A series of lithographs by Alexei Fedorovich Pakhomov "Leningrad in the days of the siege and war (Leningrad Chronicle)" was created in those war years. The artist did not leave the besieged Leningrad.
Seeing off to the front. 1941.
For water. 1942.
In the lesion focus. 1942.
To the hospital. 1942.
Cleaning up the city in 1942. 1942.
Quiet on the Champ de Mars. 1943 year. 1944.
Bricklayers (On the Kryukov Canal). 1944.
BASED ON THE BOOK:
ALEXEY FEDOROVICH PAKHOMOV: Exhibition of paintings and graphics: catalog. - Moscow: Fine Arts, 1981 .-- 95 p.
Circulation 4000 copies.
FROM THE MEMORIES OF A. PAKHOMOV:
"In the work on the blockade series, I did very few sketches from nature. I observed and remembered more. At first there was no permission to sketch, and when permission was obtained, it was not so easy to dare to draw. The population pounced on the drawing artist with such distrust and anger. , seeing in him a saboteur and a spy, that the drawing turned into a continuous explanation. Some military man approached and reassured the mistrustful that the certificate for the sketches was real and not fake. But the military and the calmed ones left, new passers-by appeared, and again it was But the main reason, of course, was not these difficulties, it was just that the events were so significant that it seemed to me that they should not be reflected in light sketches, but in the most monumental form (within the bounds of graphic art): elaborate large format print ...
Through observation and reflection, this or that idea of \u200b\u200bcomposition arose, and I proceeded to its implementation without preliminary sketches. And already in the process of execution, I turned to nature in order to make the characters and the landscape alive and convincing ...
I wanted to portray everything new that the war and the blockade brought with me. The appearance of Leningrad streets was unusual, trams, buses, cars disappeared, there were few passers-by, snowdrifts appeared; where there was always swept asphalt, there were people with children's sleds carrying various luggage, people in fur coats and felt boots on bicycles ... "
An excerpt from A. Pakhomov's book "About his work" (L., 1971) was published in the journal "Children's Literature" (1975. - No. 5.)
Alexey Pakhomov(1900-1973)
Born into a peasant family. Early discovering a craving for art, he came to Petrograd in 1915 with money raised by benefactors. Due to the events of the revolution and the civil war, the study was delayed, and he finished it only in 1925 in Vhutein, but very quickly acquired a reputation as a mature master.
Having managed to consistently go through all the tests of modern art trends, up to the most extreme, he strove to combine the widely understood tradition of painting with the conquests of art of the 20th century.
Beautiful in color, refined in skill, monumental in structure, the artist's sublime ideas about man were invariably embodied ("Worker", 1926; "Bathing Girl", 1927; "Peasant Boy" and "Reaper", both 1929; "Friends", 1930). A continuation of these paintings was a series of paintings from the early 1930s. "In the Sun" ("Sisters", "Bather", "At the Peter and Paul Fortress", etc.), in which the theme of the naked body was treated with chaste poetry; he repeated some of these subjects in lithographic prints.
Along with painting and easel graphics, Pakhomov was engaged in illustrating books for the children's and youth literature department of the State Publishing House. The artist's favorite themes were the life of children and the life of the Russian village ("The Master" by S. Ya. Marshak, 1927; "Bucket" by E. L. Schwartz, "Spit" by G. A. Krutov, both 1929; "How Sanka was brought to the hearth" L. A. Budogoskoy and "The Ball" S. Ya. Marshak, 1933). Already at the end of the 1920s. he was among the best illustrators of children's books.
His main merit was overcoming the common standards of the conventional - puppet-sugary or caricature - the image of children. His charming characters were invariably distinguished by psychological authenticity and social concreteness.
In the first half of the 1930s. The increasingly complicated ideological situation, in particular the campaign to combat "formalism," put Pakhomov in a difficult situation: his paintings increasingly became the object of attacks. Not wanting to compromise on creative principles, he decided to abandon painting altogether and even abandoned color in his book and easel graphics, focusing exclusively on drawing.
The excellent and original skill of the draftsman faithfully served him both in illustrations for books ("Bezhin Meadow" by I. S. Turgenev, 1936; "Frost, Red Nose" by N. A. Nekrasov, 1937), and in lithographic prints (series "Leningrad Palace pioneers ", 1939-40). Pakhomov spent the war in the besieged city, without interrupting work, the result of which was the famous series of lithographs "Leningrad in the days of the siege" (1942-44). However, in his subsequent works - in the series "In Our City" (1945-48), in book illustrations - frightening dryness and verbosity began to be found - the result of dogmatic ideas that were forcibly introduced in the postwar years.
