Vera Ignatievna Mukhina - Soviet sculptor, People's Artist of the USSR (1943). The author of the works: "Flame of the Revolution" (1922-1923), "Worker and collective farmer" (1937), "Bread" (1939); Monuments of Gorky (1938-1939), Tchaikovsky (1954).
I am incomprehensible to our heroine with grandfather, Kuzma Ignatievich Mukhin. He was an excellent merchant and left his relatives a huge fortune, which made it possible to brighten up too happy childhood of the granddaughter of the windows. The girl has lost her parents early, and only the wealth of his grandfather, and the decency of the uncle allowed the faith and her older sister Mary not to learn the material adversity of orphanhood.
Vera Mukhina grew by Smirnaya, unfortunate, the lessons sat quietly, studied in the gymnasium approximately. No special dating showed, well, maybe just singing well, the occasion was made to the poems, and I got drawn with pleasure. And who from the cute provincial (faith grew in Kursk), the young ladies with the right upbringing did not show such talents to marriage.
Sisters decided to move to Moscow. In Moscow and began the ripening of the person and the talent of the future sculptor. It was not necessary to think that, without receiving proper education and education, faith changed like a magic wand. Our heroine has always been distinguished by the striking self-capacity, disability, diligence and passion for reading, and he chose for the most part of the book serious, not virgin. This is deeply hidden before the desire for self-improvement gradually began to manifest itself from the girl in Moscow. She is looking for a decent artistic studio, concerned about the creative gusts of Surikov or Polenov, which at that time still actively worked.
In the Studio of Konstantin John, the famous landscape player and a serious teacher, faith did easily: the exams did not need to take - pay and do, - but it was not easy to learn. Her amateur, children's drawings in the workshop of the real painter could not have endured any criticism, and ambition helped Mukhin, the desire to first taste her every day to a sheet of paper. She worked literally as a core. Here, in the studio of John, faith acquired its first artistic skills, but, most importantly, she had the first glimpses of their own creative personality and first addiction.
She was not attracted to work on color, almost all the time she gave the drawing, graphs of lines and proportions, trying to identify almost the primitive beauty of the human body. In her student work, the topic of admiration for power, health, youth, simple clarity of mental health sounded. For the beginning of the 20th century, such thinking of the artist, against the background of the experiments of surrealists, cubists, seemed too primitive.
Once the master asked the composition on the topic "Sleep". Mukhina painted the janitor who fell asleep at the gate. Jun will displeased in displeasure: "No science fiction." Perhaps the imagination at the restrained faith was not enough, but she was attended by her young burdens, admiration for the strength and courage, the desire to solve the mystery of the live body.
Without leaving John, Mukhina began to work in the sculptor's workshop. Hardly not children delight felt faith, touching the clay, which made it possible to feel the mobility of human articulations with all the fullness, a magnificent flight of movement, harmony of volume.
Sinitsyna eliminated from learning, and sometimes the understanding of the truths had to comprehend the cost of great efforts. Even the tools - and those were taken at random. Mukhina felt professionally helpless: "It is intended to do something huge, and they cannot do the hands." In such cases, the Russian artist of the beginning of the century went to Paris. I did not exception and Mukhin. However, her guardians were afraid to let go of a girl one abroad.
Everything happened as in a banal Russian proverb: "There would be no happiness, but misfortune helped."
In early 1912, during the fun Christmas holidays, riding a sleigh, faith seriously poured face. Nine plastic operations suffered, and when he saw himself in the mirror in the mirror after six months, came to despair. I wanted to run, hide from people. Mukhina changed the apartment, and only a large inner courage helped a girl to say to himself: it is necessary to live, live and worse. But the guardians counted that faith was brutally offended by fate and, wanting to fill the injustice of rock, let go of the girl in Paris.
In the workshop of Bardedle Mukhin, he learned the secrets of sculpture. In huge, hot-sided halls, the Master switched from the machine to the machine, ruthlessly criticizing the students. The faith was getting more than any, the teacher did not genth, including female, pride. Once a Burdel, seeing the Mukhinsky etude, noticed with sarcasm that the Russians are more like "illusively, than constructively". The girl in despair broke the etude. How many times she will still have to destroy his own work, Chapens from his own insolvency.
