Pb., Akvilon, 1922. 91, p. from ill.; 20.8x15.5 cm. - 1200 copies, of which 60 copies. nominal, 1140 copies. (1-1140) numbered. In an illustrated color publisher's cover. On the reverse side of the title we read: “The title page, illustrations, headpieces and endings are autolithographs by B.M. Kustodiev. Very rare in good condition!
Akvilon decided to publish this book by the centenary of Nikolai Alekseevich Nekrasov. The book contains poems familiar to everyone since childhood: “Vlas”, “Peddlers”, “Uncle Yakov”, “Bees”, “General Toptygin”, “Grandfather Mazai and Hares”. Its design was entrusted to a close friend F.F. Notgaft to Boris Mikhailovich Kustodiev. Laid paper was used for publication. The soft cardboard cover is printed in three colors using the zincography technique: against the background of the pattern (yellow five-petal rosettes between bluish wavy lines) there is an oval medallion, which contains a line drawing (a man with a scythe), the title of the book (with the author's surname), the surname of the artist, name of publisher, place and year of publication. The book has 30 illustrations: 8 pages, 11 intros and 11 endings. The title page and illustrations are made in the technique of one-color autolithography.
The illustrations are placed not on separate inserts, but on pages with text, for which it was necessary to print the book in two passes: the first time - on a letterpress machine, the second - on a lithographic machine; while the back of the page remained clean. “Here, a very subtle and tactful correspondence to the text was combined with the most expressive mastery of technique and the very typographic performance: books with illustrations, lithographed and not pasted or inserted into the text, but printed on the same page with the set, we simply did not know until now,” - wrote A.A. Sidorov. Kustodiev set himself the task not to retell graphically the content of each poem, but to supplement it emotionally. In landscape sketches, still lifes, everyday scenes, the artist, avoiding accentuated stylization, managed to convey the Russian national flavor with the help of a soft silvery line, “shimmering” strokes, and a velvety range of tonal shadows. The book was recognized as a masterpiece of typographic art. “Six Poems by Nekrasov is not only a great achievement of Akvilon, but in general one of the most remarkable phenomena in the history of Russian books,” Gollerbach argued, and Sidorov called this publication “pure gold of book art, the finest of Akvilon’s victories and our pride."
In 1919, a story by L.N. Tolstoy's "Candle" with illustrations by Kustodiev, made before the revolution for the St. Petersburg Literacy Society. A considerable achievement of the artist should be recognized as a cycle of illustrations for the "Thunderstorm" by A.N. Ostrovsky. The merchant theme, beloved by him and well known to him, played in a new way in his mean pen drawings. With the beginning of the New Economic Policy (NEP), private publishing houses appeared in the country. One of them was founded in September 1921 the Petrograd "Akvilon", which was headed by art critic Fyodor Fedorovich Notgaft (1886-1942). This publishing house worked for less than three years and released only 22 books, which were published in a small circulation of 5,001,500 copies. This was, as it were, the antithesis of Gosizdat, whose circulation of publications was approaching the millions. Akvilon deliberately focused not on the mass reader, but on amateurs, on bibliophiles. His books forever entered the golden fund of Russian design art. Among them, for example, "White Nights" by F.M. Dostoevsky and "Poor Lisa" by N.M. Karamzin with illustrations by M.V. Dobuzhinsky, "Poems" by A.A. Feta, decorated by V.M. Konashevich... In collaboration with Akvilon, Boris Mikhailovich Kustodiev created three books.
