Kuznetsov Konstantin Vasilyevich Artist. Artist Kuznetsov Konstantin Konstantinovich. French impressionist with black

Kuznetsov Konstantin Vasilyevich (1886 -1943) - schedule. Attended classes in the drawing school of the Society for the promotion of art. In 1913 he made his debut as an illustrator in the magazine "New Satirikon". Collaborated in "Apollo" and "Russian Icon" magazines. Placed in the theater programs of caricatures on artists. At the same years, fascinated by folk art; Sketches of handicraft toys (baryni, Cossacks, generals, horses), which, with the assistance of L. F. Ovsyannikova, showed the "independent" partnership exhibitions in Paris (1910-1913). In 1913 he lived in Moscow and in Crimea, then moved to Pyatigorsk. Served on a telegraph station. It became close to the artist P. A. Alyakrinsky. After the October Revolution, he was heading the department of glassware in the "Cavrost windows". In 1922 he moved to Moscow. In 1923 he participated in the polar expedition on the coast of the Arctic Ocean and the New Earth. In the first half of the 1930s, he was headed by a children's wrude in the department of propaganda of the children's book of the Museum of Folk Education of the RSFSR. Engaged in machine, book, magazine graphics. Worked in techniques of xylography, glassmograms, lithographs, linographs, monotypes; Developed a method of engraving with a dry needle in cardboard with tint watercolor or pastel. As an illustrator collaborated in magazines "Red Niva", "Cheerful pictures", "Murzilka". Decorated books on orders of publishing houses "Giz", "Detgiz", "Young Guard", "Peasant Gazeta", "True", "Soviet writer" and others. I fulfilled illustrations for many books Ya. P. Mexin: "Komar-Komarische" (1924), "Côte shuttle" (1925), "Stroyak", "How Papa wore" (both - 1926), "Gray Sochka" ( 1927), "Trouble", "Who rescued, I ate", "Cartus" (all - 1928), "hold on, do not laem" (1929), "Self-timers", "potatoes", "zincons pictures" (all - 1930); A. L. Barto: Pioneers "(1926)," Toys "," Stars in the Forest "(both - 1936)," Two notebooks "(1941)," Flashlight "(1944). ~ Designed books:" Mokhnach "in . V. Bianki (1927), "Filipple" L. N. Tolstoy (1929), "Volodya Ermakov" A. I. Vitedsky (1935), "Solovy" G.-H. Andersen (1936), "Taman" M. Yu. Lermontova (1937), "Tale of the Golden Petushka" (1937), "Tale of Tsar Saltan" (1939), "Ruslan and Lyudmila" (1943) A. S. Pushkin , "Scarlet flower" S. T. Aksakova (1938), "Tale of a stupid little face" S. Ya. Marshak (1938), Sasha N. A. Nekrasova (1938), "Stories" (1938), "Lisukhan Bread "(1941) M. M. Svavina," The Fate of the Drummer "A. P. Gaidar (1938, 1939)," Summer Days "(1937)," Residents of the Old House "(1941) G. K. Powhovsky," Malachite Casket »P. P. Bazhova (1944) and others. A total of 200 books issued; Many of them have undergone numerous reissues as in the life of the artist, and after his death. ~ The author of the series of machine lithographs "Dolls", "Ivan-Tsarevich and a gray wolf", "Ivan - Cow Son", "On Molding Apples and Living Water" , "Squa Burk"; Anti-fascist engravings and drawings on the Civil War in Spain, the Cycle of the Pictures "Ancient Rus" (1933), the humorous series of drawings "Brem inside out" (1939-1940), "The Adventures of Babai" (1942-1943). Engaged in the design of animated films "Aibolit" (1938), "Tale of Tsar Saltan" (1939), "Beatushka" (1940). ~ Since 1910 - participant of exhibitions. Exposed at exhibitions: 1st State Free Exhibition of Arts (1919), "Russian Xylography for 10 years. 1917-1927 "(1927) in Petrograd - Leningrad; Group United Arts (OBA, 1925), Chart Association (1926), Soviet Colorful Engraving (1937), All-Union Education of Children's Literature and Illustrations of Children's Books (1938) in Moscow; international exhibition "Art of the Book" in Leipzig (1927); Soviet graphics in Helsinki, Tallinn, Stockholm, Gothenburg (1934), London (1938), New York (1940) and others. The experimental methods of the work of Kuznetsov in the engraving was devoted to the exhibition "New Methods of Manual Printing in Printing Production", which was organized by art historian A. V. Bakushinsky in the halls of the State Tretyakov Gallery (1933). ~ Memorial exhibition of works took place in Moscow (1949). The artist's creativity is devoted to the monograph M. Z. Kholodovskaya: "Konstantin Vasilyevich Kuznetsov" (M.-L., 1950; in the series "Master of Soviet art"). Works are in many museum collections, including GMIA. A. S. Pushkin.

