Drawing to the poem copper rider. Illustrations A.N.
World of Art
B. M. Kustodiyev.
History
Characteristic
- "WORLD OF ART"
Alexander Nikolaevich Benois
Russian Series (1907-1910)
"Echo of the past time" hears in the image of Panorama of St. Petersburg of the late XVIII century. A further unfinished Mikhailovsky castle appears in front of the viewer, which will later be killed by the emperor. In the meantime, Paul I, recreation on the White Kone, commands the parade of troops. King's addiction to Military Mushtra and the organization of armies for amateur parades and constructions that satisfying his vanity are ridiculed by the artist. The stiffness and discipline of the atmosphere of the parade are felt in the graphics and linearity designated in the details - the filled march steps with the soldiers raised by the team, an even rhythm of the verticals of weapons and scaffolding in the background.
Interestingly composite decision of the work - Benua removes the parade of the parade of the barrier by the viewer, thereby giving the work "art" sound, and not immersing in what is happening. Flying snowflakes make a revitalization and a kind of comfort in the image of the events of the long-lasting era.
Book graphics
In the history of Russian book graphics, the artist entered his book "ABC in the paintings of Alexander Beno'a" (1905) and illustrations for the "peak lady" A. S. Pushkin, filled in two versions (1899, 1910), as well as wonderful illustrations for the copper rider ", Three options for which he devoted almost twenty years of labor (1903-22).
Alphabet in pictures (1905)
Next to the earlier works of Polenova, Malyutin and Bilibin "Azbuka in the Pictures" can be set at the origins of a new species of Russian graphics: from here leads his summer history of illustrated publications for children.
Both in the "toys" and in the "alphabet" plot-shaped system of illustrations are devoid of edification: it is necessary to search in the field of lyrical, in the memoirs of the artist about his own childhood, about children's games, joy, holidays. These are peculiar graphics memoirs - no wonder Benouua is here at the same time the author of the overall design, text and drawings. On the other hand, the desire to combine various creative functions in the name of the aesthetic integrity of the work should be noted as a tendency, generally characteristic of Beno'a (with particular power it will appear later in his theatrical work). Pay attention to the traditions used by the author. They should be seen not at all in the Western European chart, as it may seem to if you believe the legend about the "pro-Western" orientation of the master, and in Russian folk art - in a folk toy and a lobal picture, in the ideas of the fair theater and puppet theater "Petrushki". The graphic language of the modern Russian book, as represents its artist, should be primarily national.
Theatre
Nowadays, sketches of scenery and costumes to the performances of Alexander Benua is a classic. Beno'a worked closely for a long time with Stanislavsky and Nemirovich-Danchenko, he worked as the first artist-director of the Moscow Art Theater. It was Benouua first made an idea that the artist when laying the performance should have the same power as the director.
When analyzing numerous works A. Benua: "Harlequina. Fantasy on the italian comedy (1906, timing), "Italian comedy" (1901, timing two sketch), "Figures for Italian Comedy" (1901, GRM), "Arkloinda" (1906, GTG), "Italian comedy. Love note "(1905, GTG)," Italian comedy "(1919, NHM)," Italian comedy "(1905, IMM)," Arkloinda "(GMI), etc. It is worth paying attention to a repeating motive, including the characters of the Italian Mask Theater With the help of which the artist transmits an effective dance with a huge role of facial expressions and gestures. The actors here live, completely immersed in their game. The action is frankly theatrical, addressed to the public. Heroes are not psychologically designed characters, but rather masks, conditional figures, erected in the degree of symbol. Probably, Benua did not seek to make his heroes of Comedy del Arte like ballet artists, but the expressive means of the Italian comedy themselves have many points of contact with the choreographic theater.
Subsequently, with the participation in the preparation of performances to the Russian seasons, the new approach of Benoit to the development of theatrical decorations and costumes helped Dyagileev's troupe with triumph to perform on scenes of European theaters.
Parsley
Sketches of scenery, costumes and butaforia: "Sketch of scenery to the first, second, third picture of the ballet" Petrushka "(all - timber), sketches of Butaforia:" Horse "," Samovar "," Swing "," Carousel "(all - timing) , as well as sketches of costumes (timing, GCTM) give birth contrasts of color, emotions, images. Even a quick viewing of costume sketches: "Street dancer", "Tsyganka", "Out-of-Mask", "Kormilitsa", "Kucher", "Kupchikha", "Sharmanwger", "shopkeeper", "Merchant", "Focuscript", etc. . Draws types of a multicolor crowd, the buses of a noisy fair walking, where the puppet pose of parsley, ballerina and arapa are deployed. Here, Love A. Benua manifested itself not only to the old life, but also the township of the view of the artist who knows how to rape her characteristic strokes in the living life. Special development receives the theme of orange - it opens the thirst for manifold, the thrust for the diverseness of human manifestations. The concreteness of life here is adjacent to the abstractness of the symbol, though with fantastics, a national holiday with a lonely soul throwing, naive ingun - with Miriskusniki sophistication. 
Parsley Ballerina Arap
Konstantin Somov
Konstantin Somov was born in the family of a famous museum figure, the Keeper of the Hermitage, Andrei Ivanovich Somo. His mother, Nadezhda Konstantinovna (neborn Lobanova) was a good musician widely educated person. In 1879-1888 he studied at the Gymnasium K. May. From September 1888 to March 1897 he studied at the St. Petersburg Academy of Arts: the main course - until 1892, then, from October 1894, classes in the workshop I. Repin. In 1894, for the first time participated in the exhibition community of Russian watercolorists. In 1897 and 1898 she was engaged in the Collairshi Academy in Paris. Since 1899 lived in St. Petersburg.
Even in the gymnasium Somov met A. Benua, V. Nuelev, D. Philosophical, which later participated in the creation of the Society "World of Art". Somov took the most active participation in the registration of the magazine "World of Art", as well as the periodical edition of the Art Treasures of Russia (1901-1907), published by A. Benua, created illustrations to "Count Nulin" A. Pushkin (1899) N. Gogol "Nose" and "Nevsky Prospekt" (1901), painted the cover of poetic collections K. Balmont "Firebird. Slavel Slavanina, "V. Ivanova" Cor Ardens ", the title page of the book by A. Blok" Theater "and others.
The first personal exhibition of paintings, sketches and drawings (162 works) took place in St. Petersburg in 1903; In Hamburg and Berlin, 95 works were shown in the same year. In 1905 began to cooperate in the magazine "Golden Fleece".
Along with landscape and portrait painting and schedule, Somov worked in the field of shallow plastics, creating exquisite porcelain compositions "Count Nulin" (1899), "Lovers" (1905), etc.
In January 1914, he received the status of a valid member of the Academy of Arts.
In 1918, the most famous and full edition with erotic illustrations of Somov's erotic drawings was published in the publishing house: "LE LIVRE DE LA MARQUISE"), where the artist created not only all the elements of the book, But also picked up texts in French. There is a rare version of this publication the so-called "Big" Book of Marquis "" "Extraked even more frivolous illustrations.
In 1918 he became a professor of petrograd state-owned artistic workshops; He worked at the school E. N. Zvantseva.
In 1919 his anniversary personal exhibition took place, in the Tretyakov Gallery.
In 1923, Somov left Russia to America as an authorized "Russian exhibition"; In January 1924, 38 works were represented at the exhibition in New York Somov. He did not return to Russia. From 1925 he lived in France; In January 1928, I purchased an apartment on the Ekselman Boulevard (Fr. Boulevard Exelmans) in Paris.
Successively died on May 6, 1939 in Paris. He was buried at St. Geneviev de Boua cemetery 30 km from Paris.
Somov became especially close to Benoit, who wrote about him the first article that appeared in the magazine "World of Art" for 1898. In this article, an art critic emphasized the influence on the work of Somov German graphics (O. Berdsley, Sh. Conder, T. Heine), as well as the impact of French painting XVIII century. (A. Watto, N. de Larziller), "Small Dutch" and Russian painting of the first half of the XIX century.
Returning to Russia, Somov gave tribute to a portrait genre. They created portraits of the Father (1897), N. F. Ober (1896), A. N. Benois (1896) and A. P. Ostrumova (1901)
. 