During his stay in Paris, Vera lived in a boarding house on the street, which were dominated by the Russians. In the colony, Country workers Mukhin met with her first love - Alexander Vervetov, a man of unusual, romantic fate. A terrorist who killed one of the generals, he was forced to flee from Russia. In the workshop of the Bardedel, this young man, in life who did not bracing a pencil, became the most talented student. The relations of faith and Vervetov were probably friendly and warm, but the aged Mukhina never decided to admit that he had more than a friendly participation, although all his life was not parted with his letters, he often recalled him and did not speak anyone with such Zatuated sadness, as a friend of his Paris youth. Alexander Vertilov died in the First World War.
The last chord studies of the mukhina abroad was a trip over the cities of Italy. Threesomes with friends, they crossed this fertile country, neglected by comfort, but how many happiness brought them non-recolitan songs, the flickering of the classic sculpture stone.
Mukhina V. I. "Bread". Bronze. 1939.
Return to Russia was overshadowed by the war. Faith, mastering the qualifications of the nurse, did to work in an evacuity office. With unaccustomed it seemed not just hard - unbearably. "There arrived wounded straight from the front. Take off the dirty savory bandages - blood, pus. Rinse with peroxide. Wrench, "she remembered with horror after many years. In an ordinary hospital, where she was soon asked, it was not an example easier. But despite the new profession, which she, by the way, was free (the benefit of Grandfather Millions gave her this opportunity), Mukhina continued to devote his free time with sculpture.
Even the legend remains that one day a young soldier buried the cemetery next to the hospital. And every morning, near the gravestone, performed by the village craftsman, appeared mother of the killed, sorrowfully about the son. Once in the evening, after the artillery shelling, they saw that sculpture was broken. They told that Mukhina listened to this message silently, sad. And the next morning on the grave appeared a new monument, the oldest, and the hands of the faith of Ignatievna were in abrasions. Of course, this is only a legend, but how much mercy, how many kindness is invested in the image of our heroine.
S. A. Kamkov. Marble. 1935..
In the hospital, Mukhin met and narrowed with a funny castle surname. Subsequently, when faith Ignatievna asked that she was attracted in the future husband, she was answered in detail: "There is 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. They say about such husbands: "With him, she is like a stone wall."Vera Ignatievna in this sense is lucky. Alexey Andreevich invariably participated in all the problems of the mug.
Flame roarolyuya
The flowering of creativity of our heroin came to 1920-1930. The work of the "Flame of the Revolution", "Julia", "Peasantkaya" brought the glory of faith Ignatievna not only in his homeland, but also in Europe.
It is possible to argue about the degree of artistic talency of the muggy, but it is impossible to deny that it has become a real "muse" of the whole era. Usually, about this or that artist is crushed: they say, not on time was born, but in our case it remains to be wondering how successfully coincided with the creative aspirations of faith Ignatievna withthe needs and tastes of its contemporaries. The cult of physical strength and health in Mukhinsky sculptures, how it is impossible to reproduce it better, and a lot contributed to the creation of the mythology of the Stalinist "Sokolov", "Girls", "Stakhanov" and "Pash AngelinehY ".
About his famous "peasant" Mukhina said that this is "bogini am fertility, Russian Pomona. " Indeed, - the legs of the column, above them and at the same time easily, firmly rises hard torso.
"Such a lot standing and caking up," said someone from the audience. Mighty shoulders adequately complete the lip of the back, and over all - unexpectedly small, elegant for itpowerful body - head. Well, the not the ideal construction system of socialism is a bad, but the slaves breathing healthynya?
Europe in the 1920s has already been infected with fascism bacillism, baccationllya mass cult hysteria, so the images of the mug and there were considered with interest and understanding. After the XIX International Exhibition in Venice "Peasant" bought a Trieste Museum.
Peasant
But even greater fame brought faith Ignatievna famousi am a composition that has become a symbol of the USSR, "working and collective farmer." And it was also created in a symbolic year - 1937 - for the Pavilion of the Soviet Union at the exhibition in Paris. The architect of Iofan developed a project where the building should have resemble a rugged ship whose nose on the classical custom was assumed to be crowned with a statue. Rather, the sculptural group.
