In and Mukhina is the author of the sculptural work. Early works of faith mukhina
Vera Ignatievna Mukhina (1889-1953) was born in Riga. Her artistic abilities were revealed early, but it starts to systematically work only in Moscow, where he comes in 1910. She is engaged in private school K.F. Jouta. She makes the first attempt to work on sculpture in the private workshop of the tit, where novice sculptors worked without a teacher. However, such work does not satisfy Mukhin.
At the end of 1912, Mukhina moves to Paris and enters one of the private academies, where Burdel teach. Communication with the Burdel, a living example of his art, his subtle artistic intuition, his criticism develops a feeling of plastic form in it, but perhaps even more Mukhin is studying in museums.
In Paris, Mukhin stayed two years. Then the trip in Italy. Michelangelo's titanic creativity shakes her.
Monumentalism Mukhina is a natural expression of the basic properties of its dating. This becomes especially clear when the winning revolution of 1917 puts forward the new tasks of monumental propaganda in front of the sculpture. Mukhina successfully participates in a number of competitions. In 1925-1927, it exposes a number of works that appeal the attention of the artistic public: "Julia", "Wind", "Women's Torso". Especially great success has her "peasant". A number of portraits created at this time - Professor Kotlyarovsky, Professor Koltsova, Dr. A.A. Zamkov, Bust "Kolkhoznitsa" indicate a large portrait custody of the mug.
The best product of the 30s was the Soviet pavilion at the World Exhibition in Paris, crowned with the sculptural work of faith Ignatievna Mukhina. The group "Worker and Kolkhoznitsa" was perfectly linked to the architecture of the pavilion.
When in Paris at the thirty-seventh year at the World Exhibition, the Mukhinskaya sculptural group "Worker and collective farmers" was mounted, curious asked who performed this group who her creator. And one of our workers, who understood the question asked on someone else's language, answered like this: "Who? Yes, we are the Soviet Union! "
Feat, creativity, joy, love for life - Everything here, in this great creation of a mug. As if the epoch itself, the country itself molds this titanic symbol - steel giants that raised the surp and hammer, and gave this symbol sculptor to execution.
When you see this pack of flying steel, the forms are beautiful and powerful when you penetrate the sublime spirit of this creation, your thought is about your country. About your championship in the current world. About the high championship, measured by all difficulties, all victories that were on the path of our people. This work became truly epic, folk, entered a number of those values \u200b\u200bthat tower the soul of the people. The thought of the artist seemed to have imagined the thought of millions of people, became the focus of the people of the people about himself, about his time.
Mukhina fulfilled the project of the monument to Gorky in his hometown.
In the early years of the war, the sculptor creates wonderful portraits of B.A. Yusupova, I.L. Hizznyak. In one of the halls of the Tretyakov Gallery, there are a bronze colonel of Hizznyak and bronze colonel Yusupov. They were chosen by the art of a mughian. The Great Artist of Soviet Time Vera Mukhina Forest these heroic portraits.
The most important thing in the work of the Mukhina was that she knew how to notice in the character of their contemporaries all the best and new, born by Soviet reality, find a wonderful ideal in life and, embodying him, call into the future. A huge strength of typing reaches Mukhin in the work of "Partizanka".
Monumental art cannot be prosaic, ordinary, these are the art of large, high, heroic feelings and a large image. The ideal is always beautiful. Idealization never contradicts reality, as it is a quintessence of all the beautiful thing that exists in life and what a person seeks to.
Therapist Krasnodar is paid to find out the prices of the reception of the therapist clinician.