Portrait of a witty portrait of N.F. Ober
The vertex of creativity during this period was the portrait of an artist E. M. Martynova (" Lady in blue", 1897-1900), depicted against the background of the landscape with flutists. The refinement and death, spirituality and the poetry of the image completely corresponded to the aesthetic Credo" Miriskusenikov ", embodying the harmony of dreams and reality. Special place occupied by Somov graphic portraits of creative intelligentsia. They are purely real - His intellectual energy - created by them images of people of creativity (portraits of poets A.A. Blak, M.A. Kuzmina, V. I. Ivanova,), Artists E. E. Lancere (1907), M. V. Dobuzhinsky (1910) et al., Rightly considered extremely objective. Made with watercolor, gouache, colored pencils or leaks, they are distinguished by virtuoso equipment, laconic composition and the fineness of a colorful solution.
Portrait of A. A. Blok (1907)
Portrait of M. A. Kuzmin (1909)
In addition to the portrait schedule, Somov worked in the field of book illustration. At the beginning of the XX century. Artists "Peace of Art", among whom were somov, revived after a long oblivion of this type of art. The design of the book, all its elements - the font, format, edge, cover, screensavers and vignettes - were to compile a single whole.
Leon Bakst (1866 - 1924)
Lion Rosenberg was born on February 8 (January 27) of 1866 in Grodno in a poor Jewish family of the Talmudist. After graduating from the gymnasium, she studied by the Warns at the Academy of Arts, having worked out with a book.
At the first exhibition (1889), the pseudonym Bakst was accepted - the last name of the Grandmother (Baxter). In the early 1890s, watercolorists were exhibited in society. In 1893-1897, he lived in Paris, often returning to St. Petersburg. From the mid-90s, adjacent to the circles and artists who formed around Dyagilev and Alexander Benua, which later turned into the unification of the "World of Art". In 1898, together with Dyagilev, participates at the base of the edition of the same name. Graphics published in this magazine brought Bastca fame.
He continued to engage in snack painting by creating portraits of Malavin (1899), Rosanova (1901), Andrei White (1905), Zinaida Hippius (1906). Also taught painting to children of the Grand Duke Vladimir. In 1902, Paris received an order from Nicholas II to a meeting of Russian sailors.
In 1898, Bakst showed work at the organized Dyagilev "First Exhibition of Russian and Finnish Artists"; At the exhibitions "World of Art", at the exhibition "Secession" in Munich, exhibitions Arteel Russian artists, and so on.
In 1903 he went to Lutherancy for marriage with his daughter P. M. Tretyakov L. P. Gritsenko.
During the revolution of 1905, Bakst worked for Zoopel magazines, Hello Post, Satirikon, later in the art journal Apollo.
In 1907, together with Serov, he traveled to Greece, where he studied the archaeological finds of the Criton-Mycene period. Bakst discovered for himself (and then for all of Europe) that archaic Greece is not white color, which everyone has so popularized whole centuries, but the riot of paints. It was then that the Bakast style base was determined: the archaic Greek costume is combined with the luxury of the East.
Since 1907, Bakst lived mainly in Paris and worked on theatrical scenery, which produced a real revolution. He created decorations for Greek tragedies, and since 1908 he entered the story as the author of the scenery for DyagilevskyBallets Russes ("Cleopatra" 1909, Sharerazada 1910, "Carnival" 1910, "Narcissus" 1911, "Daphnis and Chloe" 1912). In 1910, wept with Gritsenko and returned to Judaism. All this time lived in Europe, because, being Jews, did not have a residence permit outside the scene.
During visits to St. Petersburg, he taught Zvantseva at school. In the period 1908-1910, one of his students was Chagall, but in 1910 they broke the relationship. Bakst forbade Shagola to go to Paris, because, in his opinion, it would go to harm the art of Shagal, and financially would lead a young artist to hungry death (Chagall did not paint theatrical scenery). Shagall nevertheless went, did not die with hunger and found his painting style.
In 1914, Bakst was elected a member of the Academy of Arts.
In 1918, Bakst finally broke the relationship with Dyagilev and Ballets Russes. On December 27, 1924, he died in Paris's sweating of lungs.
Ancient horror ("Terror Antiquus") (1908)
In the pagan world-thundering "Ancient Horror" - this is the horror of life in the world under the rule of the gloomy and inhuman fate, the horror of the powerlessness of a person, enslaved by her and extremely submissive (Fatum); And also the horror in front of chaos as an abyssless non-existence, the immersion in which is disliked. Indicate that Christianity with his new concept of fate freed from the power of the ancient horror of a person, but the cultural dehristanization means his refund.
A large canvas of a practically square format is occupied by a panorama of the landscape written from a high point of view. Landscape is lit by flash lightning. The main space of the canvas occupies a raging sea that destroys ships and beats about the walls of fortresses. In the foreground shows the figure of an archaic statue in a generated crop. The contrast of a calm smiling face of the statue especially striking compared to the austerity of the elements for her back. Perhaps the death of Atlantis is depicted.
The depressed female statue is the type of archaic cortex, which smiles at a mysterious archaic smile and holds in the hands of a bird (or dove - aphrodite symbol). Traditionally, it is customary to call the statue depicted by Bakstom - Aphrodite, although it has not yet been established, which goddes are depicted. The prototype of the statue was the statue found during the excavations on the Acropolis. For an incomplete brush hand posed Bakst's wife. It is curious that Maximilian Voloshin indicates the similarity of the face of archaic aphrodite in the picture with the face of Baksta himself.
The island landscape unfolding behind the goddess is a view from the Athenian Acropolis. At the foot of the mountains in the right part of the picture in the foreground, buildings are placed, according to Pruzhana - Mycenaeine Lion Gates and the rest of the palace in Tirinf. These are buildings related to the early, the critical-mix period of the History of Greece. On the left, the group running in the horror of people among buildings characteristic of classical Greece - apparently, this is an Acropolis with its dormiles and huge statues. For the Acropolis - illuminated by zippers of the valley, crouched by silver oliv.
In 1907, Bakst draws up organized by Shalyapin and Dyagilev "Russian concerts" in Paris. In 1908, Bakst finishes work on the picture "Antique Terror" (award at the international exhibition in Brussels in 1910).
In 1909, the Bakst, senior from St. Petersburg, joined the ballet troupe S. P. Dyagileva "Russian Ballet". Along with A. N. Benua and M. M. Fokin, he was his closest employee of Dyagilev, and since 1911, the art director of Artpurza. Its fully, his talent of the artist-scenario turned in performances: "Cleopatra" ("Egyptian Nights") to the music of the island, S. I. Taneyev and M. I. Glinka (1909), "Shehherazada" to the music of Roman Corsakov (1910), "Fire-Bird" of Stravinsky (1910), "Carnival" (1910), "Narcissus" Cherepnin (1910), "Vision of Rose" K. M. Weber (1911 ), "Daphnis and Chloe" Ravel (1912), "Blue God" R. Ghana (1912), "Afterfourishment of Favna" to the music of K. Debussy (1912), Tamara to music M. A. Balakirev (1912), "Peri" (this spectral is not destined to see the light), "Butterflies" (1914), "Games" (1913), "Legend of Joseph" R. Straus (1914) , "Hoorns" to the music of D. Scarlatti (1917), "Sleeping Beauty" P. I. Tchaikovsky (1921).
Sketch of the scenery to the first stage of "Daphnis and Chloe" (Picture 2).
This he comes up with salute, blinding the public "Opera Garnier" on the occasion of the premiere of the ballet "Shaherazada". "Russian seasons" in Paris left an unforgettable impression not only by the skill of ballet artists, but also by a scope and flavor, exotic and expression created by Bakstom costumes and scenery. Costumes on the sketches of the Baptist, belonging to the public to the paints and forms of orientalism and the "big style" of Louis, were so amazed that they began to go beyond the frame and ballet. "Paris was genuinely drunk Bakstom," wrote later Levinson. Mstislav Dobuzhinsky so wrote about this period: "The penetration of art into life through the ramp, the reflection of the theater in everyday life, the influence of it on the fashion area - it affected the deep impression that was accompanied by brilliant triumphs of the" Russian seasons "Dyagileev in Paris. The public turn of the taste, which followed these triumphs, was to the greatest degree, it was Bastca, the new revelations that he gave in his exceptional and charming productions that struck not only Paris, but also the entire cultural world of the West. "
Sketch of the scenery to the ballet "Afternoon rest of Favna." 1911.
Designed by Baxky, the formed techniques laid the beginning of a new era in ballet scenography. The name of Baksta, the leading artist "Russian seasons", threatened along with the names of the best performers and famous ballersters. From all sides, orders from theaters were poured on it.
