Kuznetsov konstantin vasilievich artist. Konstantin Kuznetsov. French impressionist from Chernorechye

Original taken from yzhka to Konstantin Kuznetso

Today is the birthday of the illustrator Konstantin Vasilyevich Kuznetsov (1886-1943). A talented graphic artist, engraver, draftsman, he did not receive a special art education. He studied engraving techniques on his own, took lessons from his cousin, graphic artist L.F. Ovsyannikov, and later worked mainly in the technique of engraving on cardboard that he invented. The first drawings were published in 1913 in the New Satyricon magazine. In the mid-1910s he left Petrograd for the Caucasus, collaborated in the Caucasian "ROSTA Windows." From 1922 he lived in Moscow. He worked in the children's book museum. He illustrated collections of fairy tales for "Detgiz", based on illustrations he created easel lithographs published by the MTKh print shop.
Konstantin Kuznetsov created his own unique and recognizable image of a children's book in Russia in the 1920s and 1940s. XX century. A special and important place in his work is occupied by illustrations for Russian folk tales. "Kolobok", "Turnip", "The Wolf and the Seven Kids", "Ivan Tsarevich and the Gray Wolf", "Teremok", "Ivan - the Son of a Cow", "About rejuvenating apples and living water", "Sivka-b urka " - 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. More than one generation of children in our country grew up on them ...
Unfortunately, I have almost no books with illustrations by Konstantin Kuznetsov. But surely someone will republish))

I have a bit of his books -

Volga pier. Illustration for the book. 1920s

From a peasant family. In his youth, he served as a sales clerk in the forestry in Vetluga. He did not receive a systematic art education, he was engaged in drawing and engraving under the guidance of his cousin L. F. Ovsyannikov.

He studied in St. Petersburg: in a private gymnasium, after that - at the Psychoneurological Institute (did not graduate). At the same time, he attended classes at the Drawing School of the Society for the Encouragement of Arts for a short time.

In 1913 he made his debut as an illustrator in the New Satyricon magazine. Collaborated in the magazines Apollo and Russian Icon. Placed cartoons of artists in theater programs.

In those same years he became interested in folk art; made sketches of handicraft toys (ladies, Cossacks, generals, horses), which, with the assistance of L. F. Ovsyannikov, showed at the exhibitions of the Independent Society in Paris (1910-1913).

In 1913, due to a serious illness and on the orders of doctors, he was forced to leave Petersburg, lived for some time in Moscow and the Crimea, then moved to Pyatigorsk. He served at the telegraph station. He became close to the artist P. A. Alyakrinsky. After the October Revolution, he was in charge of the glass printing department at Windows Kavrost.

In 1922 he moved to Moscow. In 1923 he took part in a polar expedition to the coast of the Arctic Ocean and to Novaya Zemlya. In the first half of the 1930s, he was in charge of the children's art circle at the Department of the Promotion of Children's Books of the Museum of Public Education of the RSFSR.

He was engaged in easel, book, magazine graphics. He worked in the techniques of woodcut, glass printing, lithography, linocut, monotype; developed a method for engraving with a dry needle on cardboard with tint with watercolors or pastels. He painted with watercolors, gouache, ink (brush or pen).

As an illustrator he collaborated in the magazines "Krasnaya Niva", "Veselye kartinki", "Murzilka". He designed books for the publishing houses "GIZ", "Detgiz", "Young Guard", "Krestyanskaya Gazeta", "Pravda", "Soviet Writer" and others.

He made illustrations for many books by Ya. P. Meksin: Komar-Komarishche (1924), Cat-Worker (1925), Construction, How Dad Wore Tanya (both - 1926), The Gray Utushka ( 1927), "Trouble", "Who dared, then ate", "Kartaus" (all - 1928), "Hold on, do not lag behind" (1929), "Self-made", "Potatoes", "Zinkin pictures" (all - 1930); A. L. Barto: Pioneers "(1926)," Toys "," Stars in the Forest "(both - 1936)," Two Notebooks "(1941)," Flashlight "(1944).