Having reached a high degree of official recognition by that time, Pakhomov nevertheless retained a sober attitude towards his art and with the beginning of the "thaw", some liberalization of public life in the 1960s, began to make attempts to update it - he returned the color and some techniques to the graphics of his early works, but he could no longer make a serious turn in his work.
Gallery:
Philippok
From open source networks:
From the gallery in Kharovsk
Alexey Fedorovich Pakhomov became famous as an artist depicting children. His illustrations to the poems of S. Marshak, V. Mayakovsky, S. Mikhalkov, as well as to the works of I. Turgenev "Bezhin Meadow", N. Nekrasov "Frost, Red Nose", to the collection of stories by L. N. Tolstoy "Filippok . Pages from the alphabet ", etc. For many years AF Pakhomov collaborated with the children's magazines" Chizh "," Ezh "and" Koster ". The artist's skill and love for children made his work deeply meaningful and moving. Knowledge of children's life, observation, clear drawing helped him create memorable images of children.
AF Pakhomov rarely used color. This tendency manifested itself in drawings for "Bezhin Meadow". In almost all sheets, a simple graphite pencil is combined with a sanguine. Night landscapes use a general light color lining, while others use shading.
AF Pakhomov paid great attention to the study of the life of children. The concreteness and emotionality of the images perfectly corresponded to child psychology with its immediacy and liveliness of perception and became one of the specific features of book graphics for children. The artist is attracted by the psychological, rather than everyday, authenticity of the image. The children depicted by Pakhomov are inquisitive and trust the world. They are interested in everything. The illustrations were distinguished by a variety of compositional solutions.
Later, A. F. Pakhomov created various versions of illustrations for "What is good and what is bad?" V. Mayakovsky. A significant phenomenon in illustration were Pakhomov's drawings for this work, published in the 1964 edition. The artist strove for greater integrity, using sanguine and one or two colored pencils, enriching his favorite style of drawing with a colored stroke.
AF Pakhomov created in illustrations real and very attractive images of children, which are remembered for a long time and fascinate the reader.
Marshak S. Ya. For children: Poems, fairy tales, riddles, English songs/ S. Marshak; Artist. V. Konashevich, V. Lebedev, A. Pakhomova, E. Charushin.-Bm: Planet of childhood, 2000. - 165, p. : ill.- (Masters of illustration)
Tolstoy L. N. Alphabet: pages from "ABC"/ L. N. Tolstoy; fig. A.F. Pakhomova.-L .: Det. lit, 1990 .-- 165, p. : ill.- (Masters of illustration)
Kozlov Yu.V. Swing in the Pushkin Hills: Stories and a Novel / Yu.V. Kozlov.-L .: Det. lit, 1984 .-- 165, p. : ill.- (Masters of illustration)
Artist's works
A.F. Pakhomov was born on September 19 (October 2) 1900 in the village of Varlamovo (now the Vologda Region). From an early age he showed the ability to draw. With the active assistance of representatives of the local nobility (son and father of the Zubovs), he was sent first to the Primary School in the city of Kadnikov, and then in 1915 to Petrograd at the School of Drawing of Baron Stieglitz.
In the school, Pakhomov enters the workshop of N.A. Tyrsa, and after serving in the army, he goes to the workshop of V.V. Lebedev. Numerous avant-garde trends that prevailed in the first quarter of the 20th century had a noticeable impact on teachers and, accordingly, the educational system at the school. According to the recollections of Pakhomov himself, Tyrsa often proved that Pakhomov was a prisoner of the past, a prisoner of old, routine artistic concepts. The slogans that reigned in the school speak of the slogans printed in large letters across the entire width of the page in the newspaper "Art of the Commune": "We are beautiful in relentless betrayal of our past", "To destroy is what it means to create, for by destroying we overcome our past", "The proletarian is the creator of the future, not the heir of the past."
Having consistently passed through hobbies for modern trends, Pakhomov nevertheless retained his commitment to realistic art. This was especially evident in his pencil sketches, which Pakhomov himself did not appreciate, considering them auxiliary material for future work. However, his teachers Tyrsa and Lebedev, despite their critical attitude to traditional art, convinced Pakhomov that these sketches were independent works. For Pakhomov, this played a significant role in the formation of his own artistic language.
