt from nature portraits of his comrades and small genre groups - "Young Aviami Model", "Help Comrade". Kozlov insisted that the works of Alikushina were shown in the section of children's creativity at the exhibition dedicated to the fifteenth anniversary of the organization of the Red Army. There, they saw the famous artist Alexander Deineka. He met with a boy and said that he needed to receive a special education.

Having finished high school, Mikhail Alinishin goes to Leningrad, because there was the only sculptural department at the Academy of Arts at the time.

Kozlov gave Anijushin a recommendation letter to the Rector of the Academy Joseph Brodsky. Mikhail brilliantly gives entrance exams, and he is taken immediately into the second preparatory class at the Academy. Then the branch of the sculpture was V. Bogatyrev. Under his leadership, Anikushin not only performs training tasks, but also begins to work independently. His sculptures "Mother", "Pioneer, reading his poems" were shown at the exhibition of young tips on the eighth Congress of Soviets. There they receive an enthusiastic assessment of the artist B. Johanson, who noted that in terms of the execution of the sculpture correspond to the first rate of the Academy.

In just a year, Mikhail Konstantinovich Anikushin fully fulfills the training plan of the preparatory classes, and at the request of Bogatyrev, it is transferred immediately to the last class of Central Art School. Now his teacher becomes sculptor G. Schulz.

Under his leadership, Mikhail Alikushin performs opening work at the Academy. In 1937, he becomes a student class of sculpture, which leads the famous Russian Vajär A. Matveyev. It was known not only as the author of excellent monumental works, but also as a talented teacher, who raised not one generation of masters.

In the workshop, Matveyev, Anikushin studied five years. Already while studying at the nerve course, he becomes an assistant professor and helps him in work on the project of the monument A. Pushkin. Together with other sculptors in 1937, Matveyev took part in the competition for a monument to the poet, which was planned to establish in Leningrad. The Matveev project took second place at the competition, but he could not complete the work on him: the war began.

In 1939, on the advice of Matveyev, Mikhail Anikushin participates in the competition for the best project of the monument to Azerbaijani poet Nizami. He receives the first award, and in the post-war period, the monument on his model was installed in Baku.

Since, by the beginning of the war, Anikushin was a student of the fifth course, he was not called in the army, and left at the Academy to complete education. But he seeks a call and becomes a soldier of the anti-tank shelf.

Mikhail Konstantinovich Anikushin stayed at the front until the day of Victory, in a few loose hours continuing to draw. They created a gallery of portraits of fellow soldiers. In 1945, Anikushin returns to the Academy and begins work on the diploma composition "Warrior Winner". The work receives a high assessment of the Commission, it was recognized as successful that it entered one of the components of the monument to the security officers created in Stalingrad.

Having finished the Academy, Mikhail Alikushin could remain a teacher of the sculptural faculty, but decided to combine pedagogical and creative activities. He practices with students and begins to work as a portrait sculptor.

By 1949, two directions were formed in his work: portrait and monumental. The first work done after the end of the Academy, the monument to Pushkin, presented to them at the 1949 contest. Together with Aniyushin, V. Domogatsky, S. Mercurov, V. Sinai, I. Shadd participated in the competition, but only a few options, including the model presented by Alikushin, received the approval of the Commission and were exhibited in the Russian Museum. Spectators and the authoritative jury preferred two versions of the monument - Alikushina and Nikolay Tomsk. But the latter took off his candidacy. So Mikhail Alikushin became the winner.

However, he continued to work on the monument. In the process of preparing the final version of Anijushin significantly changed the composition. He refused round pedestal and together with the architect V. Petrov made a granite pedestal in the form of a parallelepiped, harmonized with the classic design of the Russian Museum.

In the course of the work on the monument to Anikushin created several options for the figure of the poet. Some of them were so successful that they became models for a number of monuments of Pushkin. One of the first options was the basis of the marble figure established in the foyer of the MI assembly hall "y at the sparrow mountains. Another version of the monument is" Sitting Pushkin-Licesther "- placed in the royal village, it was performed in bronze. The main option was installed, as planned , in front of the Russian museum.

In parallel, Mikhail Konstantinovich Anikushin is working on monuments to other Russian writers. In 1954, he performs a portrait of Mayakovsky for a monument, later installed on Mayakovsky Square in Moscow.