He designed the books: "Mokhnach" by V. V. Bianchi (1927), "Filippok" by L. N. Tolstoy (1929), "Volodya Ermakov" by A. I. Vvedensky (1935), "Nightingale" by G.-Kh. Andersen (1936), "Taman" by M. Yu. Lermontov (1937), "The Tale of the Golden Cockerel" (1937), "The Tale of Tsar Saltan" (1939), "Ruslan and Lyudmila" (1943) by A. Pushkin , "The Scarlet Flower" by S. T. Aksakov (1938), "The Tale of the Stupid Mouse" by S. Ya. Marshak (1938), "Sasha" by N. A. Nekrasov (1938), "Stories" (1938), "Lisichkin bread "(1941) M. M. Prishvin," The fate of the drummer "A. P. Gaidar (1938, 1939)," Summer days "(1937)," Tenants of the old house "(1941) G. K. Paustovsky," Malachite casket "P. P. Bazhov (1944) and others.

Completed the design of many fairy and poetry collections for children: "Russian folk tales" (1935), "Geese-swans" (1937), "Christmas tree" (1941), "New Year" (1943), "Winter animals" (1944) ; individual editions of Russian folk tales: "Ryaba Hen" (1936), "Kolobok", "Little Fox and a Wolf" (1937), "Turnip" (1938), "Frog Princess" (1944). Together with the artist E. M. Sonnenstral he created the book "The Printer" (1932).

In total, he designed over 200 books; many of them have undergone numerous reprints both during the artist's lifetime and after his death.

Author of a series of easel lithographs "Dolls", "Ivan Tsarevich and the Gray Wolf", "Ivan - the Son of a Cow", "On Rejuvenating Apples and Living Water", "Sivka-Burka"; anti-fascist prints and drawings on the theme of the Spanish Civil War, the cycle of drawings "Ancient Rus" (1933), humorous series of drawings "Brem Inside Out" (1939-1940), "The Adventures of Babay" (1942-1943).

He was engaged in the design of animated films "Aibolit" (1938), "The Tale of Tsar Saltan" (1939), "Mallet" (1940).

Since 1910 - participant of exhibitions. Exhibited at the following exhibitions: the 1st State Free Exhibition of Works of Art (1919), “Russian Woodcut for 10 Years. 1917-1927 "(1927) in Petrograd - Leningrad; the United Art group (OBIS, 1925), the Association of Graphic Artists (1926), Soviet color engraving (1937), the All-Union Exhibition of Children's Literature and Children's Book Illustrations (1938) in Moscow; the international exhibition "The Art of the Book" in Leipzig (1927); Soviet graphics in Helsinki, Tallinn, Stockholm, Gothenburg (1934), London (1938), New York (1940) and others.

Experimental methods of Kuznetsov's work in engraving were devoted to the exhibition "New Methods of Hand Printing in Printing Industry", which was organized by the art critic A. V. Bakushinsky in the halls of the State Tretyakov Gallery (1933).

A memorial exhibition of works was held in Moscow (1949).

The monograph of M.Z.

Works are in many museum collections, including the Pushkin Museum im. A.S. Pushkin.

Kuznetsov Konstantin Konstantinovich born on April 16, 1895 in St. Petersburg (according to other sources, Voronezh) - Graphic artist, painter.

From the family of a teacher and a gymnasium teacher. Member of the First World War. In 1920, after the execution of his father by the Bolsheviks (according to some information, the murder was of a criminal nature), he fled to the south of Russia, where he joined the Volunteer Army. At the end of 1920 he was evacuated together with its parts from the Crimea to the Kingdom of Serbs, Croats and Slovenes.

For some time he lived in the town of Pancevo near Belgrade; attended painting and drawing courses. Designed posters for the Matic department store in Belgrade. He was engaged in book graphics, created cartoons and posters.

He gained wide European fame as an author of comics: in 1937–1941 he made 26 comics for the Belgrade magazine Mika Mish (Mickey Mouse) by A. Ivkovic; among them are comics of the mystical adventure genre: "Countess Margot", "Vampire Baron (both - 1939)," Three Lives "(1940)," The Mark of Death "(1941); based on Russian literature: "Hadji Murad" after Leo Tolstoy (1937-1938), "The Night before Christmas" after Nikolai Gogol, "The Queen of Spades" after Alexander Pushkin (both - 1940) and other. In 1940-1941 he published in the magazine Politikin Zabavnik the comic book Peter the Great and comics based on the tales of Alexander Pushkin, The Tale of Tsar Saltan and The Tale of the Golden Cockerel, in which the influence of the style of book graphics by I. Ya. Bilibin. Author of comics "Sinbad the Sailor", "Descendant of Genghis Khan", "Oriental Express", "Ali Baba and 40 robbers" and others, which were published not only in Serbia, but also in the French magazines "Gavroche", "Jumbo" , "Aventures", "Le journal de Toto", "Les grandes aventures". He used the pseudonyms Steav Doop, K. Kulig, Kistochkin, Kuzya, K.