Nizhinsky. 1912.
He actively cooperates with the go of Rubinstein: scenery and costumes to the "Martyrdom of St. Sebastian" K. Debussy (1911), "Tamar" (1912), "Blue God" (1912), "Favna Half" (1912 G.), "Elena Spartan" D. de Severeka (1912), "Pisanell" (1913) "Embarrassed Artemis" (1922), "Fedra" (1923), "Istar" (1924 G.).
Sketch of a suit for Ida Rubinstein to the ballet "Elena Spartan"
For Anna Pavlova Bakst develops scenery and costumes to the play "Eastern Fantasy" (on the music of M. M. Ippolithova-Ivanov and M. P. Mussorgsky, 1913) and "The Big Show", delivered in 1916 in the theater of the Hippodrome in New York.
Working on the sketches of theatrical costumes, Leon Bakst involuntarily began to influence the Paris, and then the European fashion. This leads him to the thought of trying his hand in the field of "High Fashion" art in 1912, he creates a "fantasy on the theme of a modern suit" for Pacquen, who received great resonance in the world of Paris fashion. "Understanding and feeling, as rarely, some of the stylists, the whole magic of the ornament and the spell of colorful combinations, he created his special, bafth style. This spicy fabulous East captivated with an extraordinary imaginary imagination. The sophistication of bright colors, the luxury of turbans with feathers and fasteners of gold fabrics, a magnificent abundance of ornaments and jewelry - all this is so amazing the imagination, he answered the thirst for a new thing that was perceived and life. Vortes and Pacan - the legislators of Parisian mod - began to promote Baksta "(M. Dobuzhinsky). "Bakst managed to grab that the elusive nerve of Paris, who rules the fashion, and his influence is true everywhere in Paris - both in the ladies and picture shows" (Maximilian Voloshin). Buttock motifs are visible in the works of Parisian fashion houses Paquin, Callot Soeurs, Drecoll and Babani are sharovars, turbans, female bodies, oriental pillows. Toilets, made by his sketches, hit the brightness of the paints, harmony of flowers and refinement, drapery, successful selection of beads and pearls.
Sketch of a costume for Jewish dance with Tamburin. 1910.
Bakst's creativity has had a significant impact on the scenographic art of Russia and France.
In his work, the desire for sophistication, stylization manifested. The artist is characterized by a bold composition, bright colorfulness, a sense of rhythm.
Master of the stage suit, Bakst in his sketches had a row of rhythmically repeated color patterns so that they not only characterized the stage image, but also emphasized the dance dynamics, actor movements.
Evgeny Evgenievich Lancere (1875-1946)
Evgeny Evgenievich Lancere is an artist versatile. The author of monumental paintings and panels adorning the stations of the Moscow Metro, Kazan station, the hotel "Moscow", landscapes, paintings on the Russian history of the 18th century, he at the same time, was a wonderful illustrator of the classic works of Russian literature ("Dubrovsky" and "Shot" A . S. Pushkin, "Haji Murat" L. N. Tolstoy), the creator of acute political cartoons in Satyric magazines of 1905, theatrical and decoration artist.
Empress Elizaveta Petrovna in the royal village - Evgeny Evgenievich Lancer. 1905. Paper pasted on cardboard, gouache. 43.5x62.
The picture indicates the very understanding of historical painting in the art of the beginning of the XX century. Thus, the atmosphere of the era is disclosed here through images of art, embodied in architecture and park ensembles, costumes and hairstyles of people, through the landscape, showing the court life, rituals. Especially favorite became the topic of royal processions. Lancere depicts the solemn yard of the yelizabeth Petrovna in its suburban residence. As if the scene takes place in front of the viewer. Redium-magnifier swims fat Empress, dressed in woven clothes of amazing beauty. Next, ladies and cavaliers are followed in lush outfits and powdered wigs. In their faces, poses and gestures, the artist reveals different characters and types. We see that the detrimental-timid, then arrogant and famous courts. In the show of Elizabeth and her courtyard, it is impossible not to notice the irony of the artist and even some grotesque. Lancer is opposed to the people of the noble severity of the suspension of the white statue and the genuine grandeur, embodied in the magnificent architecture of the Rastrelievsky Palace and the beauty of a regular park.
World of Art
"Group portrait of members of the unification" World of Art ". 1916-1920.
B. M. Kustodiyev.
The world of art (1890-1924) is an artistic association formed in Russia in the late 1890s. The same name was the magazine published from 1898 by members of the Group.
History
St. Petersburg artist A. N. Benoit and theatrical figure S. P. Dyagilev became the founders of the "world of art".
He stated loudly, organizing the "exhibition of Russian and Finnish artists" in 1898 at the Museum of the Central School of Technical Drawing of Baron A. L. Stiglitsa.
The classical period in the life of the association came to 1900-1904. - At this time, the group was characterized by a special unity of aesthetic and ideological principles. Artists arranged exhibitions under the auspices of the magazine "World of Art".
After 1904, the union expanded and lost ideological unity. In 1904-1910, the majority of members of the "World of Art" was part of the "Union of Russian Artists". At the Constituent Assembly, on October 19, 1910, the Art Society "The World of Art" was revived (N. K. Rerich was elected chairman). After the revolution, many of his figures were forced to emigrate. The union actually stopped existence in 1924.
Characteristic
Artists of the "Art World" considered a priority aesthetic beginning in art and sought to modern and symbolism, opposed to the ideas of the Movies. Art, in their opinion, should express the personality of the artist.
S. Dyagilev in one of the issues of the journal wrote:
"The work of art is important not in itself, but only as the expression of the personality of the Creator"
- "WORLD OF ART"
Alexander Nikolaevich Benois
Alexander Nikolaevich Benoita (April 21 (May 3) 1870, St. Petersburg - February 9, 1960, Paris) - Russian artist, historian of art, art critic, founder and chief ideologization of the Union of Art. From the family of famous architects of Beno'a: Son N. L. Benua, Brother L. N. Benua and A. N. Benua and cousin Yu. Yu Benua.
Alexander Benoit (Alexandre Benois) was born on April 21 (May 3) of 1870 in St. Petersburg, in the family of the Russian architect Nikolai Leontyevich Benoit and Camillas Albertovna Benua (the daughter of architect A. Kavos). He graduated from the prestigious 2nd St. Petersburg gymnasium. For some time he studied at the Academy of Arts, also engaged in visual art on his own and under the leadership of Senior Brother Albert.
In 1894, he began his career theorist and historian of art, writing chapter about Russian artists for the German collection "History of painting XIX century." In 1896-1898 and 1905-1907 worked in France.
He became one of the organizers and ideologues of the Art Association "The World of Art", founded the same magazine.
In 1916-1918, the artist created illustrations for the poem A. S. Pushkin "Copper Horseman". In 1918, Benois headed the Art Gallery of the Hermitage, published her new catalog. Continued to work as a book and theater artist, in particular, he worked on the design of the performance of BDT. In 1925, he took part in the international exhibition of modern decorative and industrial arts in Paris.
In 1926, Benoit left the USSR without returning from a foreign business trip. He lived in Paris, worked mainly over the sketches of theatrical scenery and costumes. Alexander Benoit played a significant role in the productions of ballet entrepreneurs. Dyagileva "Ballets Russes", as an artist and author - the producer of performances. Benua died on February 9, 1960 in Paris.
Versailles series (1905-1906)
King's walk - Alexander Nikolaevich Benua. 1906. Paper on canvas, watercolor, gouache, bronze paint, silver paint, graphite pencil, feather, brush. 48x62.
In the field of easel painting, Benois continues to work in two genres - landscape and historical composition, which acquires the character of a kind of "historical imagination" in his interpretation. Still in watercolor, he, however, with special persistence, besides, for the first time (and, add, the only time throughout his long creative path) appeals to oil painting.
His numerous etudes of 1905 and 1906, made in the Primorsky Place of Primel, are written in vigorously, free smear, simple and realistic throughout their spirit ..
The real landscape of the Versailles Park becomes the basis here, in which the artist's imagination "inlays" sharp, nervous silhouettes: king, courtiers, servants. In these peculiar "etudes-paintings", small figures are ironically complemented, the landscape is enlivened, they make it clearer and visually his lead theme. In other cases, puppet characters of the compositions of Beno'a grow, turn around to the viewer and, suppressing the landscape, begin to play in the picture the dominant role ("King"). The master is trying to see the idyllic monument of the prosperity of the arts in the magnifies of the old Versaille. All people are mortal. Always only one art. This is the paintings "Fantasia on the Versailles" and "King Walk".