10/22 August 1863 (s. Zhannelino, Nizhny Novgorod lips.) - December 30, 1936 (Paris). Painter, graph, artist book.

Son of the merchant Pavlo Ignatievich Kuznetsov, who had trade in Nizhny Novgorod and Astrakhan. Got a home education, played well on the piano, he began to engage in painting on his own. Allegedly visited the open drawing studio A. O. Karelina in Nizhny Novgorod and classes in the studio of the Saratov Society of Fine Arts. He was familiar with V. E. Borisov-Musatov, with which from 1900 to 1905 was in correspondence. At the beginning of the 1890s, it was repeatedly in Moscow.

In 1896 he made a long trip over Europe, visited Paris, London, Rome and Florence. In 1896-1899, he was engaged in the workshop of F. Kormon in Paris. In 1900, he married Muscovite Alexandra Savorov and finally moved to her to Paris. Spouses lived on Montmartre, from 1907 - on Montparnasse; In 1913, they last visited homeland.

For some time, Kuznetsov was engaged in Ferdinand Humbert, and his spouse - at the Academy of R. Julien (Alexandra Kuznetsov several times participated in the independent salon, but after 1911 stopped engaged in art, devoting himself to the family). He was fond of impressionism, especially the work of K. Monte and K. Pisarro, also experienced a great interest in the works of P. S. Puwa de Chavanna and artists of the Nabi Group.

He wrote predominantly landscapes in the postminglyonist manner. For the summer, I went to the province - from 1911 in the town of Val-Andre in Brittany (in 1914-1918 there was almost slow), in Normandia (1910, 1924), Savoy (1919). After 1927 did not leave Paris and wrote mainly the shores of the Seine. In winter, he worked in the Paris workshop over the decorative canvases and portraits of the family. In 1909, sketches made sketches of decorations to an unfulfilled opera of K. Debussy "Pelléas et Mélisande" ("Pells and Melisanda") for "Opera comedian".

Exhibited in Parisian salons: the National Society of Fine Arts (1902-1936, Member of the Salon in 1936), Autumn (1903-1936; Salon Member since 1909), independent (1905-1932), Spring (1937); as well as in Brussels (1902), Munich (1903), London (1904), Pittsburgh (1907-1909, Institute Carnegie). He participated in the exhibitions of MTX in Moscow and St. Petersburg (1903-1909; from 1909 - a member of the partnership), in the exhibition of Russian artists in London (WHITECHAPEL, 1921). Several works were acquired in the State Assembly of France (1902, 1910 and 1924). His work was noted in the reviews of art exhibitions A. N. Benouua, Guyom Apolliner, French critics Roger Marx and especially Francois Teple-Sisson.

In the late 1920s, he became interested in a book illustration. The book "VIY" ("Viya") is the most famous work in this area ("Viya") N. V. Gogol (per. On Fr. E. K. Vivier-Kuznetsova), published in 1930 by the circulation of 525 numbered copies of the Paris Publishing House "René Kieffer" . His unfastened illustrations of the Drama "Mermaid" and the "tale of Tsar Saltan" are also preserved, A. S. Pushkin and the "Sorochinsky Fair" N. V. Gogol.

Buried on the Montparnasse cemetery. In 1937, the posthumous exhibition took place within the framework of the Autumn Salon in Paris.

He had four children: Elena, Olga, Alexander and Mikhail. Elena Vivier-Kuznetsova's daughter (1902-1978) is a literary translator, a writer, during World War II, an active member of the resistance movement, a French public figure. In the 1950s contained a workshop for the manufacture of theater decorations.

In 1964, E. Vivier Kuznetsov organized a memorial exhibition on a motor ship that rushed through Seine. Retrospective exhibitions were held in the autumn salon (1967, 1972), the Salon of Independent (1968-1970, 1973), in the gallery K. Granoff (1965, 1968), in the city hall of the IX district of Paris (1966; organized by the Society "France-USSR"), Museum of Carnival (1984), County Museums XVI (1986, on the occasion of the 50th anniversary of death) and VI of Paris County (1992).