Competition in which four famous masters participated, our heroine won the best project of the monument. Sketches of drawings show how the idea itself was painfully born. Here is a running naked figure (initially Mukhina crashed a man's nude - a mighty antique god stepped next to a modern woman, but at the direction of Over "Godand "I had to fit), she has something like the Olympic torch. Then another appears next to her, the movement slows down, it becomes calmer ... The third option is a man and a woman hold hands: they themselves, and they themselves, and the sickle and molot solemnly calm. Finally, the artist stopped at the movement of a rush, enhanced by a rhythmic and clear gesture.
Not having precedents in the world sculpture was the decision of a mugger most of the sculptural volumes to put on the air flying horizontally. At such a scale of faith, Ignatievna had to reconcile each bending of the scarf for a long time, counting each fold. The sculpture was decided to make from steel, the material that was used to the mukhina, the only time in world practice by Eifel, who made a statue of freedom in America. But the statue of liberty hast very simple outlinesi: This is a female figure in a wide tog, the folds of which fall on the pedestal. The mughian was to create a hardest, unprecedented construction.
Worked, as was customary with socialism, an avral, assault, without days off, in record short time. Mukhina then told that one of the engineers from the overwork fell asleep behind the drawing table, and in a dream, he threw his hand on the steam heating and got a burn, but the poor fellow did not wake up. When the welders fell from the legs, Mukhin and her two helpers themselves were taken to cook.
Finally, the sculpture collected. And immediately began to disassemble. In Paris, there were 28 wagons "workers and Kolkhoz ", the composition was cut on 65 pieces. After eleven days in the Soviet pavilion at the international exhibition, a giant sculptural group rushed over the Sickle Sickle and Hammer. Is it possible not to notice this colossus? There was a lot of noise in the press. In short, the image created by the Mukhina became a symbol of the socialist myth of the XX century.
To blind the three-meter clay models of the muggy gave only three weeks.
- These are not plywood shapes for the holiday! You just do not understand what it is about it. Is a mockery! - shouted Mukhina. She shouted his fist on the table and, buried, ran into the corridor. But, smoking, the woman returned back and said that the order would be executed on the designated time frame.
Romain Rollan wrote: "On the shore of the Seine, two young Soviet giants in a neurotic rust of the Sickle and Hammer are incurred, and we hear how the heroic anthem calls from their chest, who calls the peoples to freedom, to unity and lead them to victory."
Schedule France Masel spoke from the stands: "Your sculpture hit us, French artists, like a scuffer on the head. We sometimes talk about her sometimes. "
The French newspapers admiringly wrote that the Eiffel Tower finally appeared a worthy competitor. Local workers passing by the monument, salute to him. Parisians even collected several thousand signatures with a request to leave the proletarian monument in France.
But, of course, the request was not satisfied, and the statue returned to their homeland to subsequently become one of the main monuments of the era.
http://www.pansion-mil.ru/library/women/veramuhina/
In Moscow, Mukhina graduated from 2-month courses nurses, worked in the hospital. He worked for free, 12 regular nurses and she 13th: went to work for the idea and did not want to take money. Parallel worked on sculpture. In 1915, began to make a "pieta" inspired by military events. Theme - crying of Our Lady over the Body of Christ. The Mother of God is depicted in a sister of mercy sister. In this work, the influence of cubists is felt, the desire to work in the spirit of time. The work is not preserved.
Since 1916, the theatrical period of the activities of the Muhina begins. She works as an assistant artist-director Alexandra Exter in the chamber theater. Designs scenery, costumes for performances. This is "Rose and Cross" by A. Block, "Joke Dinner" Benelli, "Electra" Sofokla. Sketches of her theater costumes are represented in the showcase. In them, she was not on the path of the usual stylization, but passed the style of the era, its generalized image.
The revolution of Mukhin met in the hospital, and her arrival at first did not realize. The week did not come out of the hospital, they were wound by injuries. Nearby was the Alexander Junker School, born and junkers, and the Bolsheviks, and anarchists. Mukhina took the wounded, had to sort, otherwise fighting.