During the fascist occupation of Belgrade (1941–1944) he made anti-Semitic and anti-communist posters for the Yugo-Vostok publishing house. Collaborated in the "S" propaganda department; illustrated propaganda brochures. Released the political comic strip "The Story of the Unhappy King", the protagonists of which were the kings of Yugoslavia Alexander I Karageorgievich (Old King) and Peter II Karageorgievich (Young King), W. Churchill (Nobleman of the evil ruler), I. Broz Tito (Robber), I. Stalin (Northern bloody ruler). As a cartoonist, he collaborated in the humorous magazine Bodljikavo prase (Porcupine), Mali the funnier.

In the fall of 1944 he fled from Yugoslavia; ended up in a camp for displaced persons in Austria. In 1946 he ended up in a camp on the outskirts of Munich, where he designed the cover for the magazine Ogni (1946, No. 1). He drew cartoons for the comic magazine "Petrushka". Compiled and illustrated the publication "Ice Campaign", dedicated to the 1st campaign of the Volunteer Army of General LG Kornilov in the Kuban (1949).

Around 1950 he left for the United States. He continued to work as an illustrator, painted easel paintings and icons. He performed watercolors on Russian themes for Christmas cards and calendars of the New York publisher Martyanov. In 1970, the publication "The Baptism of Rus" with his illustrations was published in Canada (reprinted - M., 1988).

Creativity is presented in the Historical Archives of Belgrade, the Russian Cultural Center in San Francisco.

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TSAR SULTAN "S WARNING

SUNSET ON THE RIVER

Taking a Walk, 1930-1940s

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Kuznetsov Konstantin Vasilievich (1886 -1943) - graphic artist. He attended classes at the Drawing School of the Society for the Encouragement of Arts. In 1913 he made his debut as an illustrator in the New Satyricon magazine. Collaborated in the magazines Apollo and Russian Icon. Placed cartoons of artists in theater programs. In those same years he became interested in folk art; made sketches of handicraft toys (ladies, Cossacks, generals, horses), which, with the assistance of L. F. Ovsyannikov, showed at the exhibitions of the Independent Society in Paris (1910-1913). In 1913 he lived in Moscow and the Crimea, then moved to Pyatigorsk. He served at the telegraph station. He became close to the artist P. A. Alyakrinsky. After the October Revolution, he was in charge of the glass printing department at Windows Kavrost. In 1922 he moved to Moscow. In 1923 he took part in a polar expedition to the coast of the Arctic Ocean and to Novaya Zemlya. In the first half of the 1930s, he was in charge of the children's art circle at the Department of the Promotion of Children's Books of the Museum of Public Education of the RSFSR. He was engaged in easel, book, magazine graphics. He worked in the techniques of woodcut, glass printing, lithography, linocut, monotype; developed a method for engraving with a dry needle on cardboard with tint with watercolors or pastels. As an illustrator he collaborated in the magazines "Krasnaya Niva", "Veselye kartinki", "Murzilka". He designed books for the publishing houses "GIZ", "Detgiz", "Young Guard", "Krestyanskaya Gazeta", "Pravda", "Soviet Writer" and others. He made illustrations for many books by Ya. P. Meksin: Komar-Komarishche (1924), Cat-Worker (1925), Construction, How Dad Wore Tanya (both - 1926), The Gray Utushka ( 1927), "Trouble", "Who dared, then ate", "Kartaus" (all - 1928), "Hold on, do not lag behind" (1929), "Self-made", "Potatoes", "Zinkin pictures" (all - 1930); A. L. Barto: Pioneers "(1926)," Toys "," Stars in the Forest "(both - 1936)," Two Notebooks "(1941)," Flashlight "(1944). ~ Designed the books:" Mokhnach " V. Bianchi (1927), "Filippok" by L. N. Tolstoy (1929), "Volodya Ermakov" by A. I. Vvedensky (1935), "Nightingale" by G.-Kh. Andersen (1936), "Taman" by M. Yu. Lermontov (1937), "The Tale of the Golden Cockerel" (1937), "The Tale of Tsar Saltan" (1939), "Ruslan and Lyudmila" (1943) by A. Pushkin , "The Scarlet Flower" by S. T. Aksakov (1938), "The Tale of the Stupid Mouse" by S. Ya. Marshak (1938), "Sasha" by N. A. Nekrasov (1938), "Stories" (1938), "Lisichkin bread "(1941) M. M. Prishvin," The fate of the drummer "A. P. Gaidar (1938, 1939)," Summer days "(1937)," Tenants of the old house "(1941) G. K. Paustovsky," Malachite box "P. P. Bazhova (1944) and others. In total, he designed over 200 books; many of them have undergone numerous reprints both during the artist's lifetime and after his death. ~ Author of the series of easel lithographs "Dolls", "Ivan Tsarevich and the Gray Wolf", "Ivan - the Son of a Cow", "About rejuvenating apples and living water" , "Sivka-burka"; anti-fascist prints and drawings on the theme of the Spanish Civil War, the cycle of drawings "Ancient Russia" (1933), humorous series of drawings "Brem Inside Out" (1939-1940), "The Adventures of Babay" (1942-1943). He was engaged in the design of animated films "Aibolit" (1938), "The Tale of Tsar Saltan" (1939), "Mallet" (1940). ~ Since 1910 - participant of exhibitions. Exhibited at the following exhibitions: the 1st State Free Exhibition of Works of Art (1919), “Russian Woodcut for 10 Years. 1917-1927 "(1927) in Petrograd - Leningrad; the United Art group (OBIS, 1925), the Association of Graphic Artists (1926), Soviet color engraving (1937), the All-Union Exhibition of Children's Literature and Children's Book Illustrations (1938) in Moscow; the international exhibition "The Art of the Book" in Leipzig (1927); Soviet graphics in Helsinki, Tallinn, Stockholm, Gothenburg (1934), London (1938), New York (1940) and others. Experimental methods of Kuznetsov's work in engraving were devoted to the exhibition "New Methods of Hand Printing in the Printing Industry", which was organized by the art critic A. V. Bakushinsky in the halls of the State Tretyakov Gallery (1933). ~ The memorial exhibition of works was held in Moscow (1949). The monograph of M.Z. Works are in many museum collections, including the Pushkin Museum im. A.S. Pushkin.