In the "Versailles series" life is understood as a celebrating and meaningless game, next to which art reigns. Omnipotent, all permissive and mighty. But it is flawed: during the times of Louis art, "despite all its strength and beauty, it was the shade of the best and porch - it was false." No wonder life here is like a performance ("Chinese pavilion", "Bathing of Marquis").
The boundaries of the theater and reality are erased. The artist looks at his heroes as evaluating, slightly ironic awards of the director who puts the next episode of a big performance, where the old park appears as a scene on which once one of the acts of "Great Human Comedy" was played.
Russian Series (1907-1910)
Watercolors and Guosi on a historical topic, as always, Benois are combined into a series, but are devoted to exclusively domestic history; They are stronger than before, "the feeling of the motherland sounds." They were completed during 1907-1910 by order of the Book publishing company I. P. Knebel, which issued the most interesting edition of the Russian history in pictures with the participation of Serov, S. Ivanov, Lancer, Kustodiev, Dobuzhinsky, Kardovsky, Roerich. This determined the originality of the genre: it is about strictly documented paintings-illustrations, "Pictures for printing".
Kneubel ordered Benoit paintings about the XVIII century - "From Peter to Paul."
In the "Russian Series", Benoit, three compositions are devoted to Peter and his era ("in German Sloboda", "Petersburg Street under Peter I" and "Peter I in the Summer Garden"), four others narrate the late XVIII century ("Morning landlord", "SUVOROVSKY CAMP", "EXERGATION OF CATERINI II IN THE Tsarsko Selo Palace" and "Parade with Pavel I"). The genre episodes shown here are interpreted from the point of view of eyewitness, and the living and acute sense of historical reliability arises on the basis of a thorough reconstructive work of the artist - from the study of gravar material, costumes, architecture, elements of life. The author acts as a supporter of the narrative principle of composition
Parade in the reign of Paul I - Alexander Nikolaevich Benua. 1907. Gouache, paper. 59.6x82.
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A.S. Pushkin "M Enthan Rider"
The history of the poem is based on the poem is a real history of flooding that occurred in November 1824 in St. Petersburg. During the flood, Pushkin was referenced in Mikhailovsky, so in the poem, he described events according to eyewitness testimony. The story of the "revived monument" could be taken by Pushkin from the story about how in 1812 the emperor Alexander I wanted to take a monument to Peter from St. Petersburg. But the emperor stopped, saying about a dream of one major. In his dream, Major saw the "copper rider" jumps along the streets of St. Petersburg and, having arrived at the Emperor, he says to him: "A young man! What did you bring my Russia! But I shifted in place, I have nothing to fear my city." According to another version, Pushkin could borrow the idea of \u200b\u200bthe revived monument from Don Juan.
Illustrations A. N. Benua to the poem "Copper Horseman" Evgeny in the place where his beloved Evgeny lived with a copper rider
Alexander Nikolaevich Benoit Alexander Nikolaevich Benoita (April 21, 1870, St. Petersburg - February 9, 1960, Paris) - Russian artist, historian of art, art critic, founder and chief ideologization of the Union of Art.
Born on April 21, 1870 in St. Petersburg, in the family of architect Nikolai Leontyevich Benoit and his wife Camilla, the daughter of architect A. Kavos. For some time he studied at the Academy of Arts, also engaged in visual art on his own and under the leadership of Senior Brother Albert. In 1894 he graduated from the Faculty of Faculty of the University of St. Petersburg. In 1894, he began his career theorist and historian of art, writing chapter about Russian artists for the German collection "History of painting XIX century." In 1896-1898 and 1905-1907 worked in France. He became one of the organizers and ideologues of the Art Association "The World of Art", founded the same magazine. In 1916-1918, the artist created illustrations for the poem A. S. Pushkin "Copper Horseman". In 1918, Benoit headed the Art Gallery of the Hermitage, published her new catalog. He continued to work as a book and theater artist and director, in particular, he worked on the formulation and design of the performances of the Petrograd Big Drama Theater. In 1925, he took part in the international exhibition of modern decorative and industrial arts in Paris. In 1926, A. N. Benua left the USSR. He lived in Paris, where he worked on the sketches of theatrical scenery and costumes. Participated in Balt Antenpuriz S. Dyagileva "Ballets Russes" as an artist and the author-director of performances. Died on February 9, 1960 in Paris. In recent years, he worked on memoirs.
Illustrations of M. S. Rodionova to the poem "Copper Horseman" Death of Evgeny Peter I on the banks of the Neva
Mikhail Semenovich Rodionov Mikhail Semenovich Rodionov (1885, Uryupinsky district of Volgograd region - 1956, Moscow) - Russian artist and artistic teacher.
He studied in Moscow, initially in the studios F. Rerberg and I. Mashkova, then in the Moscow School of Painting, Sculpture and Architecture at the picturesque department (1908-1910) and after a break on sculptural (1915-1918). In the 1920s. He was part of the artistic association "Makovets". In the pre-war period, actively worked in the field of book illustration, especially the works of L. N. Tolstoy; The best of these works is the big encyclopedia of "Terra" calls lithographs to the story "Holtomer" (1934, for the publishing house "Academia"). Among the later works there is a series of lithographic portraits of cultural figures. He was married to Elizabeth Vladimirovna Hiacintova (1888-1965), the daughter of art historian Vladimir Hiacintow and sister actress Sophia Hiacintova.
"Academician Alexander Benua is the subtlest Estete, a wonderful artist, a charming person." A.V. Lunacharsky
Worldwide fame Alexander Nikolaevich Benois Bought as a decorator and director of Russian ballets in Paris, but this is only part of the activities of the ever-looking, who is fond of nature, who had irresistible charm and the ability to light their necks around. Art historian, art critic, editor of the two largest art journals "World of Art" and "Apollo", head of the picturesque department of the Hermitage and, finally, just a painter.
Same Benua Alexander Nikolaevich He wrote to his son from Paris in 1953, that "... the only one of all works worthy to survive me ... will, perhaps," a multi-volume book " A. Benua remembers"For" This story about Shuranyk is at the same time rather consistent about the whole culture. "
In his memoirs, Benua calls himself a "product of an art family." Indeed, his father is Nikolai Benois was a famous architect, grandfather on the mother of A.K. Kavos - no less significant architects, the creator of St. Petersburg theaters. Elder brother A.N. Benoita - Albert is a popular watercolorist. With no less success, we can say that he was a "product" of family international. Father's line - Frenchman, on the mother's mother - Italian, or rather Venetian. His related connection with Venice - the city of the excellent tension of the powerful once music - Alexander Nikolaevich Benois He felt particularly acute. There was a Russian blood in him. Catholic religion did not interfere with the amazing respectfulness of the family to the Orthodox Church. One of the most powerful children's impressions of A. Benua - Nikolsky Maritime Cathedral (Nikola Sea), the work of the Baroque era, the view of which was opened from the windows of the Benoit family house. With all the explanatory cosmopolitanism, Benua had the only place in the world he loved with all his soul and considered his homeland - Petersburg. In this creation, Peter, crossed Russia and Europe, he felt "what is the big, strict force, great predestination."
That amazing harmony and beauty charge that A. Benua He received in childhood, helped to make his life with something like such a work of art, striking in its wholeness. This was especially brightly manifested in his life novel. On the threshold of the ninth decade, Benua admits that he feels quite young, and explains this "curiosity" by the fact that the attitude towards him of his adorable spouse has not changed over time. And " Memories"He dedicated her to her Dear Athe."- Anna Karlovna Beno'a (nee Cynd). Their lives are associated with 16 years. Atia was the first one who divided his artistic delights, the first creative samples. She was his muse, a sensitive, very cheerful, artistically gifted. Not being a beauty, she seemed to be irresistible with his adorable appearance, a grace, a living mind. But the serene happiness of lovers of children was to have a test. Tired by the disapproval of relatives, they broke up, but the feeling of emptiness did not leave them in the years of separation. And finally, with what joy they met again and got married in 1893.
In four Beno'a There were three children - two daughters: Anna and Elena, and the son of Nikolai, who became a decent successor of the Father's business, a theater artist who worked a lot in Rome and in the Milan theater ...
A. Benua is often called " artist Versalya" Versailles symbolizes in his work the triumph of art over the chaoticness of the universe.
