Sergey efimovich zakharov. Zakharov Sergei Efimovich - Russian, Soviet artist Sergei Zakharov artist view paintings

15.06.2019

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Zakharov Sergey Efimovich - Russian, Soviet artist. In 1927 he graduated from the Tomsk Institute of Architecture and Civil Engineering. Since 1938 - a member of the St. Petersburg Union of Artists (until 1992 - Leningrad Union of Artists).

Outstanding watercolorist. The artist's still lifes, made in the technique of watercolor filling, received universal recognition.
He also painted genre compositions, landscapes, portraits, worked in watercolor and tempera techniques, was engaged in monumental painting and interior design.

S. Zakharov's watercolor is an absolutely unique phenomenon of painting, which gives the viewer the opportunity, with all the lightness and airiness of the technique, to feel the plasticity, rhythm and volume of color as a means of artistic influence. The painting of his still lifes is multi-layered, polyphonic and with these qualities resembles the effect of art glass in Halle's products.

Dry roses.

Another property of S. Zakharov's painting is its extraordinary musicality, genuine and rare symphony. Almost every work of the artist has its own musical theme: from the landscape of the besieged city to the oriental still life. The secret of this property of the artist's painting is in the special gift of a holistic vision of the composition of each work, in the influence of the richest experience in monumental painting.

Tajikistan largely determined the subjects of S. Zakharov's easel painting. There he began and wrote throughout his life a series of magnificent still lifes with juicy fruits and elements of oriental exoticism. Subtle lyrical landscapes were also created there, which largely determined the subsequent works of this genre.

Works of easel painting, executed in the technique of watercolors and tempera, were created by S. Zakharov throughout his life, wherever the artist was: in a workshop, on a business trip or on vacation. Perfected craftsmanship, masterly mastery of the material, combined with a subtle sense of color and sophistication of form, make them unique, unlike the works of other artists.

Zakharov Sergey Efimovich was born on November 26, 1900 in the city of Aleksandrovsk, Sakhalin Region, where the artist's father was serving his military service as a clerk at a military hospital. In 1910 the family moved to Novosibirsk. In the same year, S. Zakharov entered the Novosibirsk Real School, which he graduated in 1917.

In 1917-1927 he studied at the Tomsk Institute of Architecture and Civil Engineering. At the same time, in 1917-1922 he studied at the Tomsk Art School. After graduating from the institute in 1927-1931 he lived in Sverdlovsk, was a member of the Sverdlovsk branch of the Academy of Arts. In the same place in 1927 he began to participate in exhibitions of the Academy of Arts. He painted still lifes, genre compositions, landscapes, portraits, worked in watercolor and tempera painting techniques, was engaged in monumental painting and interior design. While working in Sverdlovsk in Uralgiprozem and Uralzhilstroy, he took part in the design of the Magnitogorsk plant and a number of public buildings in Sverdlovsk. From 1931 he lived in Leningrad, where he was sent by Uralzhilstroy to improve his qualifications at the Research Institute of Public Utilities. In 1933 he went to work in the Leningrad Regional Trade Union Council, where he participated as an architect in the design of the Theater of the Lenin Komsomol (1933-1935) and public buildings. In 1935 he went to work in the workshop No. 7 of Lenproyekt, where he was engaged in the design of school buildings. In the same place, in 1936, he joined the team designing the building of the Opera and Ballet Theater in Stalinabad. In 1938 he became a member of the Leningrad Union of Soviet Artists.

In 1938-39 S. Zakharov worked as the chief artist of the Cotton Pavilion at the All-Union Agricultural Exhibition in Moscow. In 1940, in connection with the completed project of the interior decoration of the theater building in Stalinabad, he went to the construction site to make working drawings. In May 1941, he again went to Stalinabad to carry out architectural supervision on the implementation of the project for the interior decoration of the theater and the painting of the plafond of the auditorium. After the completion of construction in 1942, he went to work in the Union of Artists of Tajikistan, was a member of the board and deputy chairman of the Union. In 1945, two landscapes of mountainous Tajikistan by S. Zakharov were acquired by the Tretyakov Gallery.