In 1956, Mikhail Alikushin goes on Italy's trip, works in Museums Venice, Florence, Rome and Milan. They created the cycles of drawings and graphic sheets, published in the form of a book.

Returning from the trip, Mikhail Alikushin continues to work on the monument to Pushkin. Later he confessed that the main option was formed under his influence of the proportions of David sculpture. It was then, Alikushin offered to deploy a poet figure and raise his right hand in an expressive gesture. The figure has gained ease and filled with hidden movement.

In April 1958, the Lenin Prize was awarded for the monument to Pushkin, Alikushin. At the same time, he was ordered another monument to the poet for the city of Gurzuf. Mikhail Anikushin depicted Pushkin sitting on the seashore. The basis for him was the famous portrait of the poet, made by O. Kiprensky. For various reasons, Anikushin could not complete the monument, it was installed only in 1972.

The sculptor begins to work over the monument to Chekhov. But he did not have time to the appointed commission and submitted a statue after the contest was completed. However, the jury considered it possible to reject the rest of the options and approved the work of Alikushina.

Initially, the master conceived a two-profic composition consisting of the figures of Chekhov and I. Levitan. But the Commission received only Chekhov's sculpture, which became the basis of the monument opened in Moscow in 1973.

He then proceeds to work on the monuments to physiologist Vladimir Bekhterev and the composer R. Glyara. In the first work, the influence of the teacher of Anikushina sculptor Mercurova is noticeable. A peculiar mortality of the silhouette is connected to a deep psychologist. A similar way was resolved by a monument to Academician A. Ioffe, established at the beginning of the scientist at the grave, and then before the institute, where he worked.

The master of his best work he considered the sculpture of the famous surgeon P. Kupriyanov, with whom he repeatedly met during the service in the army. The first version of the sculpture of Anikushin produced in 1947, it was a kind of sculptural sketch.

In 1967, at the request of Native Kupriyanov, Abinashin returned to work on a bust and based on his basis, a monument to the surgeon established on his grave. Mikhail Alikushin decided it in a rare for the Russian sculpture of the bas-relief genre. The figure of the doctor depicted in full growth, as it were, comes out of a massive white graded stele.

Since the beginning of the seventies, Anikushin is fully focused on the monumental intent: it starts working on a monument dedicated to the heroic defenders of Leningrad during the war. Back in the fifties, together with the sculptor, the Sinai and architect A. Baruchev, Alikushin participated in the competition for the project of the memorial died during the blockade. But then the competition was not completed.

Now he is developing a monument project along with its constant co-author of the architect F. Hepner. The monumental composition was adopted by the Commission and became the basis of the Memorial built on the Moscow Square in Leningrad. The conceived project was so ambitious that it was carried out in the Commonwealth with the sculptor F. Kamensky and the architect F. Speransky.

The center of the composition was the monumental statue of Victory, facing marble obelis. True, in the course of work, Mikhail Anikushin refuses the traditional allegorical figure and replaces its composition "Winners".

There are six sculptural groups around it, in which Alinishin portrayed defenders of the city. Each group is a kind of narrative unity with the plot. The sculptor confessed that the general plan of the composition arose under the influence of the "Requiem he heard" Requiem "D. Kabalevsky into poems R. Christmas. Images of characters are inspired by the military verses of Olga Berggolts.

Mikhail Anikushin called the entire composition of the Tale about the war. Indeed, he gave each figure and concrete, and generalized features. The sculptor sought not only sorrow, but also the joy of victory in the monument. The master did not hide that in the layout of individual elements of the composition he used the experience of its predecessors. In particular, the "Defense Work" group was born under the influence of the sculpture of Auguste Rodin "Citizens Kale".

Simultaneously with work on the monument, Anikushin made a bronze sculptural frieze "Victory", which was installed on the facade of the building of the Grand Concert Hall.

In the last years of the life of Mikhail Konstantinovich, Anikushin was engaged in the main portrait sculpture and until the last days of life continued to teach in the class of sculpture. He worked as a professor at the Academy for more than forty years.