Baghrous Languages \u200b\u200bof Flame, the impenetrable darkness of the underground kingdom, fantastic figures of ugly devils - all
Despite the presence of a signature, it remains unclear who was the author of the Hermitage Horugwi. There were several
This intimate household plot, not claiming any philosophical or psychological importance,
His mighty realism, alien to external effects here, captures the penetration
Young, fabor Sebastian, with dense curly hair, naked, covered only in sicks, tied
The ball temperament of the Great Flemish Master forced him very much to handle
True fame "Venus with a mirror" began with the exhibition of Spanish painting, the established Royal Academy
Multifier forms and paints, live rhythm, special major tone and bright decorativeness are inherent in each of these paintings,
However, the master of women's semi-imaging has developed his own personality
He summarized the shape, reduced the number of details and trifles in the picture, sought to clarity the composition. In the image
Clear lines limit contours of bodies, contrasts of light and shadow detect their plastic
Christ, healing the blind, is shown in the center, but not in the foreground, but in depth
In the "night cafe" - the feeling of the emptiness of the life and disunity of people. It is expressed, the stronger that faith in life
This is a software work of the artist, he wrote him with a huge hobby and thought as a challenge to academic
Wide beautiful forehead. Closely closed lips. Man action? Of course. But also clever, with live curiosity
It was depicted on a young woman who trampled the enemy's dead head. In deep thoughtfulness
It is impossible to tear off these paintings. In them, harmony and grace, in them a bright festivity, in them
Scary court. The one on which, according to the teachings of the Church, is given to all: both righteous and sinners. Scary, last
Paints that kept on the immortal paintings Jan Van Eyka, did not have equal. They blurred, glittered,
The mystery of marriage was somewhat different in the Middle Ages than now. Mutual decision on marriage
Direct the dramatic plays and performances of Russian comic operas Dmitrevsky began in 1780 in the theater of the book, then in its production and partially, with his participation, all the opera Pashkevich, melodrama
Bumanz his works creates an atmosphere of pleasant surprise, bright unusualness, softness of perception. Pictures make pepper in their unconventional world, in their outlines, and their calling paints, simple and kind.
However, Raphael was undoubtedly the appearance in Rome, the Raphael was obliged to itself - his irrepressive passion for improvement, to everything new, to work is large and large-scale. The great takeoff begins.
In December 1753, experts went to Piacenza. This time the monks gave them the opportunity to examine the picture. In his recall, Jovanini will write: Undoubtedly, Rafael; The state of the picture is more or less tolerant,
And Falcone decided to take the casting of the statue. There is no other way out. Falcone can not not complete his business. Too much connected with him with this monument, and he must bring it to the end. Of course, he is not a founder. But if there is no wizard,
These ten years have a considerable extent helped the artist and gain its credo. Turning the joiner for these years to one of the most educated people of their century. He, even recently with the mistakes of written in French,
Her works were born from constant thoughtful and severe spiritual experiences. Unusually emotional in kind, she acutely reacted to all the manifestations of life, closely took joy and grief to the heart. She loved
Kochar tried himself in different directions of painting, wanting to find and approve his individual approach to peace in art and man in it. These searches were not limited to purely external technical techniques, they were
Salkaln is full of grand projects and designs, aspirations to give all the energy, all creative experience in their people, force the streets and square of the city to speak the language of art. He dreamed of "Palaces of Dream" - Majestic
For life, Nikolai loved this work. And when he grown, began to help his father. Metal has become obedient and his hands.
But it was thought of a young man that was not vertex iron crafts, and the seeded bronze romance would be submissive
The essence of the creative process for Blue and is to release the thought, and this case is not easy, requiring enormous soul forces. For her, the goal of art is to bring a person the joy of routine
To enter into a duel, in a dispute with dead nature, with a viscous, heavy weight of clay, which it was necessary to inspire, satisfy with their excitement, pain, thought and feeling. She did not copy nature, and re-opened the world - from clay
At the end of 1912, Mukhina moves to Paris and enters one of the private academies, where Burdel teach. Communication with Burdel, a living example of his art, his subtle artistic intuition, his criticism is developing in it
Huge self-discipline and striking hardworking made Matthew of the Maniser already to thirty years three times formed by a person with a wide range of interests and extremely extensive erudition. But love for sculpture won
Mercurova's pre-revolutionary work was closely related to the development of the so-called Modern style, with stylization trends. Early works of Mercurov are characterized by static composition, stiffness of movements,
Of all the types of art, this diverse gifted person chooses a sculpture. This time forever. He wants to be to those who revive stones, who creates bronze legends. The Great Repin itself, seeing the Shadra drawings, blessed it on this path
Twenty years of creative labor - and three monuments. Even if the sculptor did not create anything except them, all the same his name would firmly entered the history of art. For all these three monuments are so dissimilar in content, mood, form
Vatagin's art studied against occasion to occasionally impossible. But the real Academy began working with nature in many zoos - and while traveling to Fatherland, and for distant overseas countries. Dreams are fulfilled
In the Stroganov School in Moscow, Erzu did not accept: the reryo (he was already twenty-five at that time). The director of the Globa School said to him: "Return to the village and Plods of the like yourself." The young man replied: "No, I will not come back! I will
But still Sherwood manages to put his monument. In 1910, according to his project in Kronstadt, on an anchorine area, a monument to Admiral V. O. Makarov is built before the Marine Cathedral. On the five-meter granite lumps towers
Faith Ignatievna Mukhina is one of the most famous Soviet sculptors. The biography of the faith of Mukhina is largely typical for the talented youth of the early 20th century. The years of their formation as a personality and the choice of life paths fell on turning, earrupt, harsh and hungry years of several revolutions and wars.