After returning to Leningrad in 1945-46, he participated in the restoration of the building of the Leningrad City Executive Committee (the former Mariinsky Palace), for which he was awarded the medal "For Valiant Labor in the Great Patriotic War." In 1947, Zakharov was again invited to Tajikistan to develop a project for the interior decoration of the Government House in Stalinabad, and then to carry out architectural supervision, as well as to make sketches and carry out in-kind painting of walls and plafonds (together with the artist Zubreeva M.A.). In 1951, for this work, S. Zakharov was awarded the honorary title of Honored Art Worker of the Tajik SSR.

At the same time, S. Zakharov developed projects for the interior decoration of Soviet transatlantic motor ships in the architectural and artistic workshops of Lenizo. In 1954 he was awarded the Order of the Badge of Honor for his activities in the development of architecture and fine arts of the Tajik SSR. As an easel painter, he worked mainly in the technique of watercolors and tempera painting. Outstanding watercolorist. The artist's still lifes, made in the technique of watercolor filling, received universal recognition. The free, wide manner of painting did not prevent the artist from convincingly conveying the beauty and materiality of the objective world, making the transparency of grapes or the juiciness of a ripe melon cut almost tangible.

Participant of watercolor exhibitions in Romania and Yugoslavia (1965), Czechoslovakia (1966), Norway (1968), Cuba (1971). The artist's personal exhibitions took place in Leningrad (1937, 1951, 1980, 1984), Kirov (1938), Moscow (1962, 1965) and Petersburg (1996).

Sergei Efimovich Zakharov died on January 24, 1993 in St. Petersburg at the ninety-third year of life. His works are in the State Russian Museum, in museums and private collections in Russia, Italy, France, Great Britain, Tajikistan, USA, Germany and other countries.

Sergei Efimovich Zakharov was born on September 10, 1909 in the Tavrichanka farm in a peasant family. His father died during the First World War, when Sergei was only 6 years old.

In 1929, when collective farms began to be organized, the Zakharov family was one of the first to join the collective farm "Joint Labor". Sergei Efimovich took an active part in the social life of the artel and quickly gained prestige among the collective farmers. In 1930 he was elected a member of the Cossack Village Council.

In 1932, members of the joint labor agricultural cartel unanimously elected Sergei Yefimovich as chairman of the collective farm.

Soon the Zakharov family moved to the Krasny Oktyabr farm. However, then it was also called New Israel: this name was given to the farm by the pioneering sectarian settlers who returned from Uruguay after the October Revolution. And it was under Zakharov that the collective farms of the Progress, Tavrichanka and New Israel farms were united into the Red October collective farm.

In 1939, the collective farmers of the Krasny Oktyabr agricultural artel elected Zakharov as chairman of the collective farm.

The war ended a measured working life. In 1941, together with other residents of the Veselovsky district, Sergei Efimovich went to the front. He went through all four years of the war, had wounds and awards: two Orders of the Red Star, the Order of Glory, 3rd degree, medals "For Courage" and "For Victory over Germany."

Returning from the front, Sergei Efimovich goes headlong into the restoration of the collective farm ravaged by the war. Farms are being rebuilt, livestock are raised, the horse farm is also expanding - and wonderful horses were raised on it! A passionate horse racing lover himself, S.E. Zakharov certainly wanted the Red October horses to take part in the race. The farm children were sent to study jockeys.

It was for the development of horse breeding, by the decree of the Presidium of the Supreme Soviet of the USSR, on July 23, 1948, Sergei Efimovich Zakharov was awarded the title of Hero of Socialist Labor with the award of the Order of Lenin and the Hammer and Sickle gold medal “for exceptional services to the state, expressed in growing in 1947 with a stable 38 foals from 38 mares ”. This became the highest assessment of the chairman's work, a source of pride for the entire district.

In 1950, by the decree of the Presidium of the Supreme Soviet of the USSR "On awarding orders and medals to workers of the Rostov region who distinguished themselves in the development of virgin and fallow lands, in harvesting and grain procurement" S.Ye. Zakharov was awarded the Order of Lenin.

Under the leadership of Sergei Efimovich Zakharov, the Krasny Oktyabr collective farm turned into a diversified and profitable economy. He willingly shared his experience in increasing grain production and livestock productivity. His articles appeared not only in the local press, but also in the central one. In 1957, the book "Rice on the Don" was published in Moscow.