Alikushin Mikhail Konstantinovich - Russian sculptor. If you look at the monument to Alexander Sergeevich Pushkin for a long time, which stands on the art square in St. Petersburg against the background of the State Russian Museum, for some moment it begins to seem that the poet seems to dissolve in the rhythm, music of born poems. A gesture, glance, barely catching the movement of lips, he brings to us a secret, intimate meaning of its lines. The sculptor who lived on more than a century later was able to convey a living, pulsating Pushkin thought, waking his feeling, the soul itself of the Great Russian poet. As Alikushin himself recalled, during the work on the manner of Pushkin, he often re-read the memories of I. A. Goncharov and, in particular, these lines: "At first glance, his appearance (Pushkin) seemed to be unprofitable. Middle height, thin, with small features of dark Persons only when you look intently in your eyes, you will see a pensive depth and some nobility in the eyes, which will not forget then. "

"I would like to have some joy and the sun, from the monument, from the figure of Pushkin," said Alikushin.

And these joy and the sun really are in most of the sculptural portraits of Pushkin created by a wonderful Russian artist. And in the monument, which is at the Russian Museum in St. Petersburg, and in those that he prepared for Moscow, Tashkent, Gurzuf. Pushkin is thoughtful, it is serious, that as if everything turns into rumor ... But his thoughtfulness and even his seriousness of bright and inspired.

Working on the monument to Pushkin from the Russian Museum, Anikushin re-read the works of the Great Poet, studied self portraits, more than once went through Pushkin places, briefly peered into the picture of P. Konchalovsky "Pushkin at work", where the moment of poetic insight was captured. By the way, Konchalovsky made an outline of the face with the granddaughter of Pushkin Anna Aleksandrovna, who was, as many claimed, very similar to his grandfather. Alikushin sought to find such a plastic image solution that would transmit the maximum gamut of feelings.

In the workshop at Alinishin, when he worked on the two-meter statue of Pushkin, there was a small plasticine statuette and a huge plaster statue of a simulator who stood in a monument pose. It was the naked nature that helped the sculptor, saying the words of the Great Rodna, "convey the inner feeling of the game of muscles." Abiushin simultaneously worked on the two projects of monuments, made several options for gypsum and plasticine heads ..

The monument was supposed to have a height of five meters. Working on him, Anikushin simultaneously made another marble statue for Moscow State University and other sculptures, made a trip to Italy, where she carefully studied the brilliant creations of Donatello, Michelangelo and others. He began working on the monument to Pushkin in the early 50s, and only on June 18, 1957 the monument was opened. "Monumentality is not in gigantic sizes," said Alikushin, and in the definition and depth of thought, the accuracy of the form, accuracy of relations. " These words were for Anikushina creative credo.

Mikhail Konstantinovich Anikushin was born on October 2, 1917 in Moscow. His father was a worker, fought. The childhood of the future sculptor passed in the village of Yakovlevo under the Serpukhov. In 1926, Mikhail moved to Moscow and began to study in the studio sculpture, which was led by Grigory Kozlov.

After graduating from school, Alikushin sent documents to the All-Russian Academy of Arts. But when I arrived in Leningrad, it turned out that the documents were disappeared, and he was not allowed to exam. Then Grigory Kozlov wrote a letter to the director of the Brodsky Academy and sent a telegram to the adoptive commission: "It is necessary to warn the greatest mistake ... Care your life due to the loss of documents is unacceptable ... to deprive the possibilities of Alikushina to keep the academy exam - not just a blow to him. It means Lose year of study, and maybe in general to lose Alikushina ... "

It is the intercessiousness of the teacher who raised his student in a mug of modeling at the house of Pioneers for five years, played a huge role in the life of the future sculptor, who was eventually enrolled in the preparatory classes of the Academy.

In 1937, Anikushin entered the sculptural faculty of the All-Russian Academy of Arts in Class A. Matveyev and V. Sinai.

Matveyev taught Alikushin deeply understand and interpret nature. During the practice, first at the Leningrad Porcelain factory named after M. V. Lomonosov, and then at the Castle cast iron Anijushin created a whole series of very interesting features of children. By the way, for the first time in the way Pushkin Aniushin began working back in 1937.

As soon as the Great Patriotic War began, Anikushin joined the folk militia, and then was directed to the anti-tank regiment.

And he began to do his diploma work only in 1946. Composition "Winner Winner" can be considered, marked the beginning of a whole series of works on the military theme, among which both projects of monuments and individual sculptural portraits. In the late 1949 - early 1950s, Anikushin began work on the monument to Pushkin for Leningrad.