Born Vera MukhinaJuly 1, 1889 In a wealthy family of Russian merchants who lived in Riga from 1812. In early childhood, the girl lost a mother who deceased from tuberculosis. Father, fearing for his daughter's health, took her to Feodosia. Happy childhood years passed in Crimea. The teacher of the gymnasium gave her drawing and painting lessons. In the art gallery, she copied the paintings of the great Marinist I. Ayvazovsky, drawing the landscapes of Tavrida.
After the death of the guardian's father, took the girl to Kursk, where she successfully completed the gymnasium and went to Moscow to study painting. From 1909 to 1911, she studies in the private studio of the artist K. John, and at the same time begins to attend the workshop of the sculptor N. Sinitina. In the workshop could have been trying himself as a raw. To do this, it was enough to pay a small amount and get a machine and clay at the disposal.
Special learning was not conducted in the studio, rather it was reminded of practice for students of private art schools and students of the Stroganovsky Art School. The workshop was often visited by the famous sculptor N.andreyev, who taught in Stroganovka and he was interested in the work of his students. He first of professional sculptors noted a peculiar art manner of faith mukhina.
After the studio of Jun Mukhin, he visits the workshop of the talented artist Ilya Mashkova, the founder and participant in the art association "Bubnovaya Valet". In 1912, she rides in Paris and enters the Academy of Grand Schomyer, where he learns sculptural skill at the Bardellus, who was the assistant sculptor Rodin. Mukhina is very passionate about the irrepressible temperament of Rogen, he attracts it as the monumentality of his works. As an additional formation, faith studies anatomy, visits museums, exhibitions, theaters.
In the summer of 1914, she returns to Russia, full of grand plans, but the first world war begins and faith mukhin ends the courses of nurses. Until 1917, she works in the hospital. After the revolution, which she perceives very loyally, the artist begins to engage in the art of monumental propaganda. The first independent project of a novice sculptor for the young Republic of the workers and peasants was to create a monument to I.Novikov - the Russian publisher and public figure of the 18th century. Unfortunately, in the harsh winter of 1918-19, the options of the monument died in a unwanted workshop.
The distinctive style of the muggy is the monumentality of forms with an accent of architectonics, represented as an artistic generalization of the strength and incontestability of the Soviet person. Regardless of the material - bronze, marble, wood, steel, it embodies the strength and courage of their talent with the help of a cutter, the image of a human heroic era. It belongs to the works in many ways for the history of our country. The monument "Worker and collective farmer" - the author who is Vera Mukhina, for several generations of Soviet people is a symbol of free and happy life.
With all the accusations that the author worked on the orders of the authorities, even the Table Neffatvenists, cannot blame faith Muhin in the absence of talent, multiplied by extraordinary performance. The famous sculptor died in 1953, having lived only 64 years.
"In bronze, marble, trees, steel are vigilant and a strong cutter of the images of people of the heroic era - a single image of a person and human, marked by the unique seal of the Great Years "
ANDmustacheman Arkin
Faith Ignatievna Mukhina was born in Riga on July 1, 1889 in a wealthy family andreceived a good home education.Her mother was a Frenchwoman, Father was a gifted by an amateur artistand and and Нересс to the art of Vera inherited from him. With music, her relationship did not work out:Top It seemed that the father did not like how she was playing, and he encouraged his daughter classes.ChildhoodVera Mukhina Passed in Feodosia, where the family was forced to move due to the serious disease of the mother. When the faith turned three years old, her mother died from tuberculosis, and the father was engaged in daughter for a year abroad, to Germany. Upon his return, the family again settled in Feodosia. However, in a few years, his father again changed the place of residence: moved to Kursk.
Vera Mukhina - Kursk Gymnasics
In 1904, Father died in faith.In 1906 Mukhina She graduated from gymnasium and moved to Moscow.
W. She was no longer doubt that she would be engaged in art.In 1909-1911 Vera - Pupil Student famous landscape player Jouta. During these years, first shows interest in sculpture. In parallel with the classes of painting and the picture of John and Dudin, Vera Mukhina Visits the studio of the sculptor-self-taught tit, located on Arbat, where a moderate fee could be obtained for work, a machine and clay. From John at the end of 1911, Mukhina passes to the studio of the painter Mashkova.