This topic determines the originality of the historical retrospectivism of Benoit, the sophistication of its stylization. The first Versailles series appears in 1896 - 1898. She got the name " Latest Walks Louis XIV" It includes such well-known works as " The king walked into any weather», « Feeding fish" Versailles Beno'a Starts in Peterhof and Oranienbaum, where he spent his orphanage.
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Nevertheless, the first impression from Versailles, where he fell for the first time during a wedding trip, was stunning. The artist embraced the feeling that he was "already when she survived it." Everywhere in Versailles, there is a little depressed, but still an outstanding personality of Louis XIV, the king is the sun. The feeling of the sunset of the once majestic culture was extremely consonant with the era of the end of the century, when he lived Beno'a.
In a more honorable form, these ideas were embodied in the second Versailles series of 1906, in the most famous works of the artist: "", "", " Chinese pavilion», « Jeep», « Fantasy" The grandiose in them is adjacent to curious and exquisitely fragile.
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Finally, we turn to the most significant, which was created by the artist in the theater. This is primarily the layout of the ballet "" on the music of N. Cherepnin 1909 and ballet " Parsley"To music I. Stravinsky in 1911.
Benoit in these productions showed himself not only as a bright theater artist, but also as a talented author of Libretto. These ballets seem to have two ideals who lived in his soul. "" - the embodiment of European culture, the style of Barochko, its pomp and grandios, connecting with overripe and fading. In the libretto, which is a free transformation of the famous work of Torquato Tasso " Liberated by Jerusalem"Tells about a certain young man, Viscount Rene de Bozhansi, who falls during the hunt in the lost pavilion of the old park, where it is wonderfully transferred to the world of revived tapestries - wonderful army gardens. But the spells are disperse, and he seeing the highest beauty returns to real reality. There is a terrible impression of life, forever poisoned deadly longing for extinct beauty, on fantastic reality. In this magnificent performance, as if the world of retrospective paintings Beno'a.
IN " Petrushka"The Russian theme was embodied, the search for the ideal of the People's Soul. This setting sounded all the more piercingly and nostalgically, that Parushka's Balagans and their hero, so favorite Benua, have already become the past. In the performance there are lively by the evil will of the old man - Kudesnik Dolls: Parsley - an inanimate character, endowed with all living qualities that are in a person suffering and spiritualized; His lady Kolombin is a symbol of eternal femininity and "Arap" - rough and undeservedly triumphant. But the end of this puppet drama Beno'a Sees not as in the usual boalant theater.
In 1918, Benoit becomes the headroom of the Art Gallery of the Hermitage and Much Much in order for the Museum to become the largest in the world. In the late 1920s, the artist leaves Russia and lives in Paris for almost half a century. He died in 1960 at the age of 90. A few years before death Beno'a Writes to my friend I.E. Grabary, to Russia: "And as I would like to be where I had our eyes to the beauty of life and nature, where I first tasted love. Why am I not at home?! Everyone remember some pieces of the most modest, but so cute landscape. "
Ministry of Education and Science of Russia
State Educational Institution of Higher Professional Education
"Russian State Humanitarian University"
(RGU)
Faculty of Art History
Higher School of Restoration
Description and Analysis of Illustrations A. Benua to Poem A. S. Pushkin "Copper Horseman"
Course work of a student of the 1st year of the Evening Department
Moscow 2011.
1. Introduction _________________________________________________ 3
2. Chapter I. Analysis of the historical and artistic context ______ 5
3. Chapter II. Graphic sheets of the 3rd Editor: Description and Analysis ____ 9
4. Chapter III. Features of the art of book graphics _____________ 15
5. Conclusion _______________________________________________ 19
6. List of sources and literature _____________________________ 21
Introduction
In the process of working on illustrations to the poem "Copper Horseman", which lasted without a small 20 years, A. Benua has created three editions of illustrations - 1903, 1905, 1916. The subject of analysis in this paper is the illustrations of the third edition, which have seen the light in the 1923 book publishing. The original graphic sheets are made by Benois in a gravy pencil, watercolor. Illustrations printed in lithography technique.
A copy of the 1923 edition is located in RGB, also at the State Museum (GMP). Original sheets of different editions are divided into different museums: GMI them. Pushkin, GMP, Russian Museum, and are also in private collections.
The nature of the analyzed material, the book illustration, defines two directions of analysis: book publication and graphic sheets.
The purpose of the work is to investigate the relationship of the artistic and technical characteristics of an illustrative material in the context of the book publication, the embodiment of poetic images of the poem with artistic, graphics.
To achieve the goal, the following tasks are solved - to designate the artistic design of Beno'a, a historical and cultural aspect in creating an illustrative material, identify technical features of execution, determine the value of book graphics in the artist's work. The tasks of the work also includes a comparison of the illustrations as the editorial office of 1916 with the previous editions, allowing to trace the development of the artist's creative thought.
In accordance with the goal and tasks, the subject of analysis is a three-part structure. The first part is devoted to the analysis of the artistic and historical context of the artist's creativity, as well as Pushkin Poem. The second part is devoted to graphic sheets in the context of the general artistic canvas of the poem. In the third part, the features of the book illustration in terms of technology and book architectonics are considered.
ChapterI.. Analysis of the historical and artistic context
Studying, exploring the work of A. Benua, should consider his artistic activities in the context of the Unification of the World of Art, which was one of the most significant cultural phenomena of the beginning of the 20th century. Benoit along with Somov, Bakstom, Dobuzhinsky was one of his founders. As N. Lapshin notes: "... The range of interests of the" world of art ", especially its largest representatives, was unusually wide and diverse. In addition to easel paintings and graphics ... they own high achievements in the art of the book ... You can even say that in the theater decoration and book graphics, the creativity of the artists of the "World of Art" made up the most important stage in the history of not only Russian, but also of world art. "
The beginning of the 20th century is meant by the flowering of art of book graphics, xylography and lithography. It should be noted the three-volume assembly of writings to the 100-year anniversary of Pushkin with the illustrations of Benua, Repin, Surikov, Vrubel, Serov, Levitan, Lancer, in which Benua presented two illustrations to the "peak lady". The artist is widely studied by the history of book art and engraving, reads a course of lectures on the history of styles and ornaments; He will hear the connoisseur and skillful connoisseur of the book.
The idea of \u200b\u200billustrating the poem "Copper Horseman" originated from Beno'a in 1903. Then they completed 32 drawings, but disagreements with publishers were not allowed to realize the enterprise. A feature of the creative plan of Benoit was built illustrating, strict following the Pushkin text. This describes Beno'a's decision of his plan: "I thought these illustrations in the form of each page of the text of the compositions accompanying each page. The format I installed a tiny, pocket, like the Almanaci Pushkin era. "
The illustrations of the poem can be viewed in the context of the general artistic activities of Benoit on the "rehabilitation" of the artistic and cultural status of St. Petersburg. For many, St. Petersburg, by that time, was a focus of the spirit of the bureaucracy; Modern buildings violated the integrity of the architectural ensemble. In this key, the art publications of Benois, including the "Picturesque Petersburg", a series of St. Petersburg Watercolors, GG. Its attitude to what is happening in the life of the city, the events of Benois determines as "historical sentimentalism" caused by contrasts of the old, "classicistic", and new, industrial building, the onset of alien architectural elements (factory buildings, factory buildings), the destruction of historical monuments. Therefore, the appeal to the Petersburg story has a strong justification for the artist. "So far, it is customary to look at Petersburg for something sluggish and pale, deprived of his own life. Only for the most recent years began to somehow understand that Petersburg has a completely original and peculiar beauty. ... Petersburg is something, indeed, precious to all Russian culture. " In this, we find the commonality of the plan of Pushkin and Benois - to create a hymn with the creation of Peter. The city is present in the poem not only as a scenery, the space of occurring events, but detects its character, take a person over the fate. Peter is the genius of this city, and the Falconetovsky monument is his personification.
Researchers point to the deep rootation of artists of the "World War" in the history of St. Petersburg. "Their art is born in Petersburg. ... They forced their art to see the graphicness of the city. "
Benouua is a wonderful, thin historic painter. Here you can recall his work "Parade with Pavel I". The city in the illustrations of Benoit to the "Copper Horseman" is presented throughout the wealth of his architecture, household traits. The illustrations are presented in essence, the historical reconstruction, embody the spirit of the Alexandrovsky era. The work of Benois is rooted in the Pushkin era, poetry, because it was she who served as a key to the recreation of such an expensive heart of the artist of the world.