S.E. Zakharov was repeatedly elected a member of the bureau of the district committee of the CPSU, a deputy of the district and regional Council of Working People's Deputies, and was invited to the All-Union Exhibition of Achievements of the National Economy in Moscow.

The Zakharov family had three children. Daughter Lydia Sergeevna became a doctor and worked for many years at the Veselovskaya regional hospital; son Anatoly Sergeevich lived all his life in Krasny Oktyabr, worked as a driver; the youngest son, Alexey Sergeevich, lived in Armavir, served in the army.

In 1969, Sergei Efimovich turned 60, he went on a well-deserved rest.

People remember S.E. Zakharova. This is not surprising. Any person, and especially a leader, causes an ambiguous assessment. But, speaking of Zakharov, everyone invariably emphasizes: "It was a real master." And this means - I have never been indifferent: neither to work, nor to people. He knew too well the value of peasant labor.

Some people say that they do not think of themselves outside the team, work. Probably from this category was Sergei Efimovich Zakharov. He lived only four years after his retirement: he passed away on June 8, 1973. But the mark left by this person on our land will remain forever.

List of publications

S. E. Zakharova:

1. We are growing fast and hardy Donchaks / S.E. Zakharov // Socialist agriculture. - 1948 .-- July 31. - S. 3.

2. Increasing the productivity and profitability of the public economy / S.Ye. Zakharov // Agriculture. - 1953 .-- September 3. - S. 3.

3. Growing rice in the Manych floodplain / S.Ye. Zakharov // Hammer. - 1956 .-- October 18. - S. 2.

Bibliography
about Sergei Efimovich Zakharov:

1. About conferring the title of Hero of Socialist Labor to the chairman of the collective farm "Krasny Oktyabr" of the Veselovsky district of the Rostov region, Zakharov SE: Decree of the Presidium of the Supreme Soviet of the USSR dated July 23, 1948 // Bulletin of the Supreme Soviet of the USSR. - 1948 .-- August 1. - S. 3; Hammer. Rostov n / a, 1948 .-- July 25. - S. 1.

2. Ilyin, M. Na Manyche: About the collective farm "Red October", headed by the Hero of Socialist Labor S.Ye. Zakharov / M. Ilyin. - Rostov n / a: Rostov regional publishing house, 1949.

3. Frolov, S. Sergei Efimovich Zakharov: Candidate for deputy of the Rostov Regional Council in the 88th Veselovsky constituency / S. Frolov // For irrigated agriculture. - 1955 .-- February 11. - S. 3.

4. Our candidates: SE Zakharov, chairman of the Stalin collective farm in the Veselovsky district, registered as a candidate for the Rostov Regional Council of Working People's Deputies in the 88th Veselovsky constituency // For irrigated agriculture. - 1955 .-- February 16. - S. 2.

5. Sergei Efimovich Zakharov: Candidate for deputy of the Rostov Regional Council of Working People's Deputies in 87 Veselovsky constituency // For irrigated agriculture. - 1957 .-- February 3. - S. 2.

6. Board of honor: The collective farm named after Stalin (chairman - S.E. Zakharov) is listed on the regional board of honor for the leaders of the harvesting about the delivery of grain to the state // For irrigated agriculture. - 1958 .-- July 25. - S. 1.

7. Their names are entered in the regional book of honor: Zakharov Sergei Efimovich, chairman of the Stalin collective farm // For irrigated agriculture. - 1958 .-- November 7. - S. 2.

8. Sergey Efimovich Zakharov: Our candidates // For irrigated agriculture. - 1959 .-- February 22. - S. 2.

10. Cherevkov, A. Stages of the path of the "Red October": History of the collective farm "Red October" / A. Cherevkov // Light path. - 1977 .-- October 4. - S. 2-3. (Continued in the newspaper's numbers for October 6 - pp. 2-3; October 8 - pp. 1, 3; October 13 - pp. 2-3).

11. Ilyin, M. Chairman of the collective farm: About the Hero of Socialist Labor S.Ye. Zakharove / M. Ilyin // Zori Manycha. - 1981 .-- October 1. - P. 2. Continued in subsequent numbers.