Presented in the museums of France - Orsay, Carnival, modern art of Paris, E. Budena in Oneflere, artistic museums of Cumpers, Morney, Pont-Aven; as well as in the Municipal Museum of the Hague. Five graphic works are stored in GTG (donated in 1964 the younger daughter of the artist Olga), in the timing - picture "Square of consent" (donated in 2003 granddaughter Monic Vivier-Brant, the author of the book about the artist). In 2017, in Russia, the collector Andrei Shcherbinin established the fund Konstantin Kuznetsov, whose activities are aimed at learning and popularizing the heritage of the artist.

Bibliography:

* Unknown Russia, 27; RZF; Russian Paris; Seslavinsky. Belov E. Paris Salon. Exhibition of society of French artists // Sparks. 1903. No. 17. C. 131-135. Rostislavov A. Ultra-decadentism // Theater and Art. 1905. No. 7. P. 108-109. Scales.1908. № 11. P. 87. Zavokhkin A. Konstantin Kuznetsov in France // Artist. 1968. No. 3. P. 44-48. Usova E. Konstantin Kuznetsov. Russian, who is one of us. M., 2018. MARX R. LE SALON D'Automne // Revue Universelle. 1904. No. 123. Décembre. P. 643-646. Apollinaire G. Le Vingtième Salon De La Nationale // L'Intransigent. 1910. 19 Avril. P. 2. Thiébault-Sisson F. Le Salon De La Société Nationale // Le Temps. 1920. 27 Avril. P. 3. Thiébault-Sisson F. Les Salons De 1921. Société National Des Beaux-Arts // Le Temps. 1921. 20 Avril. P. 3. Thiébault-Sisson F. Le Salon De La Société Nationale // Le Temps. 1931. 13 MAI. P. 4.

Kuznetsov Konstantin Konstantinovich Born on April 16, 1895 in St. Petersburg (according to other data, Voronezh) - Schedule, painter.

From the family of the teacher and teacher of the gymnasium. Member of the First World War. In 1920, after execution of the Father Bolsheviks (according to some information, the murder was criminalized), ran to the south of Russia, where he joined the voluntary army. At the end of 1920 evacuated along with its parts from the Crimea to the Kingdom of Serbs, Croats and Slovenians.

Some time lived in the city of Panchevo near Belgrade; Attended painting and drawing courses. Performed posters for a Matich Universal Store in Belgrade. Engaged in book graphics, created cartoons and posters.

Acquired broad European fame as a comic book: In 1937-1941, I completed 26 comics for the Belgrade magazine "Mika Mishe" ("Mickey Mouse") A. Ivkovich; Among them comics of mystico adventure genre: "Countess Margo", "Baron Vampire (both - 1939)," Three Life "(1940)," Stamp Death "(1941); based on Russian literature: "Haji Murat" on L. N. Tolstoy (1937-1938), "Night before Christmas" on N. V. Gogol, "Peak Lady" according to A. S. Pushkin (both - 1940) and Others. In 1940-1941, a comic "Peter Great" comics published in the magazine "Politician" and comics for the fairy tales A. S. Pushkin "Tale of the Tsar Saltan" and "Tale of the Golden Cockerel", which affected the influence of the style of book graphics I. Ya. Bilibin. The author of the comic "Saintbad-Sea - Khan", "Descendant of Chingiz-Khan", "East Express", "Ali Baba and 40 Robbers" and others who were published not only in Serbia, but also in French magazines "Gavroche", "Jumbo" , "Aventures", "Le Journal de Toto", "Les Grandes Aventures". Enjoyed the pseudonyms Steav Doop, K. Kulig, Kistochkin, Kuzya, K.

During the fascist occupation of Belgrade (1941-1944), anti-Semitic and anti-communist posters were performed for the "Southeast" publishing house. Collaborated in the propaganda department "S"; Illustrated propaganda brochures. He released a political comic "History of the Unhappy King", the main actors of which were Kings of Yugoslavia Alexander I Karageorgievich (old king) and Peter II Karageorgievich (young king), W. Churchill (nobleman of the evil lord), I. Broz Tito (Robber), I. Stalin (North Blood Lord). As a cartoonist collaborated in the humorous magazine "Bodljikavo Prase" ("Dikifu"), "Mali Funnik".

In the fall, 1944 fled from Yugoslavia; He fell into the camp for displaced persons in Austria. In 1946, it was in the camp in the suburb of Munich, where she made a cover to the magazine "Lights" (1946, No. 1). Drew caricatures for the humorous magazine Peresterka. Composed and illustrated the Edition of the Ice Hike, dedicated to the 1st campaign of the Volunteer Army of General L. G. Kornilov to Kuban (1949).