In parallel with the change of power, changes are taking place in the personal life of the sculptor. In the hospital, she met the doctor Alexei Zamkov, in 1918 they married. Mukhina never regretted his choice, loyally loved Zamkov all his life. In 1918 she sculpt the portrait of her husband. "He was very beautiful. Inner monumentality. However, there are many from a man in it. External rudeness with a large mental subtlety" ..
In 1920, a son was born - Vsevolod. But after 4 years, another test has suffered a family. The boy fell from the railway embankment, the injury caused bone tuberculosis. Doctors sentenced: hopeless. Castles decided on the most difficult operation. Operated at home, at the dinner table. Mukhina assisted. Son saved. But for a year and a half - gypsum, another three - crutches. All this time, Vera Ignatievna did not stop working.
In 1920, together with the theater decorator, Alexander Exter and the fashion designer N. P. Lamanova, she created a collection of elegant clothes from South Sun and Canvas. Hats and belts did from Rogodh, painted and rubbed in peas. The collection was based on traditional compold of the Russian and Ukrainian folk costume. For her, Mukhin and Lomanov received the first Grand Prix in Paris.
In 1925, the 2-meter sculpture "Julia" carved from the trunk of Lipa Mukhin, in which the screw-like movement was emphasized. Motion motif, resistance passes through all the creativity of the sculptor. An example of this is "Women's Torso" (1927), "Wind" (1926) - figures trying to resist the powerful gust of the wind.
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The opposite called - the sculpture "peasant" (1927). Here, the movement, readiness for action sculptor leads inside, combining with external tranquility. At the venice of the anniversary exhibition, the contest "10 years of October", this work immediately paid attention. The "peasant woman" became the first undoubted success of the mukhina. The sculpture was taken to the Tretyakov Gallery. True, this success did not give big money: the statue bought for 1000 rubles, and the molding and casting of her bronze cost the author more expensive. But along with the Mukhin Award received a foreign business trip.
This is not over the story of the "peasant". The further fate of this work has no longer depended on its creator. It was exhibited at the 4th International Exhibition in Venice, where it became the "nail" of the Soviet pavilion, as they wrote in the press. The owner of the private museum of the city of Trieste caught fire with a desire to acquire a statue. The question arose: how much? She was insured in 1000 rubles in gold, for the money and sold. In 1946, the "peasant woman" enters the Vatican Museum in Rome - in one of the richest assembly of masterpieces of art. And instead of the statue sold, the second bronze tide was made and installed in the Tretyakov Gallery ..
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,
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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
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
In 1973, in the Tretyakov Gallery on the first floor there were pictures and sculptures of Soviet masters, so there were few visitors here, even when there were a lot of people on the second floor. Everyone passed the first floor very quickly. And one day a group of foreigners also quickly walked on the first floor. They saw the sculpture of the faith of a flying "peasant", this is an image of a powerful woman with folded arms, they walked began to show on the sculpture with her fingers and quickly went on. That's the whole story associated with this sculpture.
In this regard, I want to say that the real peasants were much more careful even in the tag. And unknown sculptors probably had a lot better than Mukhin.
Of course, never drove foreigners to see the monument to Vaclav Vorovsky, otherwise they would have laughed even more.
But still a monument to Axier and Gregory on the Don is the world's best monument to a love couple!
Once in 1980 I lay in the hospital and someone left a plasticine figure depicting a lady of the 19th century on the bedside table. Plasticine figurine was elbowed like this: long wide skirt for stability, a miniature flower hat, twisted curls, beautiful face, expressive hands. What an observer sculptor, and maybe even the sculptor created this nonsense masterpiece? What you need to have skillful fingers to make such a miracle from a small piece of plasticine! This image was admired. As for the laughter of foreigners, they can laugh in their galleries. For example, the picture of the artist Goya "Family King Charles Fourth" in the Prado Museum is worse than the caricature. After all, the caricature could be thrown away, and for this picture, probably paid the representatives of the dynasty themselves to their court artist. And asks for what they paid? After all, this picture artist ridiculed the Spanish dynasty for the century. This picture is in all catalogs in art. And yet - critics wrote about the image of the King family such words: "There is a degeneration of the dynasty." But they were mistaken, nothing like that, representatives of the Spanish dynasty rule to this day. Recently, one of them came to Moscow. As for the picture of Goya, then such the same expressions of individuals that the artist portrayed does not even happen in close relatives, it is only a handwriting of this artist.