12. Cherevkov, A. Zakharov stone: The Legend of the Hero of Socialist Labor S.Ye. Zakharove / A. Cherevkov // Zori Manycha. - 1983 .-- May 1. - S. 4.

13. Prikhodko, L. Hero of Labor: About the Hero of Socialist Labor SE Zakharov / L. Prikhodko // Dawns Manycha. - 2004 .-- February 11 - S. 5.

14. Zakharov Sergey Efimovich // Heroes of Labor of the Don: to the 70th anniversary of the establishment of the title "Hero of Socialist Labor": a bio-bibliographic reference. - Rostov n / D, 2008 .-- S. 34-36.

15. Zakharov Sergey Efimovich // Donskoy Temporary Book [Electronic resource]: Access mode

Yaroslav Zharenov Thursday, 1 October 2015, 15:05

The founder of the Murzilki art group, artist SERGEY ZAKHAROV became widely known for drawing cartoons of the terrorist leader Igor Strelkov (Girkin), and also created an installation for the militant Motorola in occupied Donetsk. For this, he spent a month and a half in captivity with the militants. In a conversation with the journalist of "Apostrophe" YAROSLAVO ZHARENOV, the artist spoke about his communication with the so-called "militias", how he managed to wage an underground cultural war with the invaders in the captured city, and also shared his predictions about the future of Donbass.

Sergei, you became famous after you started drawing cartoons of the DNR leaders. How did you manage to overcome your fear and start such an underground struggle?

I got an idea. If I had not done this, then I would have regretted it all my life. You get positive emotions from what you draw, and when you post it somewhere, it's generally a complete delight. And then, when you see reviews on social networks, it gives strength. Of course, there was fear, I understood that it could end with anything, especially if you run away and they shoot at you. Having now experience of underground struggle, I understand that at certain moments I behaved carelessly. Now I would probably act differently in some cases.

- How, strictly speaking, were you captured?

Then I thought that during the hostilities no one would take care of you, because no one needs it. I figured that if you didn't get caught on a hot one, then no one would look for you. Now I already know that professionals of the highest level from the FSB and the GRU worked there. They lead you on the signal of the phone, everything is monitored, everything is involved. I was most likely tracked down when I was on the phone with a Russian journalist from Dozhd. After that I was immediately taken. Some say that he (the journalist) turned me in, while others say that they just "herded" me. I cannot directly blame this journalist.

- Did the militants come to your home?

Not really. This happened on August 6, 2014. On that day, I left my workshop, it is located not far from my home. Two expensive jeeps were already waiting for me near the exit. At that time, only the separatists had such cars. Two men got out of the cars, one of whom pointed a pistol at me. I was pushed into a car and taken to the SBU building, where they began to torture me. Then there was a search of my house. For the sake of such an event, the militants even cordoned off almost the entire quarter - they took away a car, equipment, and took my work.

- When was the most difficult period in captivity?

The first 10-12 days were the most difficult. I was severely beaten and tortured. For the first interrogation, they took me to one of the offices, where, as I immediately noticed, all the walls were splattered with blood, and bandages and rubber sticks were lying on the floor.

Judging by the dialect, it seems to me that the Russians tortured me. There was one woman in a balaclava who did her best at "work", she was called the executioner. She put a gun to the back of my head and said that she was always interested in what people think about before they die. I advised her to read Fyodor Dostoevsky.

- It seems there was another moment when they put a gun to your head?

I was brought to the Proletarian military registration and enlistment office and held there. One evening the jailers were drinking, and one of the local militia commanders came out to us and began brandishing a pistol. And that moment was one of the scariest. It was impossible to talk to them, we were completely beaten in front of them. My "partner" even wet himself at that moment, I myself do not know how I survived. There was not even a grain of adequacy in the eyes of the terrorist with the pistol. Then it turned out that they were having so much fun.

- How did you manage to get out of captivity?