Alikushin worked a lot and over the image of another beloved writer - A. Chekhov, in the works of which he always attracted the volume of experiences expressed in them. An interesting dual sculptural portrait of A. Chekhov and his friend of the artist I. Levitan, who, on the memories of contemporaries, always admired the painting of the prose Chekhov. Working on projects of monuments Chekhov for Moscow, Anikushin was looking for a great Russian writer not only will and dedication, but also delicacy, cordiality, spirituality. The sculptural images of the composer-romance V. Gliera, actor Yu. Yuryeva, Academician V. Bekhtereva and other outstanding people of the Land of Russian are also spiritualized.

In the 50s, Anikushin created a series of workers portraits, in 1967 - a portrait of the famous Belarusian poet V. Dubovki, and then worked on Lenin's monuments for a long time in Leningrad and other cities. In the 70s, he made a project of the monument to heroic defenders of Leningrad during the Great Patriotic War, who saw him consisting of individual groups-novel - "pilots and sailors", "on the trenches", "blockade", "snipers" and others. All generalized monumental forms are dynamic here and expressive. And because the monument produces a very strong impression.

Mikhail Anikushin was a very talented teacher, he taught in the Leningrad Institute of Painting, Sculpture and Architecture named after I. Repin and led the Creative Sculptural Workshop of the Academy of Arts of the USSR.

At the very beginning of his creative path, setting the goal in the sculptural image of the great Russian poet Pushkin, the most elusive of the experienced senses experienced by man - inspiration, Alikushin was looking for and embodied this inspiration in almost all his works.

BOGDOVA P.S., BOGDOVA G. B.

Mikhail Konstantinovich (born in 1917), sculptor. Monument to A.S. Pushkin (1957), Memorial heroic defenders of Leningrad (1975) in St. Petersburg ... Modern encyclopedia

Mikhail Konstantinovich (1917 97), Sculptor, People's Artist of the USSR (1963), a valid Member of the AH of the USSR (1962), Hero of Socialist Labor (1977). He worked in St. Petersburg. Monument A. S. Pushkin (1957), sculptures for the Memorial heroic ... ... Russian history

Mikhail Konstantinovich [r. 19.9 (2.10) .1917, Moskva], Soviet sculptor, People's Artist of the USSR (1963), Actual Member of the AH of the USSR (1962), Secretary of the Board of the Union of Artists of the RSFSR (from 1960) and the Union of Artists of the USSR (from 1963), Chairman ...

Anicanov Anikeev Anikeenko Anikin Alikushin Alikushkin Anikhin Anichev Anichkin Anichkov All these surnames from the derivatives of Names of John and Anikita (first connected with the Greek word of Naic Victory, the second with Greek Anikteos invincible). Expression ... ... Russian surnames

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Alinishin - Mikhail Konstantinovich (r. In 1917), owls, Ros. Sculptor, Nar. Artist of the USSR (1963), validity. CHL Acad. Arts of the USSR (1962). On military. Service in 1941 45. He graduated from in t painting, sculptures and architecture (Leningrad, 1947). From 1947 to teach. ... ... Encyclopedia RVSN

Anyakushin Mikhail Konstantinovich Name at birth: Anikushin Mikhail Konstantinovich Date of birth: September 19 (October 2) 1917 (1917 10 02 ... Wikipedia

- [R. 19.9 (2.10) .1917, Moscow], Soviet sculptor, People's Artist of the USSR (1963), Virtual Member of the USSR Ah (1962), Secretary of the Board of the Union of Artists of the RSFSR (from 1960) and the Union of Artists of the USSR (from 1963), Chairman of the Board of the Leningrad ... ... Great Soviet Encyclopedia

- (r. 1917), Soviet sculptor. People's Artist of the USSR (1963), a valid term of the USSR AH (1962), the Hero of Socialist Labor (1977). Studied in Linjas (1937 41 and 1945 47) at V. A. Sinai and A. T. Matveev; He teaches there (from 1947). ... ... Artistic Encyclopedia.

Books

• Sculptor M. K. Alinishin, Alexander Chefov. Album's book album A. N. Shefova Sculptor M. K. Alinishin, as the fruit of the author's long-term friendship with a sculptor and research work, is not ...
• Sculptor M. K. Anikushin, Chefov A.N. Book-album A. N. Shefova "Sculptor M. K. Alikushin", dedicated to the outstanding sculptor of the twentieth century, reveals all the stages of the life path and creativity of the Great Master. Works ...