Undoubtedly, curious in the context of this study, the appeal of Benoit to the topic of the catastrophe, the elements. The beginning of the 20th century is filled with premonitions of shocks. Russia stood on the eve of great change. How much more philosophical and tragic content is filled with the poem, illustrations in the future of the upcoming events. In such a prophetic key, many drawings considered, illustrated the scene of the chase, Evgenia's flight, which became the frontispis of the edition of 1923. We also note the flood that happened in St. Petersburg in the fall of 1903. It did not have such tragic consequences, as in 1824, "... The water in the Neva and in the canals spoke out of the shores, and the streets ... for several hours turned into the river," but provided the artist's most valuable living material for work.
Another aspect of the Pushkin poem appeared to Benua essentially important in the perception of the relationship between the hero (Eugene) and the city, Peter's creation. This is unreality, the fantasticity of St. Petersburg, which lies in the very essence of the city, without aware of which it is difficult to assess the depth of the tragedy of the hero. Benoit himself emphasizes his passion for this particular feature: "... It was this poem that I was captivated, touched and worried about my mixture of real with fantastic ...". Apparently, this is the characteristic "palette" of the city, where white nights create a feeling of illusory, the ghosts of the surrounding space, where the marsh soil gives rise to insane vision.
The second editing of the illustrations was performed by Beno'a in 1905. The series consisted of six illustrations included and famous frontispis. The artist writes: "... I wanted the book to be" pocket ", the format of the Almanakhov Pushkin era, and I had to subordinate the drawings to the format of our magazine [" World of Art "No. 1 for 1904]. This lies the reason why I decided in another our publishing house to release the same series of compositions already in much greater format. " In the original, the size of the frontispisis is 42x31.5 cm., While the illustrations of the first edition were of size 21.3x21.1 cm.
The illustrative material of the artistic publication of the poem "Copper Horseman" of 1923 is the third edition of the drawings of Beno'a, performed by him in 1916. With six large sheets of the second edition, he repeated almost unchanged, the sheets were first drawn again with some corrections. In 1918, the original in the Russian Museum in 1918, the author did almost every of them dedication and memorial inscriptions. These initiations are a certain autobiographical subtext, an important link in understanding an illustrative material, bringing a personal aspect in their perception.
ChapterII.. Graphic sheets of the 3rd Editor: Description and Analysis
The drawings are made of mascara, a pen, a graphite pencil with various tone watercolor lining - gray, greenish, yellowish brushed. They create an atmosphere, transmit the nature of the city, its airspace, the inner state of the main character. The color range of the patterns is enough monotonne, sauer, thereby reliablely denoting the internal experiences of Eugene, the dramatic of the events. Watercolor techniques, pastels, Guasi were favorite in the work of artists of the "World Peace" artists, they served the embodiment of those important sensations for artists as "the ephemery of being, the fragility of the dream, the poetry of experiences."
A feature of the illustrations is the coexistence of different graphic styles - colored lithographs are mixed with graphic screensavers, focusing the final episodes of each of the parts. This gave a reason for criticizing the artist, which reproached the absence of integrity, fluctuations in an artistic idea. However, the basis of such an approach was the desire of Beno'a to comply with the "generous multi-dimensional style of the style of Pushkin Petersburg epic." Graphic screensavers are symbolic, reflect the romantic, fantastic nature of the poem. Filling the pages of mythological images, such as Triton and Niada (frequent characters of a park sculpture), emphasizes the lifestyle of the city, the elements, which in the Pushkin text is transmitted by various poetic images: "Neva rushed as a patient in his bed", "Waves climb, like beasts in the windows "," Nava breathed as a horse with the battle. " The conflict tie at the end of the first part of the poem is solved by Beno'a with the help of a graphic screensaver, which emphasizes the fantastic nature of the confrontation.
Let us dwell on the key episodes of poetic and illustrative material. The publication opens with a frontispis depicting the scene of the chase. The basis of the poem, he, as it were, the leitmotif, the motive of confrontation, madness, phantasmagoria. It is most significantly expressed by the contrast between the grandeur of the monument and the insignificance of Eugene - it seems to be sprinkled on the ground, representing his own shadow, shadow from the shadow of the Giant. The shining glow of the moon on the brow of the monument enhances the impression of the fantasticity of what is happening.
The illustrations accompanying the introduction to the poem are devoted to the glorification of the city in his arts, directly related to the motifs of the art of Pushkin Pore.
Unlike the editorial office of 1903, in which Peter occupies the central part of the figure, facing the viewer "En Face", in Figure 1916, Peter stands in the distance and addressed to the viewer sideways, almost back. Here we observe the correspondence of Pushkinsky "he stood", the replacement of the name to pronoun. This reports to Peter the character of the sublime, inaccessible magnitude. In the illustration of Beno'a solves this problem as follows. Pose Peter in opposition to his retinue, literally confined from the legs, is balanced and calm. Waves as if peacefully merged at his feet. We understand that we are not an ordinary person. The greatness in the text reveal its aspirations, in the figure it is the latitude of the horizon, the aspiration of Peter Dwalle. A view of Peter is directed not only to the distance, but also abroad illustration, which reflects only one leaded intentions to him. It is curious that Benoit "cleans" the horizon from Pushkin's images "Poor Chel", "Cherneli Hisba". This reflected the idea of \u200b\u200bBeno'a and the features of Pushkin poetics - we are perfectly visible, feel images outside the drawing; The gusts of the wind, bringing clothes, allow you to clearly distinguish the noisy forest behind the back of the viewer. Rainy, hostile nature of the area will emphasize expressive black lines and strokes.
"It took a hundred years ..." We read in Pushkin text, and the next illustration is a panorama of the city, ascending, by observing N. Lappshina, to the landscape work of the remarkable painter of the Alexandrovsky era of F. Alekseev. On the right corner bastion of the Petropavlovsk fortress, the building of the stock exchange, Rostral columns, on the left in the distance Admiralty. The space is organized expanding in all directions by the prospect. In the distance, in the background, we see soaring, swimming, fantastic city, ready to disappear in the Ghost White Night, if it did not balance the corner bastion. In the Chelny Floating on the River, arising from the previous stanza, we see the rowing and two saddles - a man and a woman. People almost completely dissolved in the surrounding landscape, the elements of granite and water.
This drawing is devoted to "wife and friend Akita", and perhaps in the saddle, the author represents himself and his girlfriend, thus transferring, thus, a graphic story in two centuries. Combining temporary layers, introducing its own element of the author-lyrical hero, Benoita woves personal feelings, its life in tissue narration. The poem acquires the nature of historical continuity, and the events occurring are nadistoric.
The next interior illustration, located on one turn to the contrast with the panorama, transfers us to the hidden abode of the artistic world of St. Petersburg. The poet, illuminated by the light of white night, in the dusk room reads poems to their friends. Poetry reigns here, graphics. In this close circle, ramps are born. The bright contrast between the light and the shadow of the composition emphasizes the sacrament of what is happening.
In the introduction, we found the titanic aspirations of Peter, at the beginning of the first part we will find out the modest, human dreams of Eugene, who will have to "break down" about the granite of the monument. The room shown in the illustration, in which Eugene sits, refers to the reader already to other St. Petersburg, St. Petersburg "poor people" of Dostoevsky, Gogol Sineli, thereby emphasizing the historical continuity, the significance of the theme of a small man raised by Pushkin in the poem.
The illustrations of the first part of the poem represent various flood scenes, the celebration of the elements, the mythical natural forces. In the image of the element of Benoit uses diagonal, broken lines, torn strokes. They destroy the integrity of the composition, the stability of the urban landscape. It can be said that the graphic slender rhythms of St. Petersburg are destroyed by ribbon diagonals of waves and heavenly outlines.
Let us turn to an illustration with Evgeny on Lion ("On the beast of marble, riding, without a hat, squeezing with a cross"), which is a string of dramatic conflict. Here we are watching a deposit of the poem. "The idol on the bronze horse" towers over the Neva "in a non-omnipable embroidery". However, the historical, topographic location of the Lion, on which Eugene sitting, did not allow Benua to realize conflict in one illustration, the silhouette of the monument only barely planned the spot away. Therefore, the emergence of the conflict is transferred to the next page in the form of a graphic screensaver, reporting the mythical nature of the upcoming events. We see Peter on the pedestal, which comes like a mythical lion woven from the element. Such a decision, however, still slightly diminishes the dramaticness of the episode.