In early 1912 faith Inhankovna He sees relatives in the estate near Smolensky and, riding the sleigh from the mountain, crashed and dismissed her nose. Homegrown doctors somehow "sewed" face Vera I was afraid to watch. Uncle sent the height to Paris for treatment. She persistently moved several plastic operations. But character ... he became sharp. It is no coincidence that later, many colleagues will surround it as a particular "steep gear". Faith completed the treatment and at the same time studied at the famous sculptor Burdela, in parallel visited the Academy of "La Palatte", as well as a school of drawing, which was led by the famous teacher Kolasrasi.
In 1914, Vera Mukhina traveled in Italy and realized that her present vocation was a sculpture. Returning with the beginning of the First World War to Russia, it creates the first significant work - the sculptural group "Pieta", conceived as a variation on the topics of the Renaissance sculptures and the requiem for the dead.
The war radically changed the usual life line. Faith Ignatievna leaves the sculpture classes, enters the courses of the nurse and in 1915-17 he has been working in the hospital. Thereshe met her narrowed:Alexey Andreevich Zamkov worked as a doctor. Vera Mukhina and Alexey Zamkov met in 1914, and married only four years later. In 1919, he threatened for participation in Petrograd Mountainside (1918). But, fortunately, he found himself in the CC in the Cabinet of the Menzhinsky (from 1923 he headed the OGPU), which he helped in 1907 to leave Russia. "Eh, Alexey," Menzhinsky told him, "you were with us in 1905, then went to the white." You can't survive here. "
Subsequently, when faith Ignatievna asked that she was attracted in the future husband, she answered in detail: "It's a very strong creative beginning. Internal monumentality. And at the same time a lot from the man. Inner rudeness with high mental subtlety. In addition, he was very beautiful. "
Alexey Andreevich Zamkov really was a very talented doctor, he treated alternatively, tried folk methods. Unlike his wife, the faith of Ignatievna, he was a person sociable, cheerful, Kompansky, but at the same time very responsible, with an increased sense of duty. About her husbands say: "She's like a stone wall with him."
After the October Revolution, Vera Ignatievna is fond of monumental sculpture and makes several compositions for revolutionary topics: "Revolution" and "Flame of the Revolution". However, it is peculiar to her the expressiveness of the modeling in combination with the influence of cubism was so innovative that few people appreciated these works. Mukhin cool changes the sphere of activity and turns to applied art.
|
|
|
|
|
|
|
|
|
|
|
|
Mukhin vases
Vera Mukhina near closer
i am with avant-garde artists Popova and Exter. With them Mukhina makes sketches for several productions of Tairov in the chamber theater and is engaged in an industrial design. Faith Ignatievna Developed Labels with Lamanova, Book covers, sketches of fabrics and jewelry.At the 1925 Paris exhibition Collection of clothingcreated by sketches of the mukhina The Grand Prix was awarded.
Icar. 1938.
"If we look back and try again with cinematographic speed, overlook and compress the decade of life of a muggy, - writes PK. Suzdalev, - after Paris and Italy, before us will arise an extraordinarily complex and stormy period of the formation of the personality and creative searches of an outstanding artist of the new era, a woman's artist who is emerging in the fire of revolution and work, in an uncontrolled desire to forward and painful overcoming the resistance of the old world. The rapidly impustary movement forward, in the uncharted, contrary to the forces of resistance, towards the wind and a bore - this is the essence of the spiritual life of the mugged decade, pathos of her creative nature. "
From drawings-sketches of fantastic fountains ("Women's figure with a jug") and "fiery" costumes to the drama Benelli "Dinner jokes", from the maximum dynamic "Arrow from Luke" she comes to projects of monuments "liberated work" and "Flame Revolution", Where this plastic idea acquires sculptural being, a form, even if not quite found and permitted, but figuratively filled. So "Julia" is born - by the name of the ballerina Podgurskaya, who served as a constant reminder of the forms and proportions of the female body, because Mukhina rethought very much and transformed the model. "She was not so hard," Mukhina said. The refined elegance of the ballerina lost to the "Yulia" of the fortress of consciously weighted forms. Under the stack and chisel of the sculptor, not just a beautiful woman, but the standard of healthy, the total energy of a harmoniously folded body was born.