One day I was taken out into the street and asked if I could paint the Gazelle in camouflage colors. Naturally, I agreed, since it became an opportunity to remove the handcuffs at least for a while. Earlier, my "partner" and I were shackled with one pair of handcuffs, we went everywhere together for 10 days - to the toilet, sleep, eat, just sit. At some point, one of the jailers casually said: "If you finish painting, you will go home." I was surprised, but they really let me go. Moreover, they gave me five hryvnias for travel and a shirt so that I could change my bloody T-shirt.

- And what about the documents?

They didn’t give me my documents. They told me to come the next day to the SBU building. Then I thought that if they had already released me, they would not take me away again, but I was wrong. After that, I remained in captivity for another month. We were allowed to go to the toilet twice a day and were fed twice. They didn't beat me the second time.

- What conditions were in captivity?

The first time, we actually slept on a concrete floor with some cardboard lying around. But it was not so much cold as stuffy. Everywhere - dirt, the smell of sweat. For the second time, I was held with the arrested "militia". I met and communicated with them - we became comrades in misfortune.

- What did you talk about with the arrested militants?

They recalled their past peaceful life. What can people of such a mindset even talk about? These are stories about their adventures in a drunken business. There was even one young guy who managed to drink for four days while in captivity. It was in the nightclub of the Liverpool Hotel (before the war it was a music themed hotel and a Beatles-style cafe - "Apostrophe"). The club was occupied by militants who had left Slavyansk. We were kept together with them. The second time, frankly, I felt more or less comfortable, if at all I can say so about being in captivity. In this nightclub there were niches where "London vodka" stood under the glass, we took it from there, drank 50 grams after work and recalled a peaceful life. TV was also watched, however, only Russian and separatist channels.

- How did you manage to get out of captivity for the second time?

I was helped by my girlfriend, who worked in the penitentiary service before the war and quit her job with the arrival of the DPR. She somehow got out to the head of the prison where I was sitting. At that time, I had already served a month and a half instead of 10 days, which supposedly should have been there. They let me go.

- The artist's opinion: what is the look of the war in Donbass?

Much easier than thrillers and action films. A person gets used to the fact that somewhere a corpse may lie, and somewhere a shell may explode. The person adapts to the situation, and it no longer shocks him. These are the days of the war. Any Donetsk resident faced with hostilities already knows what war is, and in his condition no longer differs from a soldier who fights. Because it is happening around him. He does not shoot, but accepts it all.

- But someday this war will end. What are your predictions about the future of Donbass?

First, it is a home. I cannot give up the desire to visit my home. Therefore, the hope remains that there will be a Ukrainian flag, Ukrainian territory. Of course, it will be slightly different. But I continue to hope that the situation will change, and there are prerequisites for this.

The second option provides that it can be the patrimony of the same Rinat Akhmetov, but under the Ukrainian flag. One thing is clear, the end of this conflict will come soon. Right now, Putin is trying to shove this land disfigured by Russia back into Ukraine so that we can also restore it.

By the way, after your release from captivity, you moved to Kiev. Do you often see your Donetsk comrades now? How has their life changed?

The Donetsk people, whom I meet in Kiev, have work, have rest, the authorities are constantly bending them down, but they tolerate it. From fellow countrymen who live here, I constantly heard that they will visit their home when Donetsk returns to Ukraine. But this will already be nostalgia, and most of the Donetsk residents, I think, will prefer to stay in the new equipped places.

How do you feel about the journeys of journalists to occupied Donetsk? Are they accelerating the advance of peace in eastern Ukraine?

I am categorical in this regard: I do not see the benefit and sense of such trips. Arriving in Donetsk, you will see a clean, beautiful and peaceful city. But how they really live, you will not know. This can only be done from the inside.

- That is, they will not see all the features of life in Donetsk?

Of course. This is, first of all, social disorder: problems with work, high, in comparison with the pre-war level, prices. Neither dress nicely, nor go to the cinema, but it is stupid to survive - to buy the most necessary things. And, besides, there is no openness, frankness in relation to people. Everyone is on their own mind, and understands that if they share their thoughts and revelations, it can end badly.

The city is completely different. None of the visiting journalists will be able to give a correct assessment of the situation, they simply will not show everything to him. The journalist will go there thinking that he will go to hell. In reality, he will see that everything is fine. This assessment does not serve as any indicator, because if you perceive it objectively that it is "better than I expected" - it means trying to see some positive nuances, which in fact do not exist.