The first of them - the collection "Six Poems by Nekrasov" - became an undeniable masterpiece. Surprisingly little has been written about this book; so, in a large monograph by Victoria Efimovna Lebedeva, only four paragraphs are devoted to her. "Six Poems of Nekrasov", conceived as a bibliophile publication, was published in March 1922 and was timed to coincide with the 100th anniversary of the poet's birth. A total of 1200 copies were printed, and 60 of them were personalized, indicating the name of the future owner, and 1140 were numbered. Serial numbers were written by hand. The author of these lines owns copy No. 1019, bought at one time in a second-hand bookstore, it is ridiculous to say - for 5 rubles. In 1922, at the time of hyperinflation, the book was sold for 3 million rubles. The work of the 15th State Printing House that printed the book (formerly the printing house of the Golike and Vilborg Partnership, and now the Ivan Fedorov Printing House) was complicated not only by manual numbering of copies. In the process of working on it, B.M. Kustodiev is mastering a new technique for himself - lithography. He made drawings with a lithographic pencil on the so-called root paper, and only then they were transferred to a lithographic stone. For the printing company, this created certain difficulties, because the text of the "poems" was reproduced from the printing press using letterpress printing. Since the elements of decoration were mainly on the same page with the set, the sheets had to be printed in several runs - the first time on a letterpress machine, and the second - on a lithographic machine, most likely manual.
Speaking about the technique of reproducing Nekrasov's Six Poems, Aleksey Alekseevich Sidorov, in a book summing up the development of graphic art over the first five post-revolutionary years, wrote: books with illustrations, lithographed and not pasted or inserted into the text, but printed on the same page with the set, we simply did not know until now ... ". The complexity of printing execution affected the sale price of the book, which was an order of magnitude higher than the prices for other editions of Akvilon. "Poems" were enclosed in a soft cardboard cover, printed in three colors. The main background was a simple pattern of yellow five-petal rosettes surrounded by bluish wavy lines. An oval medallion was provided on the upper side, in which, on a white background, all the necessary inscriptions and a line drawing depicting a peasant with a scythe were reproduced in black paint. The plot of the drawing, as it were, prompted the reader that the poems are dedicated to peasant life. And so it was: the collection included the poems “Vlas”, “Peddlers”, “Uncle Yakov”, “Bees”, “General Toptygin” and “Grandfather Mazai and Hares”.
The book was made up of 4-sheet notebooks sewn together by hand. It opened with a strip with the Akvilon publishing stamp by M.V. Dobuzhinsky. Next came the title with the title of the book reproduced in capital letters. The third sheet with an empty back is a drawn title, on which we see peasants listening attentively to a boy who holds an open book in his hands and reads to them. An oval plate with a portrait of the writer is inscribed in the drawing. The title of the book is reproduced in deliberately inept handwriting, moreover, according to the old spelling - with "and decimal", but the text of the book itself is typed in the new spelling. The fourth sheet is a shmutztitul with the name of the first poem placed in its center in typeface type. Half-titles with an unfilled turnover were prefaced to each of the writer's works placed in the collection. The short title, already in the second notebook, was followed by a full-page illustration depicting Vlas wandering through Russia. It is impossible to consider this illustration, the reverse side of which is also left empty, as a frontispiece, because in other poems there are no full-line drawings immediately following the half-title - they are placed in the text. There are eight such illustrations in total, and they are unevenly distributed. In the first poem "Vlas", which occupies only four incomplete strips, there are two of them. The same number is in the large 33-page poem "Pedlars". In "Uncle Yakov", "Bees", "General Toptygin" and "Grandfather Mazay" - one each. The artist decided not to limit himself to formal boundaries and made as many drawings for each of the poems as his artistic flair suggested. In addition, for each of the poems, small, about a third of the strip, illustrations of the opening and ending illustrations were made. In The Peddlers there are six of them - according to the number of parts of the poem. In his autolithographs, B.M. Kustodiev first of all admires the free Russian landscape: here there are endless fields with ripe rye bending in the wind, and freedom of glades in the middle of a sparse forest of central Russia, and violent floods of rivers flooding the Russian plains in spring, and a wretched apiary near a rickety wattle fence ... Lithographs amazingly gentle. It seems that the artist's lithographic pencil barely touched the stone.