The illustrations of the second part are devoted to the personal tragedy of Evgeny, his madness and confrontation of Peter, the genius of St. Petersburg.
Scenes approaching Eugene to the monument, pursuit have cinematographic character. Watching the monument from different angles, we seem to feel its reality. Specked in a number of consistently unfolding scenes bypassing the monument, Eugene's flight, illustrative canvas transmits dynamism, the tension of the chase. The rider, gone for Eugene - who did not know the sculpture, and captured the Falcone monument. Depicting a jumping monument in the form of silhouette, Benoit emphasizes his phantasmagoric, ghostly character. Silhouette is also the conventionality of the background, translates the characters from the depths of the decorations on the sheet plane.
The monument, towering at the level of the three-story house in the last scene, suppresses its greatness, is apotheraposis of hallucinations. Evgeny, pressed his back to the building, no longer sees, does not feel the idiot behind his back, he is everywhere. From the night streets of St. Petersburg, we transfer to the inner world of Eugene, as if we look in his eyes and see a nightmarish vision there.
Drawing a night chase scene, madness of Eugene, Benoit uses contrasts, creating a feeling of tension. The sky filled with alternating, broken stripes of carcasses and Belil, transmits grommet rolls, street deserts strengthens the tension of what is happening, used by the author Belil create the ghost of lighting; The full moon occurs as an apotheosis of madness.
In contrasting the last picture of madness, the following illustration has a household, realistic character. Evgeny Radet among passersby, he is completely destroyed by his madness, and his tragedy is lost in the overall diverse rhythm of the city. The monument is firmly and non-gasimibimo ascends on the pedestal, as Peter was once confidently standing on the shore of the desert waves. We see the moment of movement when Eugene and the rider intersect on one straight line of the prospects, presenting the complete opposite in their direction.
Denote a number of artistic features of illustrations. They are equally located consistently on each page, which causes the strict narrative nature of the illustrative material. In different places, we observe the receptions of crop. In the illustration "On the shore of the desert waves", Peter looks in the distance, filled with the "Great Dum", we see the following frame as if the image of his thoughts arising from the city; The emperor addressed to the view towards the Exchange, and then the Rostral Column, with the waves that fell into it; Evgeny, sitting on Lion, reflects about the pacherache, and in the following illustration we see the house flooded by the waves on the island. Also illustrative material is rich in plastic connections, repetitions. Watching destroyed by the madness of Eugene in the last stage against the background of the monument, we see the same monument, non-omnibo-towering among the flood waves.
If you follow the note by the Vipper's remark that it ultimately solves the criterion to evaluate the work of the illustrator's artist, "if [the artist] of the work is caught, then the work of Benois is the top of the skills of the book illustration. He reached remarkable reliability in the transfer of the spirit of the Alexandrovskaya, Pushkin era, the depths of the psychological confrontation, the tragidity of the contradiction between the magnitude of Peter's and the sad fate of a "little man." It can be argued that the depth of penetration into text, its interpretation depend on the size of the artistic talent, which fully possessed Beno'a. This led to the intrinsicity of its illustrations, representing both a sample of a wonderful unity of graphics and poetics, and independent, self-hectic graphics cycle.
ChapterIII. Features of art book graphics
Speaking about the book as a single subject, it is necessary to talk about its architectonics, that is, according to various parts by a general device, a holistic impression. This is a form of books, features of a font and illustrative material in the organization of the white sheet space. Text and illustration (printed graphics) are thus represented by related phenomena, and their stylistic unity is on the fore. VIPPER allocates the following consonant features: "... the desire to consonance with white paper, the language of black and white contrasts, decorative functions, known freedom regarding spatial and temporary unity. These properties help the book schedule to get close to the literature, with poetry. "
Stylistic unity is most fully carried out when using the same cliche training technique. Such technique was xylography. Clear, accurate, laconic lines derived by a cutter, the background conventionality corresponded to a font set. Here you can mention a block book where the text and the illustration were printed from one board. Over time, other techniques have been developed - the cutting engraving, lithography. They introduce the plasticity of images, the depth of perspective, telling the character of the nature of its own weight, separation from the book page.
Book illustrations to the poem are made in lithography technique. Let us turn to the author's comment: "The prints received from the printing house, which reproduce my drawings (made in the style of politicizes of the 30s), I immediately painted in the" neutral "tones that were then to be seen in a lithographic way." Lithographs are characteristic of the most complete transmission of the features of original technique, wide visual capabilities. Technical features of lithographic technology - soft barcode, smooth transitions, depth of contrasts. "Night and fog closer lithography than daylight. Its language is built on transitions and silence. "
What else could be more suitable for the transfer of the spirit of St. Petersburg, "the most intentional and abstract city", his ghost, ephemeryness? The stylistic features of lithography served the disclosure of the romantic appearance of the poem. Probably, in addition to purely craft features, it is the real-fantastic, romantic nature of the "Petersburg story", the city itself, which was so passionate about Benois, led to the choice of the artist in favor of lithography. The use of the pen, a graphite pencil allowed the artist to convey the classicism of the city, expressed by a laconic stroke, accurate lines.
Book illustrations are a type of accompanying graphics. This determines the direction of the artist's work - the interpretation of poetic images by graphics, rhythms. For Benua, the pictorial and poetic equilibrium of the composition is especially important. Note that Pushkin word has visual clarity, shaped wealth of poetic, sound series. Literally following the text might make a disorder in the composition, weaken poetic experiences. So, we can talk about the validity of various non-reservations, or bring innovations from the artist.
Required under the format of pocket almanac, the first edition of the illustrations were reflected in their character - this is conciseness, simplicity. The absence of the framework, the framing transfers the characters directly to the page plane. In the draft sketches, Benoit resorts to some ornamental in the design of illustrations, but further refuses to favor the simplicity, naturalness corresponding to the spirit of Pushkin poetry.
Figures 1916 are made in the frame of the black line, attached by the nature of the weight, some articularity illustrations. This affects some isolation of illustrations from the text, which can be observed in comparison with graphic screensavers, in some places arising from the illustrations. They have a greater connection with the text, font. For Beno'a-theater artist, it may have existed and an element of theatricality, conventionality - the frame as if he separates the scene from the viewer.
For Benua, it was characteristic of the recognition of his own meaning, responsibility of artistic interpretation. The main goal of the illustration is to "exacerbate the persuasiveness of those images that were generated by reading, ... remain in close harmony with the main content of the book ...". Illustrations should serve "decoration ... in the sense of genuine revival of text, in the sense of its understanding ...". We see here the indication of two concomitant functions of the book illustration - ornamental and figurative. Similarly, Vipper argues in his work: "... The book illustration should be simultaneously and a way, and an ornamental sign." Thus, combined with the unity of the sheet and cloth history, text and drawing represent the two narrative plan, coexisting in a subtle unity.
Recognition of the advantage of the vocational work of Benoit was widely, they received a high grades of Grabar, Repin, Kustodiev, were enthusiastic at the exhibition of the Union of Russian Artists in 1904. Frontispis 1905 was also recognized as a significant phenomenon and made a huge impression. In the work of Benua, the convergence of Russian poetry with the Russian artistic book took place.
"Material" features of the publication, such as the quality of paper, press, made it possible to talk about the book as "one of the largest printing achievements of revolutionary time", but the disagreement of graphic styles, painted, "nexic" character of illustrations, overwhelming thin columns of text, caused critical Comments to the publication. "Failure" of the book of 1923 also recognized the most serious critics: the book caused a feeling of disharmony, incompleteness, chance. " But there were other opinions. A. It writes: "The emptiness of the trigger strips and fields that arose due to the difference in the width of the text and illustrations ... reads as a knight's graphics gesture in the direction of poetry." The whiteness of the book leaf in this case personifies the spuberer of the author's voice representing the sound ornament of the poetic work.
Conclusion
Illustrations for the Pushkin "Copper Horseman" - one of the vertices in the artist of Alexander Benoit. He managed to embody the Spirit of the Pushkin era in his work, the beauty of the arts filling the space of St. Petersburg, and at the same time pass one of the most important motives of Pushkin Tale - the tragedy of a small man in the light of the greatness of historical intent.
An important point in the birth of the artistic plan of Benua is his community with the design of Pushkin - the creation of a hymn of the creation of Peter. Exploring the origins of the idea, we were important to apply to the work of the unification of the "World of Art", one of the directions of which was the "rehabilitation" of the artistic heritage of the Russian culture of the XIX century.