Then let's take a look at Crimea. Crimean Tatars, together with "Right Sector", began a commodity blockade of the peninsula. Does this make sense?

I can answer with the example of Donetsk. Now, to get to the city from Ukraine, you have to pay crazy money, travel through Russia, breaking the law. Now there is a Russian enclave in Donetsk. In stores, they pay in rubles, that is, economically, we gave up Donbass. Therefore, the commodity blockade of Crimea further separates the peninsula from the mainland of the country, providing an opportunity to fill the local market with Russian goods. On the other hand, why the hell are we still bringing food there ?!

Let's talk about art. One of your installations - "House of Cards" - has become very popular abroad. What is its essence?

Large playing cards depict the leaders of the militants who seized power in the DPR and LPR. The basis is the image of Russian President Vladimir Putin. When you knock out a card of Putin, who is shown in the role of a joker in this deck, the whole house instantly falls.

"House of Cards" was made for Paris, but I did not go there, since I was officially listed as a missing person. In general, I do not consider this composition to be a particular hit, but there was a time when it turned out to be very useful.

- What was that moment?

We (the Izolyatsia Foundation, which previously functioned in Donetsk - Apostrophe) traveled to the cities of the Donetsk region, for example, to Slavyansk and Kramatorsk. These are two cities in which the war began. They have experienced a lot of grief and are at arm's length from the line of conflict. Nevertheless, the inhabitants of these cities live in different ways. In Kramatorsk, we immediately ran into obstacles in the implementation of the idea to hold an exhibition on the main street. The City Council did not approve of our idea and, despite invitations, never attended the event. Later, our colleague in charge of communications received almost threatening calls. There we also had the idea to hold a flash mob - to walk around the city with these cards. The reaction of people was amazing: someone hid their eyes, trying not to notice us, someone spat. And only once, from a passing car, we heard approving words and a horn horn. I could not even imagine then - they were under the "rule" of terrorists, do they really not see what is happening now in Donetsk?

- How did everything go in Slavyansk?

Although the cities are only 20 km apart, the situation in Slavyansk was the opposite. People are actively involved in pro-Ukrainian movements: every week there is a race with Ukrainian flags, and on a weekly basis, the mayor reports to the residents of the city, despite the fact that the composition of the government has changed little after the attempts to seize the city.

- What are your creative plans for the future?

My goal is to sketch every day for a graphic novel that everyone will call comics. I would like to be in time before the end of the year. On October 1, I was invited to Slavyansk. They give me any wall that can be painted. I probably cannot deny myself the pleasure and will go there. At Vozdvizhenka in Kiev, they will exhibit "a torture chamber in which abstract art was tortured." It sounds funny, but in fact it is a serious thing. This was before in Spain. I was offered to link the history where art is tortured and our history, where art is tortured. Let's create.

Yaroslav Zharenov

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Sergey Zakharov was born on November 26, 1900 in the city of Aleksandrovsk-Sakhalinsky, Sakhalin Region. There, his father served military service as a clerk at a military hospital. In 1910 the family moved to Novosibirsk. In the same year, Zakharov entered the Novosibirsk Real School, which he graduated in 1917.

In 1917 - 927 he studied at the Tomsk Institute of Architecture and Civil Engineering. At the same time in 1917 - 1922 he studied at the Tomsk Art School.

After graduating from the institute, in 1927 - 1931, he lived in Sverdlovsk, was a member of the Sverdlovsk branch of the Academy of Arts. In the same place in 1927 he began to participate in exhibitions of the Academy of Arts. He painted still lifes, genre compositions, landscapes, portraits, worked in watercolor and tempera painting techniques, was engaged in monumental painting and interior design.

From 1931 he lived in Leningrad, where he was sent by Uralzhilstroy to improve his qualifications at the Research Institute of Public Utilities. In 1933 he moved to work in the Leningrad Regional Trade Union Council, where he participated as an architect in the design of the Leninist Komsomol Theater and public buildings.