Later F.F. Notgraft intended to release an album of lithographs by B.M. Kustodieva, M.V. Dobuzhinsky and G.S. Vereisky, but this project was not completed, since in December 1923 Akvilon ceased to exist, Kustodiev had to look for other publishers. He devoted a lot of effort and work to illustrating Lady Macbeth of the Mtsensk District. N.S. Leskov. Often visiting him in the first post-revolutionary years, K.S. Somov wrote on February 18, 1923 in his diary: “B.M. showed me illustrations for “Lady Macbeth of the Mtsensk District” and reproductions from his Russian types. He was quite cheerful and cheerful, although in general he is worse, he can only sit in an armchair for 5 hours a day. Nephew K.A. Somova E.S. Mikhailov later recalled: “Several times my uncle took me with him, visiting Boris Mikhailovich Kustodiev. Uncle loved his art, he was surprised at the lack of anger and endurance of Boris Mikhailovich, who was deprived of the opportunity to move due to a serious illness. A very special place in the work of B.M. Kustodiev is occupied with the Leninist theme. One can treat the activities of the leader of the world proletariat differently. In recent years, we have learned a lot about the deeds of this man, who in recent times was deified. But, in the words of V.V. Mayakovsky, the “hugeness” of his plans amazed his contemporaries. And they quite sincerely admired him. Lenin's death in January 1924 was seen as an irreparable catastrophe. Hence the desire of Kustodiev to say something of his own about the departed leader. It is clear that this topic was completely alien to the singer of merchant Russia, but he bravely took up its solution - this is how illustrations appeared for the memoirs of A. Ilyin Zhenevsky "One Day with Lenin" (L .; M., 1925) and for books intended for the young reader "Lenin and Young Leninists" (L.; M., 1925) and "Children about Lenin" (M.; L., 1926). The artist never met the leader, but he was a portrait painter, by the grace of God, who knew how to work not only from nature, but also from photographs. Lenin in his line drawings is not only recognizable, but certainly similar. Particularly good are the drawings depicting the high school student Volodya Ulyanov, which eventually became a kind of classic. In countless, sometimes endlessly sugary images of Leniniana, these drawings occupy a special place, and they should not be ignored, as some authors of recent B.M. initiates do. Kustodiev books. The artist never painted portraits of Lenin in oil, and did not strive for this, because he did not want to fake. To accept or not to accept the revolution? Such a question, it seems, was not raised for Kustodiev. But what is all the same more dear to him - memories of the departed Russia or a new, sometimes cruel reality? Arguing on this topic, A.A. Sidorov once wrote: “Departure into the old days for its own sake is unacceptable for Soviet art. In the graphic activity of B.M. Kustodiev, one can see the overcoming of this by forces real life . Of course, he did not become a completely new, Soviet artist either.” It was noted above that B.M. Kustodiev rarely turned to illustrating the works of contemporary writers - an exception was made for Maxim Gorky. The writer and artist were personally acquainted: in 1919, Alexei Maksimovich visited the sick Kustodiev, and shortly after that, the artist sent Gorky a version of his famous nude “Beauty”, accompanying the gift with a note: “You are the first who so penetratingly and clearly expressed what I wanted to portray in it, and it was especially valuable for me to hear it personally from you.” Alexei Maksimovich kept the note and remembered it shortly before the death of the artist on March 23, 1927 in a letter to his biographer I.A. Gruzdev. Not surprisingly, when the State Publishing House asked Kustodiev to design a series of Gorky books, the artist immediately agreed. So in 1926-1927, Chelkash, Foma Gordeev, and The Artamonov Case appeared. Of particular interest to us are the covers of these publications with portraits of the main characters. The artist started the illustrative series from the cover, which, in fact, was an innovation. The young and handsome Foma Gordeev contrasts sharply with the hunched old man Artamonov, and the last drawing is made in the silhouette technique, which is generally rare for Kustodiev (he had previously used the silhouette when illustrating Dubrovsky in 1919). I must say that Maxim Gorky was not completely satisfied with Kustodiev's drawings, he considered that they were too "intelligent", and wished that they were "rougher and brighter." In the same years, B.M. Kustodiev did a lot of "handicraft" work. He illustrates calendars, makes covers for magazines and even for agricultural books published by the State Publishing House. Among his works is the design of the books "The Peasant's Berry Garden" (L., 1925), "The Village Cart" (L., 1926). It is hardly possible to reproach the artist for illegibility, because the great master also needs to think about everyday affairs, to earn a living. Moreover, even in these works, which are never reproduced in monographs dedicated to Kustodiev, one can find a lot of interesting things - the hand of the master is always felt. On May 26, 1927, Boris Mikhailovich Kustodiev died at the age of 59. And on July 2, K.A. Somov, who lived in France, wrote to his sister in Moscow: “Yesterday I learned about the death of Kustodiev. Write me the details if you know... Poor martyr! Overcoming suffering and physical weakness, Boris Mikhailovich Kustodiev managed to create dozens of works of book and magazine graphics that have become classics. Finishing the article about him, we will find completely different words than K.A. Somov, - "Great ascetic!"