Following the graphic story, we found a number of features - cinematic techniques of cropping, plastic reacts, the use of contrasts and opposition reflecting the dynamics, the rhythm of the poem, the tensions of experiences, the dramatic of events. A feature of an illustrative material is also the coexistence of two graphic styles - these are colored lithographs and graphic screensavers, reflecting the multiplicity of the style of Pushkinsky text streams, the coexistence of the real and mystical layers of the poem.
To understand the unity of illustration and text, the generality of their tasks is essential - the development of the white sheet space. By examining the artist's approach to the book illustration, we revealed two components: figurative and ornamental. It is close unity of these functions that is the key to the coexistence of an illustration and text.
Having determined the features of lithographic techniques, such as soft barcodes, smooth transitions, depth of contrasts, we came to an understanding of their compliance with the romantic, fantastic spirit of the Pushkin Poem.
By examining the development of the artist's creative plan in various editions, we identified them features. So, the first editorial office is most closely consistent with the technique of xylography, discovers proximity to the text, font set. The latter editorial illustrations have a more painted, weighty character, representing a self-made graphics cycle. In such an approach, the view of Benoit on its own meaning of illustration, responsible interpretation of poetic images was reflected.
List of sources and literature
Sources
1. Benoita A. My memories. In 5 kN. Kn. 1-3. - M.: Science, 1990. - 712 p.
2. Benoita A. My memories. In 5 kN. Kn. 4, 5. - M.: Science, 1990. - 744 p.
3. Pushkin Horseman: Petersburg tale / ill. A. Benua. - St. Petersburg: Committee for promoting art officials, 1923. - 78 p.
4. Pushkin Horseman. - L.: Science, 1978. - 288 p.
Literature
5. Alpatov on the universal history of the arts. - M.: Soviet artist, 1979. - 288 p.
6. Alexander Benoit reflects ... / Edition prepared ,. - M.: Soviet artist, 1968. - 752 p.
7. Vipper in historical art study. - M.: Publisher V. Shevchuk, 2008. - 368 c.
8. Herchuk graphics and art books: Tutorial. - M.: Aspect Press, 2000. - 320 p.
9. Gusarov art. - L.: Artist RSFSR, 1972. - 100 p.
10. Zilberstein Nakhodka: Epoch Pushkin. - M.: Fine art, 1993. - 296 p.
11. Lapshina Art: Essays of History and Creative Practice. - M.: Art, 1977. - 344 p.
Art Lapshina: Essays of History and Creative Practice. M., 1977. P. 7.
Benoita A. My memories. In 5 kN. Kn. 4, 5. M., 1990. P. 392.
Gusarov art. L., 1972. P. 22.
Benoita A. Decree. cit. P. 394.
Alexander Benoit reflects ... M., 1968. P. 713.
Alexander Benoit reflects ... M., 1968. P. 713-714.
Gusarova. cit. P. 28.
Cups. cit. Pp. 248.
Vipper in the historical study of art. M., 2008. P. 91.
Herchuk graphics and art books: Tutorial. M., 2000. P. 5.
Vipper. cit. P. 87-88.
Benoita A. Decree. cit. P. 393.
Vipper. cit. P. 72.
Alexander Benoit reflects ... M., 1968. P. 322.
Ibid. P. 322-323.
Vipper. cit. P. 84.
Cups. cit. P. 228.
Cups. cit. Pp. 233.
Benua Alexander Nikolaevich. Set of postcards with artist's illustrations to poem A.S. Pushkin "Copper Horseman" (Edition "Soviet artist". Moscow. 1966)
Illustration 1916
On the shore of the desert waves
He stood, the Duma of the Great full,
And Vdal looked. Before it is wide
River broke ...
Illustration 1903
It took a hundred years, and young hail,
Full countries of the Beauty and Divo,
From the darkness of forests, from the molding lot
Ascended magnificent, gradiously;
Where before Finnish fisherman,
Sad stepsoko nature
One at low shores
Throw in unknown water
Your old nemid, now there
By busy shores
Grounds slender crowd
Palaces and towers; ships
Crowd from all ends of the earth
To rich marins are striving;
In granite dressed novel;
Bridges hung over waters;
Tolesnopoelenic gardens
She was covered with islands ...
Illustration 1916
Love you, Peter Creation,
I love your strict, slim view,
Neva Purchase flow
Coastal granite
Your fence is a cast iron,
Your thoughtful nights
Transparent Surak, shineless,
When I'm in my room
I write, I read without a lamp,
And clear sleeping bulk
Deserted streets, and light
Admiralty needle,
And, not the night darkness,
On golden skies,
One dawn change another
Hurry up, giving night half an hour.
Illustration 1903.
Over dumbfounded Petrograd
Dyshalova on November autumn chlad.
Pretty noisy wave
In the edge of its fence is slim,
Neva rushed like a patient
In his bed restless.
It was too late and dark;
The rain fought angrily in the window,
And the wind blew, sad.
At that time, from guests home
Evgeny came young ...
Illustration 1903.
Awful day!
Neva all night
Rushed to the sea against the storm
Do not defeat their violent dori ...
And there was a neme to argue her ...
In the morning over her brags
People were crowded,
Admiring splashes, mountains
And furious waters
Illustration 1903.
And Petropol popped up like Titon,
The water belt is immersed.
Siege! Attack! Evil waves
Like thieves, climb into the windows. Chelny
From running glass beating feed.
Trays under wet veil,
Wreckage huts, logs, roofing,
Stock trading goods
Pale poverty belongings,
Thunderstorm demolished bridges,
Coffin with blurred cemetery
Swim through the streets!
Illustration 1916.
Then, on Petrova's area,
Where the house in the corner ascended a new one
Where above the elevated porch
With raised paw like alive,
There are two lions watchdown,
On the beast of marble riding
Without hats, hands squeezing cross
Little sat, scary pale
Evgeny….
Illustration 1916.
Water sold, and bridge
Opened, and Yevgeny my
Hurry, silence, soul,
In hope, fear and longing
By barely humbled river.
But, Victory celebration is full,
Still boiled viciously waves,
As if under them the fire,
Their foam covered
And he breathed heavily,
As with the battle, he fought the horse.
Eugene looks: sees the boat;
He runs to her as a find;
It is a carrier calling ...
Illustration 1903.
And long with stormy waves
Fought an experienced rower
And hide deep into their ranks
Thrill with bold swimmers
She was ready ...
Illustration 1903.
What is it? ...
He stopped.
Went back and grogied.
Looks ... goes ... still looks.
Here is the place where their house is worth;
Here Iva. There were gates here -
Demolished them, visible. Where is the house?
And, full of glooming care,
Everything goes, he walks around ...
Illustration 1903.
But poor, poor Eugene ...
Alas, his confused mind
Against terrible shocks
Did not resist. Rebellious noise
Neva and winds distributed
In his ears. Terrible doom
Silently full, he wandered.
... he will soon
Became alien. All day walked on foot,
And slept on the pier; Food
In the window submitted by a piece.
Outdoor clothes on it
Running and trel. Evil children
Throw stones after him.
Illustration 1903.
He found himself under the columns
Big house. On the porch
With pipped paw like alive,
Stood lions watchdogs,
And right in the dark embroidery
Over the fenceful cloth
Moid with a speed of hand
Sat on a bronze horse.
Evgeny shuddered. Claimed
It is scary thoughts. He found out
And place where the flood played
Where the waves are predatory crowded,
Bunuya viciously around him,
And lions, and the square, and
Who is motionlessly elevated
In the dark, copper head,
Of which whose will of the fatal
Under the sea, the city was founded ...
Illustration 1903.
Circle foot idol
Mantle poor bypassed
And the eyes of wild brought
On the face of the Half Half.
Shy his chest .. 
Illustration 1903
And it is empty
Runs and hears about
As if thunder rumble -
Heavy-ring
By shocked bridge ...
And, illuminated the Luna pale,
Sketch of hand in the embroidery,
Her rider is copper
On a ring-racing horse ...
Illustration 1903.
And all night madness poor
Where the feet turned either
Behind him everywhere the rider copper
With heavy hidden, jumping.
Illustration 1903.
And since that time, when it happened
Go to him
In his face was portrayed
Confusion. To your heart
He pressed hastily hand
How would his humble flour
Cartuz worn symal,
Embarrassed eyes did not raise
And walked aside.