In 1935 he went to work in workshop No. 7 of Lenproyekt, where he was engaged in the design of school buildings. In the same place, in 1936, he joined the team designing the building of the Opera and Ballet Theater in Stalinabad. In 1938 he was admitted to the Leningrad Union of Soviet Artists.

In 1938-1939 Zakharov worked as the chief artist of the Cotton Pavilion at the All-Union Agricultural Exhibition in Moscow. In 1940, in connection with the completed project of the interior decoration of the theater building in Stalinabad, he went to the construction site to make working drawings.

In May 1941, he again went to Stalinabad to carry out architectural supervision over the implementation of the project for the interior decoration of the theater and painting the plafond of the auditorium. After completion of construction in 1942, he went to work in the Union of Artists of Tajikistan, was a member of the board and deputy chairman of the Union. In 1945, two landscapes of mountainous Tajikistan Zakharov were acquired by the Tretyakov Gallery.

After returning to Leningrad in 1945-1946, he participated in the restoration of the building of the Leningrad City Executive Committee, for which he was awarded the medal "For Valiant Labor in the Great Patriotic War." In 1947, Zakharov was again invited to Tajikistan to develop a project for the interior decoration of the Government House in Stalinabad, as well as to make sketches and carry out in-kind painting of walls and plafonds. In 1951, Zakharov was awarded the honorary title of Honored Art Worker of the Tajik SSR for this work.

At the same time, Zakharov developed projects for the interior decoration of Soviet transatlantic ships in the architectural and artistic workshops of Lenizo. In 1954 he was awarded the Order of the Badge of Honor for his activities in the development of architecture and fine arts of the Tajik SSR.

As an easel painter, he worked mainly in the technique of watercolors and tempera painting. Outstanding watercolorist. The artist's still lifes, made in the technique of watercolor filling, received universal recognition. The free, wide manner of painting did not prevent the artist from convincingly conveying the beauty and materiality of the objective world, making the transparency of grapes or the juiciness of a ripe melon cut almost tangible. He worked at the creative base of Leningrad artists in Staraya Ladoga. The artist's personal exhibitions took place in Leningrad, Kirov, Moscow and St. Petersburg.

Outstanding watercolorist.

The artist's still lifes, made in the technique of watercolor filling, received universal recognition.
He also painted genre compositions, landscapes, portraits, worked in watercolor and tempera techniques, was engaged in monumental painting and interior design.

S.E. Zakharov's watercolor is an absolutely unique phenomenon of painting, which gives the viewer the opportunity, with all the lightness and airiness of the technique, to feel the plasticity, rhythm and volume of color as a means of artistic influence.

The painting of his still lifes is multi-layered, polyphonic and with these qualities resembles the effect of art glass in Halle's products.

Sergei Efimovich was born on November 26, 1900 in the city of Aleksandrovsk, Sakhalin Oblast, where the artist's father served military service as a clerk at a military hospital. In 1910 the family moved to Novosibirsk. In the same year, S. Zakharov entered the Novosibirsk Real School, which he graduated in 1917.

In 1917-1927 he studied at the Tomsk Institute of Architecture and Civil Engineering. At the same time, in 1917-1922 he studied at the Tomsk Art School. After graduating from the institute in 1927-1931 he lived in Sverdlovsk, was a member of the Sverdlovsk branch of the Academy of Arts. In the same place in 1927 he began to participate in exhibitions of the Academy of Arts. He painted still lifes, genre compositions, landscapes, portraits, worked in watercolor and tempera painting techniques, was engaged in monumental painting and interior design. While working in Sverdlovsk in Uralgiprozem and Uralzhilstroy, he took part in the design of the Magnitogorsk plant and a number of public buildings in Sverdlovsk. From 1931 he lived in Leningrad, where he was sent by Uralzhilstroy to improve his qualifications at the Research Institute of Public Utilities. In 1933 he went to work in the Leningrad Regional Professional Council, where he participated as an architect in the design of the Lenin Komsomol Theater (1933-1935) and public buildings. In 1935 he went to work in workshop No. 7 of Lenproyekt, where he was engaged in the design of school buildings. In the same place, in 1936, he joined the team designing the building of the Opera and Ballet Theater in Stalinabad. In 1938 he became a member of the Leningrad Union of Soviet Artists.