Around 1950 left in the United States. Continued to work as an illustrator, wrote machine paintings, icons. Performed watercolors for Russian topics for Christmas cards and calendars of the New York Publisher Martyanov. In 1970, the Edition of the Baptism of Russia "was issued in Canada with his illustrations (reprint - M., 1988).

Creativity is represented in the historic archive of Belgrade, the Russian Cultural Center in San Francisco.

Troika and Sleds Outside The Kremlin Gates

The Kremlin ON BUSY MORNING

View of the Kremlin, Moscow

Night Views of the Kremlin

Winter Market.

Winter Market.

TSAR SULTAN "S Warning

Sunset On The River

Taking A Walk, 1930-1940s

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Today is the birthday of the Illustrator artist Konstantin Vasilyevich Kuznetsova (1886-1943). Talented schedule, engraver, draftsman, he did not receive a special art education. The engraving techniques studied independently, took lessons at a cousin brother, schedule L.F. Vysyannikov, in the future he worked mainly in the technique of engraving on cardboard invented. The first drawings were published in 1913 in the magazine "New Satirikon". In the mid-1910 he left Petrograd to the Caucasus, collaborated in the Caucasian "Growth windows". From 1922 he lived in Moscow. He worked at the Museum of Children's Book. Illustrated the collections of fairy tales for the "Dethyza", based on the illustrations created machine lithographs, published by the MTX top workshop.
Konstantin Kuznetsov created its unique and recognizable image of the children's book of Russia 20-40-г. Twentieth century. Special and main place in his work occupy illustrations for Russian folk tales. "Kolobok", "Repka", "Wolf and Seven Goat", "Ivan-Tsarevich and Gray Wolf", "Teremok", "Ivan - Cow Son", "On Multinal Apples and Live Water", "Squa-Burka " - Here is just a small list from a huge list of Russian fairy tales. In total, the master illustrated about two hundred editions. Here is a bibliography of books with his illustrations. Not one generation of children in our country has grown on them ...
I, unfortunately, books with the illustrations of Konstantin Kuznetsova, almost no. But for sure someone will be reprinted))

My books have it a bit -

Volga Pier. Illustration for the book. 1920s.

Biography

Konstantin Vasilyevich Kuznetsov (1886-1943) - artist, engraver and illustrator.

Born in the peasant family. In adolescence served as a customer in forest fishery. Engaged in drawing and engraving independently, did not receive artistic special education. Attached some time in the drawing school of the Society for the Promotion of Arts. He studied in St. Petersburg at the Psychoneurological Institute.

In 1913, his first illustrations were published in the magazine "New Satirikon". Collaborated with the magazines Apollo and Russian Icon. Kuznetsov was also fascinated by folk art, performed sketches of handicraft toys. After the revolution, he began to head the glassmogram department in the "Cavrost windows".

In 1923, he took part in the polar expedition on the coast of the Arctic Ocean. In the 1930s, he was headed by a children's visual circle in the propaganda department of the Children's Book of the Museum of Folk Education of the Russian Federation.

Engaged in machine, book, magazine graphics. Worked in techniques of xylography, glassmograms, lithographs, linographs, monotypes; Developed a method of engraving with a dry needle in cardboard with tint watercolor or pastel. Drew watercolor, gouache, ink.

Collaborated with the magazines "Red Niva", "Cheerful pictures", "Murzilka"; Publishing houses "GIZ", "Detgiz", "Young Guard", "Peasant Gazeta", "True", "Soviet writer", etc. A total of more than 200 books issued.

"The life-affirming feeling of peace, a wide and beneficial appeal to reality gave the children's book not only the solid soil, but also greater spirituality. She, of course, appeared not in all books, but we feel joyful creative excitement in a very wide range of illustration cycles of that time, and it was really wide, covered the most diverse genres, right up to the fairy tale. Updating fabulous images illustration - the merit of Konstantin Vasilyevich Kuznetsov. It is amazing that the exclusive talent talent dating revealed for everyone, and to some extent for himself, when the artist has been almost 50 years old. If the input fell very successfully guessed the hidden capabilities of young artists, the Moscow edition showed amazing sensitivity to the deep personal parties to donate the already established masters. So it was with Rodionov and Rylovy, but the example of Kuznetsov is particularly interesting. After all, for him, work in the children's book has long been the main profession. His profile, the range of works, the love of pioneer, geographical, historical themes very much reminded. His illustrations include many of the most interesting books of the 20s and 30s: "Pioneers" A. Barto (1926), Berco Cantonist S. Grigorieva (1929), "Tales of My Life" A. Yakovlev (1927), "Wandering School" L. Kassille (1932). He illustrated and Powesta, and Gaidar, and Privina, and an animal book, and books for small ("Toys" Barto, 1936), even made self-makers toys; He had such artistic fortunes as a story about the strongest, grateful and debris pioneer ("Volodya Ermakov" A. Intraved, 1935). But until 1935, he did not illustrate fairy tales. Meanwhile, it would seem that all it was prepared for this.