One very talented poetess did not like that it was called it.
Call me by the poet. She said.
Since then, they began to call poetess - poets, sculptor - sculptors. Is that good? For example, if the Swedish fairy tale Astrid Lindgren called the storyter would be better?
After the wonderful words of Vysotsky:
But passed all in the blue stewardess, as a princess ...-
All slim as that, flight attendant Miss Odessa, similar to the whole civilian fleet ... -
Stewardles became an personification of femininity. Although Vysotsky's poetems sang in one of many of his wonderful songs:
Well, women in Odessa, all are slight, all the poeses, are all smart, and in extreme cases are beautiful. -
The sculptor Vera Mukhina portrayed heavy women, and a wonderful artist Zinaida Serebryakov drew beautiful ballerinas. The fault of our art historians that her ballerina is not so famous as the ballerina artist Edgar Degas. But silver ballerina is much more feminine.
But I will return to the sculpture of the faith of a flying "peasant" - it is good that she is from bronze, and then on the next restoration of Luzhkov would weld themselves million, as it turned out with the composition "Worker and collective farmer."
And I would also like the gallery to be not a gapsell of absurdity and illiquid the replied authors. By the way, the Tretyakov himself wrote pictures, but did not exhibit them, he considered his works by a banality. Why did you need to remove masterpieces in Soviet times, bought by Tretyakov to store the work of the Soviet authors who have no one delayed? The first floor is always empty. Tretyakov was modest, in contrast to the promoted authors.
And now I must say about cultural figures at all. In 1934, my dad's sister went to Rono to work as a teacher. Enters the office, there was a boss. He said to her:
This is my work temporary. I am actually a list of Kultyur. We will go with you into the forest, to a different way. We are with you intellectual people who understand each other. Well, pole are silent? - and cynically spun on Tambov parquet of a pre-revolutionary building.
My father's sister ran away, and heard the selected mat, threats. Probably for this reason beautiful artists: Doronina, Chursina, Merilin Monroe remained without children. It was necessary to make abortions from such villains. And modern "cultural figures" are offered to introduce a mat on official appeal, they have long been labeled on stage. Konstantin Raikin was not ashamed in 1976 to "sing" with such a recognizable voice of the Boyarsky song Trofaldino. And Boyarski used dummy.
And the modern minister of culture with the huge jaw of Neanderthal proposes to introduce a mat on the official conversation. You can imagine how it is revealed on some picnic, like village drunks:
Wow! ...! - Rugs the Minister of Culture by Shvydka.
But there is a difference; The village Drunka will never think to the rivors from the high stand, and the village offers exactly that.
At this pre-revolutionary picture, the lesson of visual art in the Ryazan Diocesan School. In fact, from these students, it is necessary to make sculptures themselves, so beautiful they look everything, but they refer to someone's sculptural image. Explanation of the photos are: the teacher stands in the distance, the class lady sits in the center. The school was constructed and kept due to the clergy, the state did not give a penny. But in February 1918, everything was selected.
Since November 1917, the cholesmithors have suffered a terrible tax, but they tried to preserve schools, diocesan schools, seminaria, which. Even when Lenin issued a decree on the seizure of church schools, and on the removal of the Russian Orthodox people from the state, the Patriarch Tikhon in church councils set questions about the continuation of the construction of new schools. Then the security officers began to break into spiritual colleges, seminaries and throw away children to the street from the windows.
Reviews
I really did not think that it was not acute enough! Did I not named the bad - bad, the progressive - the talentless, Marterikov - Marterikov, funny - funny. After all, I'm not laughing. Here just there is not a single exemption. But that in 1917 was a solid robbery of public real estate by those who never built anything, is it not true!?
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