Suzdalev: "Yulia", as his statue of Mukhina, is built on the spiral: all spherical volumes - head, chest, stomach, hidden, caviar of the feet, - everything that grown apart from each other, expands as the shape of the figure and turns the spiral again, giving birth to a feeling whole, filled with live flesh forms of the female body. Separate volumes and the whole statue fully fills the space occupied by it, as if ousting him, elastically repelning the air "Julia" - not ballerina, the power of her elastic, consciously weighty forms inherent to the woman of physical labor; This is a physically mature body of workers or peasants, but with all the severity of forms in proportions and the movement of the developed figure there are integrity, harmony and women's grace. "
In 1930, the favorable life of the Mukhina breaks sharply: her husband, a famous doctor of Zamkov, arrest on false charges. After the trial, he was sent to Voronezh and Mukhin together with the ten-year-old son rides after her husband. Only after Gorky intervention, after four years, she returned to Moscow. Later, Mukhina created a sketch of the tombstone of Peshkov.
Portrait of a son. 1934 Alexey Andreevich Castles. 1934.
Returning to Moscow, Mukhina began to engage in the design of Soviet exhibitions abroad. It creates the architectural design of the Soviet pavilion at the World Exhibition in Paris. The famous sculpture "Worker and collective farmer", which has become the first monumental project of the mug. The composition of the Mukhina shook Europe and was recognized as a masterpiece of the art of the XX century.
IN AND. Mukhin among Sophie Students Vhuteina
Starting from the end of the thirties and until the end of the life of the Mukhin works mainly as a sculptor-portraitist. During the war, she creates a gallery of portraits of warriors, and the Bust of Academician Alexei Nikolayevich Krylova (1945), now decorating his tombstone.
The shoulders and the head of the Krylov are growing out of the Golden Blug Karagach, as if the arising from the natural growths of a dressing tree. In places the sculptor cutter slides on the chips of the tree, emphasizing their shape. There is a free and relaxed transition from the untreated part of the rush to smooth plastic lines and a powerful head volume. Karagach's color attaches special, living warmth and solemn decorative composition. The head of Krylov in this sculpture is clearly associated with the images of ancient Russian art, and at the same time is an intellectual head, a scientist. Old age, physical extinction is opposed to the power of the spirit, the volitional energy of a person who gave all his life to the ministry of thought. His life is almost lifted - and he almost completed what was to do.
Ballerina Marina Semenova. 1941.
In the semi-imaginary portrait Semyne, the ballerina is depicted In the state of external immobility and internal collens Before entering the scene. At this moment of "entry into the image", Mukhin reveals the confidence of the artist, which is in the flourish of its excellent dating - the feeling of youth, talent and completeness of feelings.Mukhina refuses the image of the dance movement, believing that the actual task itself disappears in it.
Partizanka.1942.
"We know historical examples, -mukhina spoke on the anti-fascist rally. - We know Joan D "ARK, know the mighty Russian partisan to Vasilisa skin. We know the hope of Duru ... But such a massive, giant manifestation of genuine heroism, what we meet from Soviet women in the day of battles with fascism, is significant. Our Soviet woman consciously goes on Feats. I speak not only about such women and giant girls, like Zoya Kosmodemyanskaya, Elizabeth Chaykin, Anna Schubenok, Alexandra Martynovna Dreiman - Mozhayskaya Partisan Mother, who sacrificed his son and his life. I am talking about thousands of missile heroines. Isn't the heroine, for example, any Leningrad household, who in the days of the siege of his hometown gave the last crumb of her husband or brother, or just a neighbor-man who did shells? "
After the warFaith Ignatievna Mukhina Performs two major official orders: creates a bitmary monument in Moscow and the Tchaikovsky Statue. Both of these works are characterized by the academic character of execution and rather indicate that the artist intentionally leaves modern reality.
 |
 |
Project of the Monument P.I. Tchaikovsky. 1945. On the left - the "shepherd" - the burner to the monument.
Faith Ignatievna performed the dream of youth. Figurian Sitting girl, squeezed in a lounge, striking plasticity, singer lines. Slightly raised knees, crossed legs, elongated hands, bent back, lowered head. Smooth, something unpainted with a sculpture with a "white ballet". In the glass she became even more elegant and more musher, it became completed.
Sitting figurine. Glass. 1947.
http://murzim.ru/jenciklopedii/100-velikih-skulpto...479-vera-ignatevna-muhina.html
The only work, except for the "worker and collective farm", in which Vera Ignatievna managed to embody and bring to the end of his figurative, collectively-symbolic vision of the world, is the gravestone of her close to a friend and the preside with the Great Russian singer Leonid Vitalyevich Sobinov. Initially, it was conceived in the form of a Herma, imprinuable singer as Orpheus. Subsequently, Vera Ignatievna stopped on the image of a white swan - not only the symbol of spiritual purity, but more thinly connected with the prince's swan from Lojangrine and the "Swan Song" of the Great Singer. This work was a success: the gravestone Sobinov is one of the most beautiful monuments of the Moscow Novodevichy Cemetery.