In the 1920s, he was a member of the Leningrad art association "Circle of Artists", aesthetically close to the Moscow OST.
In 1936, with the spread of offset printing, Pakhomov managed to persuade the publishers to try to make an offset printing plate from pencil drawings. As a result, Marshak's "Schoolmates" book with illustrations by Pakhomov was published. After that, Pakhomov began to illustrate books mainly in his favorite pencil manner.
Pakhomov survived the war in besieged Leningrad. The result was a dramatic series of lithographs "Leningrad in the days of the siege" (1942-1944).
Since 1942 he taught at the Ilya Repin Institute of Fine Arts (since 1949 - with the rank of professor). Collaborated in children's magazines "Chizh", "Ezh", "Koster".
By the early 1960s, having reached a high degree of official recognition, Pakhomov, nevertheless, felt the need to update his pictorial language. The impetus for this was the jubilee personal exhibition held in 1961 at the State Russian Museum, at which Pakhomov's early color illustrations aroused great interest. After that, he decides to use color in the illustration again, returns to some of his own techniques, developed in the 20s. As a result, books with color illustrations are published - "Lipunushka" by L. N. Tolstoy (colored pencil), "Grandmother, granddaughter and chicken" (watercolor) and others.
There are well-known pictorial and graphic portraits of A.F. Pakhomov, executed in different years by Leningrad artists, including Pen Varlen (1963).
Alexey Fyodorovich Pakhomov died on April 14, 1973. Buried in Leningrad at the Theological cemetery.
“After the publication in 1927 of the first joint book by S.Ya. Marshak and A.F. Pakhomova, Marshak writes prophetic words to the artist: "Our carnival has not ended yet and we will have [...] other pancakes." And so it happened. In the 1930s, one after another published "Master Lomaster", "Quitters and a Cat", "Schoolmates", "Story of an Unknown Hero" and other books. They have a keen sense of life and time. Each of them carries in itself the joy of squeaking in this new field of art, born at that time in Leningrad - the art of Soviet books.
Alexey Fedorovich Pakhomov
"Alexey Fedorovich Pakhomov (1900-1973) - a brilliant draftsman and an excellent master of lithography. His bright artistic talent manifested itself in early childhood, when he began to portray his relatives. Popular prints hung in his father's house in the Vologda province had a great influence on him. At the insistence of art lover V.Yu. Zubov, a young artist, was sent to study in 1915 in Petrograd, at the Baron Stieglitz's School of Technical Drawing. There he enthusiastically drew plaster casts, tried his hand at the Italian pencil and ink technique ...
The children's theme in the work of Pakhomov did not appear by chance: when making sketches from nature, he often depicted children, caught in his pthe figures are plastically interesting poses and movements. The specificity of the children's book, its intelligibility for the mind and accessibility for the child's eye presented its requirements to the artist. "Graphic painting" in the artist's works turns into "pictorial graphics". For the new task of decorating books, Pakhomov chooses the technique of sketching from nature, rarely using color. He seeks to individualize the image, focuses the reader's attention on the gestures and facial expressions of the hero ...
Pakhomov's childhood images remain touching and spontaneous. Illustrations to the works of S.V. Mikhalkov, V.A. Oseeva, L.N. Tolstoy's 1950-70s demonstrate not only the artist's subtle observation skills, but also an amazing knowledge of child psychology. For several generations of children, the books illustrated by Pakhomov became the first guide to life. The easily remembered heroes of children's books drew them into the world of poetry and prose of the Soviet era. "/ N. Melnikova /
Alexey Tolstoy "Nikita's Childhood". Artist A. Pakhomov. Detgiz - 1959.
And also very interesting him ... here is an excerpt ..
".. In the book graphics classes with S. Chekhonin, I was completely not for long. But one piece of advice made a great impression on me. The artist suggested writing fonts (it was about a book cover) immediately with a brush, by eye, without preliminary marking in pencil ("like an address on an envelope"). It was necessary to develop such accuracy of the eye in order to accurately fit into the allotted space and accurately determine the size of the first letter by sniper. The unshakable law of the art school is to start drawing from the general silhouette of the object and consistently move on to large and then small parts, details of the general. Chekhonin's advice to start with a detail (with a letter), and even with a brush and ink, when a mistake cannot be erased and corrected, seemed unexpected and daring to me.
Gradually, I developed such an eye that, starting with the eye, I could depict the whole figure and composition in the allotted space ... "