Biography

Konstantin Vasilievich Kuznetsov(1886-1943) - artist, printmaker and illustrator.

Born into a peasant family. In his youth he served as a clerk in forestry. He was engaged in drawing and engraving on his own, he did not receive an art special education. Attended for some time classes at the Drawing School of the Society for the Encouragement of Arts. He studied in St. Petersburg at the Psychoneurological Institute.

In 1913, his first illustrations were published in the New Satyricon magazine. Collaborated with the magazines Apollo and Russian Icon. Kuznetsov was also fond of folk art, made sketches of handicraft toys. After the revolution, he became the head of the glass printing department at the "Windows of Kavrost".

In 1923 he took part in a polar expedition to the coast of the Arctic Ocean. In the 1930s, he was in charge of a children's art circle at the Department of Children's Book Promotion of the Museum of Public Education of the Russian Federation.

Collaborated with the magazines Krasnaya Niva, Vesyolye Kartinki, Murzilka; publishing houses "GIZ", "Detgiz", "Young Guard", "Krestyanskaya Gazeta", "Pravda", "Soviet Writer" and others. In total, he designed more than 200 books.

“The life-affirming sense of the world, a broad and beneficial appeal to reality gave the children's book not only solid ground, but also great spirituality. It, of course, did not appear in all books, but we feel joyful creative excitement in a very wide range of illustrative cycles of that time, and it was really wide, covering a wide variety of genres, including fairy tales. The renewal of the fairy-tale images of the illustration is the merit of Konstantin Vasilyevich Kuznetsov. It is striking that the exceptional talent of Kuznetsov as a storyteller was revealed for everyone, and to some extent for himself, when the artist was almost 50 years old. If the editor was very successful in guessing the hidden possibilities of young artists, the Moscow editorial office showed an amazing sensitivity to the deep personal aspects of the talent of already established masters. This was the case with Rodionov and Rylov, but Kuznetsov's example is especially interesting. After all, for him work in a children's book has long been the main profession. His profile, range of works, love of pioneering, geographical, historical themes were very reminiscent. Among his illustrations are many interesting books of the 1920s and 1930s: "Pioneers" by A. Barto (1926), "Berko-cantonist" by S. Grigoriev (1929), "Tales of My Life" by A. Yakovlev (1927), The Wandering School by L. Kassil (1932). He illustrated Paustovsky, Gaidar, Prishvin, an animalistic book, and books for little ones (“Toys” by Barto, 1936), even made homemade toys; he had such artistic successes as a story about the most powerful, courageous and dexterous pioneer ("Volodya Ermakov" by A. Vvedensky, 1935). But until 1935 he did not illustrate fairy tales. Meanwhile, it would seem, everything was preparing him for this.