Monument to Sobinov at the Moscow Novodevichy Cemetery
The bulk of creative finds and ideas of faith mukhina remained in the stage of sketches, layouts and drawings, the rows of the shelves on her workshop and causing (though, extremely rare) the flow of bittertheir tears of the powerlessness of the Creator and Women.
Vera Mukhina. Portrait of the artist Mikhail Nesterov
"He himself chose everything, both the statue and my pose, and the point of view. Himself identified exactly the size of the canvase. All by myself", - said Mukhin. Recognized: "I can't stand when you see how I work. I never gave myself to photograph in the workshop. But Mikhail Vasilyevich certainly wanted to write me at work. I could not n e to give way to his ultimate wishes. "
Borea
. 1938
Nesterov wrote her for the plowing "Borea": "I worked continuously while he wrote. Of course, I could not start something new, but I modified ... As Mikhail Vasilyevich, Mikhail Vasilyevich, was expressed, began to darken ".
Nesterov wrote willingly, with pleasure. "Something comes out," he reported S.N. Dowlin. The portrait made by him is amazing on the beauty of the composite decision (Borey, breaking down from his pedestal, as if flies to the artist), on the nobility of the color scheme: a dark blue bathrobe, from under him a white blouse; A slightly catchy of the heat of its shade argues with a matte pallor of the gypsum, which is still strengthened by the blue-lilac glare playing on it.
For several years nered this Nesterov wrote Shadra: "She and Shadd are the best and, perhaps, the only real windows we have," he said. "He's talented and warmer," she is smarter and Masterovye. " He tried to show her - smart and masterful. With attentive, as if we were weighing with a barrack with eyes, concentrated with unfinished eyebrows, sensitive, able to calculate every movement with their hands.
Not a workflow, but neat, even elegant clothing - like an effectively jammed bantle blouses round red brooch. He is so softer, easier, frank. Does it - he is at work! And yet the portrait went far out of the framework, the right-handed wizard. Nesterov knew this and was glad to this. Not about smart crackers says a portrait - about creative fantasy, curbing the will; About passion, restrainingas a mind. About the very essence of the soul of the artist.
It is interesting to compare this portrait with photosMade with mukhina while working. Because, at least Vera Ignatievna and did not let the photographers in the workshop, there are such pictures - they did Vsevolod.
Photography 1949 - works on a statuette "root in the role of Mercutio". Eyebrows disabled, cross fold on the forehead and the same intense aspiration of glance as in the portrait of Nesterov. Just a little questioningly and at the same time lips are strongly folded.
The same hot power of touch to the figure, passionate desire to pour into it through the trembling fingers a live soul.
More report
Vera Mukhina is a famous sculptor of Soviet times, whose work is remembered today. She largely influenced Russian culture. The most famous work is the monument "Worker and Kolkhoznitsa", she also became famous for the creation of a faceted glan.
Personal life
Faith Ignatievna Mukhina was born in 1889 in Riga. Her family belonged to the well-known merchant family. Father, Ignatius Mukhin, was a major trader and patron of science and art. The parental house of an outstanding artist of arts can be seen today.
In 1891, at the age of two years, the girl loses mother - a woman dies from tuberculosis. The father begins to worry about his daughter and her health, so he moves it to Feodosia, where they live together until 1904 - her father dies in this year. After that, faith with his native sister moves to Kursk to his relatives.
Already in childhood, Vera Mukhin begins to engage in painting and understands that art inspires it. She enters the gymnasium and ends it with honors. After faith moves to Moscow. The girl gives his wagon all the time: it becomes a student of such famous sculptors, like Konstantin Fedorovich John, Ivan Osipovich Dudin and Ilya Ivanovich Mashkov.
Since 1912, faith has been actively studying painting, studying in France and Italy. Most of all it is interested in the direction of the Renaissance. The girl takes place such schools as Colagrisi Studio, Grand Schomyer Academy.
Faith returns home two years later, and Moscow takes it at all. Not welcome: the first world war begins. The girl is not afraid of heavy times, quickly mastering the profession of nurse and works in a military hospital. It is in this tragic time in the life of faith there is a happy event - she meets his future husband Alexei Zamkov, a military doctor. By the way, it was he who became for Bulgakov the prototype of the professor of Preobrazhensky in the story "The dog's heart". After the family, the son of Vsevolod will appear, which will be a famous physicist.