14 April 2014 - Author SvetlanaAlbert Einstein said: “The life of an individual is meaningful only to the extent that it helps to make the lives of other people more beautiful and nobler.”
Goals: study in detail the poem "Railway" by N.A. Nekrasov; works of art devoted to the problems raised in the poem; create your illustrations. Tasks:
Show Nekrasov's attitude towards working people and their oppressors; help listeners imagine the pictures and the people depicted in it; tell about the painting by K.A.Savitsky, consider the illustration by I.S.Glazunov, evaluate my illustrations for Nekrasov’s poem
Develop aesthetic feelings and emotions, creativity;
Raising patriotism and love for fiction, reading, painting.
Planned results:
Personal: my awareness of the tasks of the project and the desire to fulfill them;
Meta-subject: the ability to organize one's activities, determine its goals and objectives, the ability to conduct independent search information, the ability to interact with people, work in a team, express their opinion, possess practical skills;
Subject: development of the ability to see and write images in fiction, in painting.
Development of universal learning activities:
- cognitive: the ability to analyze a literary text in the unity of form and content, highlight the author's position, expressively read by heart;
- regulatory: the ability to manage their activities (setting and formulating goals, planning the sequence of activities); control and evaluate the achieved results of their own and others' activities;
- personal: to realize the need to study this material, its further application;
- communicative: the ability to communicate and interact in pairs, extract information from various sources; own various types of speech and artistic activity.
Plan.
1. Brief biography of N.A. Nekrasov.
2. The history of the creation of the poem "Railway". Artistic analysis of the text of the work.
3.Illustrations and paintings by prominent Russian artists for the poem by N.A. Nekrasov.
4. My illustrations for the poem.
5. Commonwealth of Arts (conclusions).
6. List of references.
7. Application.
Introduction. Why did I choose this topic?
AT school curriculum includes the study of the work of Nikolai Alekseevich Nekrasov "Railway". When we read this poem in the class, listened to the teacher, each other, I became interested in this work. In the second lesson, we watched a presentation on the history of the construction of the Nikolaev railway and examined the picture of K.A. Savitsky, a reproduction of which is in the textbook. I was even more interested in this work, and I learned it by heart in full - all four parts. I feel terribly sorry for the builders - the heroes of the poem by N.A. Nekrasov. I traveled along this railway from Moscow to St. Petersburg with my parents this summer, looked out the compartment window and rejoiced at the beauty of our nature. And now, having felt the whole content of the poem and passed it through myself, I wanted to write my own illustrations. I will give two of them to my teacher of literature - Svetlana Anatolyevna Khmelevskaya - as a keepsake, and others to my parents.
I dedicated the lyre to my people.