Kuznetsov was born into the family of a peasant - a hereditary rafter of the forest - in a remote Zavolzhsky village, from childhood he heard folk legends, saw in everyday life the products of folk craftsmen, wandered with a gun through forests and swamps, swam with rafters. In 1935 he illustrated a collection of Russian fairy tales processed by Bulatov, and then a collection of fairy tales collected and processed by A. N. Tolstoy. The writer followed the artist's work with great interest and, apparently, helped him a lot. Kuznetsov's style as an illustrator of a fairy tale took shape almost immediately. He was already an experienced landscape painter and animal painter, knew well the age-old way of life of the Russian countryside, perfectly felt and understood Russian wooden architecture. It cost him nothing to reproduce in his fairy-tale paintings the poetry of a mysterious deaf forest or the harmony of wooden churches and small houses that are gaily piled up next to each other with the surrounding landscape, to convey the habits of a fox or a wolf, to make them live participants in the action of a fairy tale without emphasized "humanization", without dressing in peasant costumes. illustrated folklore for kids, and his interpretation of fairy tales, songs, nursery rhymes, proverbs in the spirit of fine folklore was natural in this case. Most of the fairy tales illustrated by Kuznetsov were designed for children of primary school age or older preschoolers, hence a completely different thematic and figurative range of his drawings.

The combination of drawings by Kuznetsov and Vasnetsov, practiced in the 30s, in one book was, as much has been written about this, nonsense that harmed both artists. Meanwhile, they have a lot in common. Both had an organic understanding of a fairy tale as a special world, a fantastic reality with a special fairytale atmosphere. Kuznetsov is no less decorative in his fast, light and patterned stroke, in a combination of few, but very sonorous spots of color. Its lines and color have no less emotional expression. And yet both artists illustrate different fairy tales and different things in a fairy tale, appeal to different readers. Vasnetsov's very vivid observations of life, from which he proceeds, fit into a conventional fantastic world, where everything lives according to conventional fantastic laws. Kuznetsov's fairy-tale world lives and is formed according to the laws of life. Illustrations of both correspond to different levels of the child's thinking. The kid is more pleased with the chock, wrapped in bright shreds than the most natural, fashionably dressed doll: the chock more excites his imagination. A child of 6-8 years old enters into a different relationship with the world. Everything worries him, he wants to see and feel everything, he experiences everything together with the heroes of the fairy tale - he is ready to dance with Ivanushka, scream with Masha when the bear carries her away; he enjoys feeling like a resident of a fabulous city. And Kuznetsov does not deceive his reader. And the city, the villages, and the forest live with him an extraordinary, exciting and yet very understandable life; even the most fantastic detail looks natural, for example, the radiance emanating from a horse that is heated up by a race, blazing with heat.

Kuznetsov is as national in spirit as Vasnetsov, but in a completely different way.

He illustrates the Russian fairy tale as a page of the ancient national history, folk life. And in this sense, he continues the best traditions of Polenova and Malyutin. But as a man of the 1930s, who did not know the historical limitations of artistic thought, he does not need stylization; he accepts the fairy-tale world as his folk world without the slightest alienation and exoticism. For Kuznetsov, a folk tale is a part of his soul, he brings to the illustration for it the genuine poetry of feelings, the bold romance of nature, combined with the realistic reliability of everyday details and human relationships. Kuznetsov thinks in broad spatial compositions that contain a large natural and architectural background. Life is in full swing in its fabulous cities, the streets are filled with people, carts drawn by lively horses carry hay, stoves are heated in houses. Even the weather vane on the hipped-roof towers are spinning in the wind, and it seems that people have just moved away from the boats tied to the shore (illustration for the fairy tale "The Man and the Bear"). This lively and very dynamic feeling of a fairy tale as a page of the people's past was new in the art of children's illustration and stood very close to the art of cinema. It is no coincidence that Kuznetsov subsequently made excellent drawings for the animated film "The Tale of Tsar Saltan" (published as illustrations in 1946). The colors are especially sunny and joyful here, the heroes are especially vital, the buildings are real and fantastically festive. Aspects and angles are chosen so that the viewer's involvement in the fairy-tale world increases: we seem to be looking from the gallery at Saltan's throne room and climb with Guidon but a steep staircase to the white-stone palace sparkling in the sun. "

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