In the future, before the death of Vera Ignatievna engaged in the sculpture and disclosure of young talents. On October 6, 1953, Vera Mukhina died from angina, which is most often a consequence of severe physical work and large emotional stresses. And the first, and the second in the life of the sculptor was a lot. Such is the brief biography of the famous Soviet woman.
Creativity and work
At the same time, Mukhina Vera Ignatievna creates sketches of the following monuments:
- Vladimir Mikhailovich Zagorsk (revolutionary).
- Yakov Mikhailovich Sverdlov (political and state actor).
- Monument "Freed Labor".
- Monument "Revolution".
In 1923, Verra Mukhin and Alexander Alexandrovna Exter invite to decorate the Hall for the newspaper Izvestia at the agricultural exhibition. Women produce a furor with their work: they are striking the public with their creativity and rich fantasy.
Since 1926, the sculptor Vera Mukhina begins to contribute not only to the development of art, but also in enlightenment, working as a teacher. The woman taught in the art technical school and in the Supreme Art and Technical Institute. Vera Mukhina gave impetus to the creative fate of many Russian sculptors.
In 1927, the world-famous sculpture of the "peasant" was created. After receiving the first place at the exhibition dedicated to October, the monument travel begins in the world: first the sculpture goes to the Trieste Museum, and after the Second World War "moves" to the Vatican.
Probably we can say that at this time there is a flourishing of the sculptor's creativity. Many people have a direct association: "Vera Mukhina is" working and collective farmers "- and it is not by chance. This is the most famous monument not only a mug, but also in principle in Russia. The French wrote that he is the greatest product of the global sculpture of the 20th century.
In 1945, Vera Mukhina saves a monument of freedom in Riga from demolition - her opinion was one of the decisive experts in the Commission. In the post-war years, faith is fond of creating portraits from clay and stone. She creates a whole gallery, which includes sculptures of military, scientists, doctors, writers, ballerinas and composers. From 1947, before the end of his life, Vera Mukhina was a member of the Presidium and Academician Academy of Arts of the USSR. Posted by: Ekaterina Lipatova
Biography
Maxim Gorky, Louis Aragon, Romain Rolland, and even "Father Peoples" Joseph Stalin, admired the talent of faith. And she was less and less smiling and reluctantly appeared in public. After all, recognition and freedom is not at all the same.In the photo sculptor Vera Mukhina
Childhood, family
Faith was born in Riga in 1889, in the family of a rich merchant Ignatia Mukhina. The mother lost her early childbirth that was tormented by Tuberculosis, from which he did not escape even in the fellow climate of the south of France. Fearing that children may have a hereditary predisposition to this disease, the father transported her daughters to Feodosia. Here Vera saw the paintings by Aivazovsky and first took up his brushes ...
When faith was 14, father died. Burrying the merchant on the shores of the Crimea, relatives took the orphans to Kursk. Being people noble, they did not regret money. Hired in the governess at first German, then a Frenchwoman; Girls visited Berlin, Tyrol, Dresden.
In 1911 they were brought to Moscow - find grooms. Vera this undertaking guardians did not immediately like it. All her thoughts occupied the visual arts, whose world capital was Paris, - it was there she strived with all his soul. In the meantime studied painting in Moscow art studios.
Get the desired mug helped misfortune. In the winter of 1912, during Sanya riding, she crashed into a tree. The nose was almost twisted, the girl made 9 plastic operations. "Well, okay," the faith threw dry, glanced in the hospital mirror. - People live with more terrible faces. " To console the syrot, relatives sent it to Paris.
Sculpture
In the capital of France, Vera realized that her vocation was to be a sculptor. Mukhina's mentor became Burdel, a student of the legendary Rodin. One teacher's remark - and she crashed her next job to smire. Her idol is Michelangelo, the genius of the Renaissance. If you are, it is not worse!Paris presented faith and big love - in the face of the European Terrorist Alexander Vervetov. In 1915, the lovers broke up: Alexander went to the front, fight on the side of France, and Vera went to Russia to visit the birth. There she was going to news about the death of the groom and the October Revolution.
Oddly enough, a merchant daughter with European education perceived the revolution with understanding. And during the First World War, and during the Civil War worked for a nurse. Saved dozens of lives, including their future husband.