Kuznetsov was born in the family of a peasant - the hereditary height of the forest - in the deaf volunteral village, since childhood he heard folk legends, saw the products of folk craftsmen, wandered with a gun on the forests and swamps, swimming together with sprayers. In 1935, he illustrated the collection of Russian fairy tales in the processing of Bulatov, and then a collection of fairy tales collected and treated with A. N. Tolstoy. The writer watched the work of the artist with great interest and, apparently, helped him very much. Kuznetsova style - illustrator fairy tale has developed almost immediately. He was already an experienced painter and an animal painter, knew the century-old structure of the Russian village well, perfectly felt and understood the Russian wooden architecture. It was worth reproducing anything to him in his fabulous paintings a poetry of a mysterious deaf boron or a harmony of fun puzzled each other near a friend of wooden chokes and terems with the surrounding landscape, transfer the Fox or Wolf habits, to make them alive participants in the actions of a fairy tale without underlined "aligning", without dressing up in peasant Suits. Illustrated the folk folklore for kids, and his interpretation of fairy tales, songs, sweatshops, proverbs in the spirit of the visual folklore was natural in this case. Most fairy tales illustrated by Kuznetsov were designed for children of younger school age or in senior preschoolers, from here a completely different thematic and shaped range of its drawings.

The connection practiced in the 1930s in one book of the drawings of Kuznetsov and Vasnetsov was, as it was already wrote about this, nonsense, who walked both artists. Meanwhile, they have a lot in common. Both had an organic understanding of the fairy tale as a special world, a fantastic reality with a special fabulous atmosphere. Kuznetsov is no less decorative in its fast, lightweight and patterned stroke, in combination of few, but very ringing color spots. His lines and color have no less emotional expression. Nevertheless, both artists illustrate different fairy tales and different things in a fairy tale, contact different readers. Vasnetsov has very bright life observations, from which he comes, accommodate in a conditioned fantastic world, where everything lives on conditioned fantastic laws. Kuznetsova has a fabulous world lives and is composed according to the laws of life. Illustrations of the other correspond to different levels of the child's thinking. The baby is more rejoicing a chock, wrapped in bright loskutka than the most natural, fashionable dressed doll: Churka excites his fantasy more. The child of 6-8 years already comes into other relations with the world. Everything worries him, he wants to see everything and feel, he everything worries with the heroes of fairy tales - ready to dance together with Ivanushka, shouting with Masha when a bear takes her; He enjoys feeling himself a resident of a fabulous city. And Kuznetsov does not deceive his reader. Both the city, and the village and the forest live in his extraordinary, exciting and still very understandable life; Naturally, even the fantastic part looks like, for example, the radiance, emanating from the horse-fried horse, pushing the horse.

Kuznetsov is also nation in spirit, like Vasnetsov, but completely in another way.

He illustrates a Russian fairy tale as a page of an old national history, folk life. And in this sense, he continues the best traditions of Polenova and Malyutina. But as a person of the 30s, which did not know the historical limitations of artistic thought, he does not need stylization; He takes a fabulous world as his folk world without the slightest alienation and exotic. For Kuznetsova, a folk tale is part of his soul, he makes an illustration of a genuine poetry of feelings, bold romance of nature, combined with the realistic reliability of household details and human relationships. Kuznetsov thinks wide spatial compositions that accommodate a large natural and architectural background. In his fabulous cities, life boils, the streets are filled with the people, the carts harvested by the bunny horses, the ovens are drunk in the houses. Even the fluger on the tent towers is spinning in the wind, and it seems that people have just moved away from the boat tied to the shore (illustration to the fairy tale "Man and Bear"). This is a living and very dynamic feeling of fairy tales as the pages of the people's past was new in the art of children's illustration and very closely stood for the art of cinema. It is not by chance that Kuznetsov subsequently made excellent drawings for the animated film "Tale of Tsar Saltan" (published as illustration in 1946). Here are especially sunny and joyful paints, especially the characters, are real and fantastically festive buildings. Aspects and angles are chosen so that the involvement of the viewer to the fabulous world increases: we seem to look with the gallery on the Timing Hall of Saltan and rose with Gvidon, but a steep staircase in a sparkling white palace in the sun. "

(c) Ella Zinovievna Gankina "Russian artists of children's book" (1963)