N.A. Nekrasov
1. Brief biography of N.A. Nekrasov Nekrasov Nikolai Alekseevich is a great Russian poet, writer, publicist, a recognized classic of world literature. Born on November 28 (October 10), 1821 in the family of a small estate nobleman in the town of Nemirov, Podolsk province. In addition to Nikolai Nekrasov, the family had 13 more children. Nekrasov's father was a despotic man, which left a mark on the character and further work of the poet. The first teacher of Nikolai Nekrasov was his mother, an educated and well-bred woman. She instilled in the poet a love for literature and the Russian language. In the period from 1832 - 1837, N.A. Nekrasov studied at the Yaroslavl gymnasium. Studying was difficult for Nekrasov, he often skipped classes. Then he began to write poetry. In 1838, the father, who always dreamed of a military career for his son, sent Nikolai Nekrasov to St. Petersburg to be assigned to the regiment. However, N.A. Nekrasov decided to enter the university. The poet failed to pass the entrance exams, and in the next 2 years he was a volunteer at the Faculty of Philology. This was contrary to the will of his father, so Nekrasov was left without any material support from him. The disasters that Nikolai Alekseevich Nekrasov faced in those years were reflected in his poems and the unfinished novel The Life and Adventures of Tikhon Trostnikov. Little by little, the poet's life improved, and he decided to publish his first collection of poems, Dreams and Sounds. In 1841, N.A. Nekrasov began work on Fatherland Notes. In 1843, Nekrasov met Belinsky, which led to the emergence of realistic poems, the first of which was “On the Road” (1845), and the publication of two almanacs: “Physiology of Petersburg” (1845) and “Petersburg Collection” (1846). In the period from 1847 to 1866, Nikolai Alekseevich Nekrasov was the publisher and editor of the Sovremennik magazine, which published the best revolutionary-democratic works of that time. During this period, Nekrasov wrote lyrical poems dedicated to his common-law wife Panaeva, poems and cycles of poems about the urban poor (“On the Street”, “About the Weather”), about the fate of the people (“Uncompressed Strip”, “Railway”, etc.) , about peasant life (“Peasant Children”, “Forgotten Village”, “Orina, Soldier's Mother”, “Frost, Red Nose”, etc.). In the 1850s and 60s, during peasant reform, the poet creates "The Poet and the Citizen", "The Song of Eremushka", "Reflections at the Front Door", the poem "Pedlars". In 1862, after the arrest of the leaders revolutionary democracy, N.A. Nekrasov visited Greshnev. This is how the lyrical poem "Knight for an Hour" (1862) appeared. In 1866 Sovremennik was closed. Nekrasov acquired the right to publish the journal Domestic Notes, with which the last years of his life were associated. During these years, the poet wrote the poem “Who in Russia should live well” (1866-76), poems about the Decembrists and their wives (“Grandfather” (1870); “Russian Women” (1871-72), the satirical poem “Contemporaries "(1875). In 1875, Nekrasov N.A. became seriously ill. Doctors discovered he had intestinal cancer, and complex operations did not give the desired result. Last years The poet's life was embraced by elegiac motifs associated with the loss of friends, the realization of loneliness, and a serious illness. During this period, works appear: "Three Elegies" (1873), "Morning", "Despondency", "Elegy" (1874), "Prophet" (1874), "To the Sowers" (1876). In 1877, a cycle of poems "Last Songs" was created. December 27, 1877 (January 8, 1878) Nikolai Alekseevich Nekrasov died in St. Petersburg. The body of the poet was buried in St. Petersburg at the Novodevichy cemetery.
2. The history of the creation of the poem "Railway". Artistic analysis of the text of the work. The work is based on facts related to the construction in 1842-1852. Nikolaevskaya railway connecting Moscow and St. Petersburg. When creating the poem, Nekrasov relied on the materials of magazine and newspaper publications devoted to the plight of the builders of railways in Russia (for example, N. A. Dobrolyubov wrote about this in the article “The experience of weaning people from food”, 1860 and V. A. Sleptsov in cycle of essays "Vladimirka and Klyazma", 1861), as well as on the testimonies of people who were directly involved in the construction of the Nikolaev railway. One of them was a close acquaintance of the poet, engineer V. A. Panaev, who said: “The diggers were mainly hired in the Vitebsk and Vilna provinces from Lithuanians. It was the most unfortunate people on the whole of Russian land, who looked more like not people, but like working cattle, from whom they demanded superhuman strength in work without any, one might say, remuneration. The "Railway" presents a wide canvas of folk life. But this is not limited to the content of the work. It reflected the poet's thoughts about the fate of the people, their past, present and future. This largely determined the complex figurative and artistic structure of the poem, in which the signs of many poetic genres already used in Nekrasov's poetry merged in an organic unity: landscape sketches, folk song, lamentation, fairy tale, accidentally overheard road conversation, satire. The tone of the poem is also varied. in voice lyrical hero either enthusiastic notes sound when