Personal life
Young doctor Alexei Kamkov died of typhus. A whole month of Mukhin did not move away from the bed of the patient. The better the patient becomes, the worse the very faith: the girl understood that she fell in love again. To tell about the feelings was not solved - the doctor was painful. Everything decided the case. In the fall of 1917, a shell fell into the hospital. From the explosion faith lost consciousness, and when he woke up, I saw the frightened face of Zamkov. "If you died, I would also die!" -An a breath of the breath of Alexey ...
In the summer of 1918, they married. The marriage was surprisingly strong. What just did not happen to survive the spouses: the hungry post-war years, the illness of the son of Vsevolod.
At 4 years old, the boy injured his foot, tuberculous inflammation began in the wound. All the doctors of Moscow refused to operate the child, considering it hopeless. Then the castles operated on the son of the house, on the kitchen table. And Vsevolod recovered!
Works sculptor
In the late 1920s, Mukhina returned to his profession. The first success of the sculptor was the work entitled "Peasant woman". Suddenly, for the very faith of Ignatievna "People's Goddess of fertility" received a laudatory feedback to the famous artist Ilya Mashkova and the Grand Prix at the exhibition "10 years of October". And after the exhibition in Venice, the "peasant woman" was bought by one of the museums of Trieste. Today, this creation decorates the collection of the Vatican Museum in Rome.
Obdated Vera Ignatievna worked without stopping: "The monument of the revolution", work on the sculptural design of the future hotel "Moscow" ... just without anything - every project mercilessly "climbed." And every time with the same wording: "Because of the author's bourgeois origin." My husband is also trouble. Its innovative hormonal drug "Graveldidan" annoyed the effectiveness of all union doctors. Donos and searches brought Alexey Andreevich to heart attack ...
In 1930, the spouses decided to escape to Latvia. The idea was robbed by the Agent-provocator Ahmed Mutusushev, who came to the castle under the guise of the patient. In Kharkov, the fugitives were arrested and delivered to Moscow. Interrogated for 3 months, and after referred to Voronezh.
The two geniuses of the epoch saved the third - Maxim Gorky. To fix the health writer was helped by the very "gravelidan". "This doctor needs a country!" - convinced Stalin Nomanist. The leader allowed the castle to open his institute in Moscow, and his wife is to participate in a prestigious competition.
The essence of the competition was simple: to create a monument, chanting communism. 1937 was approaching, and with him the World Exhibition of Science and Technology in Paris. The Pavilions of the USSR and the Third Reich were located opposite each other, which complicated the task of sculptors. The world should have understood that the future for communism, and not for Nazism.
Mukhina put the sculpture of "working and collective farmers" - and unexpectedly won for everyone. Of course, the project had to modify. The Commission ordered both figures to wear (faith Ignatievna they were naked), and Voroshilov advised "remove the bags from the girl under the eyes."
Inspired by the epoch, the sculptor conceived to collect figures from the sparkling sheets of steel. Only Eifel with the Statue of Freedom in the United States decided to the muffin. "We will surpass it!" - confidently declared Vera Ignatievna.
The steel monument weighing 75 tons was welded for 2 months, disassembled 65 parts and in 28 cars sent to Paris. Success was colossal! The composition was publicly admired by the artist France Masel, Writers Romain Rolland and Louis Aragon. In the Montmartre was sold inks, a purse, handkerchiefs and fizzles with the image of the monument, in Spain - postage stamps. Mukhina sincerely hoped her life in the USSR will change for the better. How she was mistaken ...
In Moscow, the Paris Euphoria of Faith Ignatievna quickly dispelled. Firstly, her "worker and collective farmer" was badly damaged when delivered to their homeland. Secondly, they were installed on a low pedestal and not at all where Mukhina wanted (the architect saw his creation either on the Arrow of the Moscow River, or on the MSU Lookingtern).
Thirdly, bitter, and persecution on Alexei Zamkov broke out with a new force. The Institute of Doctor was looted, and he himself was transferred to the post of a conventional therapist in the ordinary clinic. All appeals to Stalin did not have any action. In 1942, the castles died due to the consequences of the second heart attack ...
Once a call from the Kremlin rang out in the Studio Mukhina. "Comrade Stalin wants to have a bust of your work," the official cried. Sculptor replied: "Let Joseph Vissarionovich comes to my workshop. Wanted sessions from nature. " Faith Ignatievna and could not think that her business response would insul a denotious leader.
From that day, Mukhina was in the opal. She continued to receive Stalin's prizes, orders and sit in architectural commissions. But at the same time did not have the right to leave abroad, to carry out personal exhibitions and even to make a house-workshop in the Prechistensky lane. Stalin played with a sculptor, like a cat with a mouse: did not finish finally, but did not give freedom.