contemplating the delightful pictures of a moonlit night flickering outside the windows of the car, then mournful intonations at the sight of the plight of the construction workers, then cheerful confidence in the invincible strength of the people, then bitter irony when describing the “pleasant picture” crowning the end of the construction of the railway . "Railroad" - a work in many respects polemical. The author seeks to refute the general's false assertion that the road was built by Count Kleinmichel, and convincingly proved that the true creator of it and the creator of all that is beautiful created by mankind is the people. And the builders themselves understand this and are proud of the fruits of their labor. This understanding brings the author and the male builders closer, who do not curse what they have created, although it seems they could - after all, "on the sides, all the bones are Russian." They are not at all indifferent to what will happen after them. “On this moonlit night / We love to see our work,” they sing. And the narrator echoes the builders quite like a peasant. The concepts of “labor” and “railway” in the poem are filled with different content: it is both the embodiment of creative folk labor, and a symbol of hard, hard labor, and the basis for building a future happy life, which once again speaks of the closeness of the views of the author-narrator and the people. As in his other works, Nekrasov in "Railway" sings a hymn to the heroism of the people, who bore the brunt of incredible labor on their shoulders, and believes that people will eventually be able to pave the way to happiness and, at the same time, cannot but see their slavish forbearance. Nekrasov did not doubt which of these two components - heroism or resigned humility - would win among the people. Only, in his opinion, the people will not soon be able to blaze a "broad, clear" road to a new life. Hence his bitter and sorrowful words addressed to Vanya: "It's a pity - to live in this beautiful time / Neither I nor you will have to live." The people are too dark and downtrodden, and they will not soon be able to wake up from their stupor and declare their rights to a worthy existence, as evidenced by final part poems. And yet, “Railway” is an optimistic work, since it called for the transformation of life and was addressed not only to a random fellow traveler Vanya, but to everything young generation 1860s, which had just survived persecution and persecution. Nekrasov urged young people not to lose faith in the people, in the final victory of the ideals of goodness and justice, which, although not soon, must surely come. 2.1. . Characteristics of the work of the lyrical genre (type of lyrics, artistic method, genre).
We can attribute the poem to civil lyrics. Its genre and compositional structure is complex. It is built in the form of a conversation between passengers, whose conditional companion is the author himself. The main theme is reflections on the difficult, tragic fate of the Russian people. Some researchers call "Railway" a poem that synthesizes elements of various genre forms: dramas, satires, songs and ballads. 2.2. Analysis of the content of the work (analysis of the plot, characterization of the lyrical hero, motives and tone).
"Railway" opens with an epigraph - Vanya's conversation with his father about who built the railroad they are traveling on. To the boy's question, the general replies: "Count Kleinmichel." Then the author comes into action, who initially acts as a passenger-observer. And in the first part we see pictures of Russia, a beautiful autumn landscape:
The air invigorates tired forces;
As if melting sugar lies;
Near the forest, as in a soft bed,
You can sleep - peace and space! -
Yellow and fresh lie like a carpet.
This landscape was created in line with the Pushkin tradition:
October has already come - the grove is already shaking off
The last leaves from their naked branches;
The autumn chill has died - the road freezes through.
The murmuring stream still runs behind the mill,
But the pond was already frozen; my neighbor is in a hurry
In departing fields with his hunting ...
These sketches perform the function of exposition in the plot of the work. The lyrical hero of Nekrasov admires the beauty of the modest Russian nature, where everything is so good: “frosty nights”, and “clear, quiet days”, and “moss swamps”, and “stumps”. And as if in passing, he remarks: "There is no ugliness in nature!" Thus, antitheses are prepared, on the basis of which the whole poem is built. Thus, the author contrasts the beautiful nature, where everything is reasonable and harmonious, with those outrages that are happening in human society.
And we already have this opposition in the second part, in the speech of the lyrical hero addressed to Vanya:
This work, Vanya, was terribly huge -
Not on the shoulder alone!
There is a king in the world: this king is merciless,
Hunger is his name.
Opposing the general, he reveals to the boy the truth about the construction of the railway. Here we see the plot and the development of the action. The lyrical hero says that many workers were doomed to die on this construction. Next we see a fantastic picture:
Chu! terrible exclamations were heard!
Stomp and gnashing of teeth;
A shadow ran over the frosty glass...
What's there? Crowd of the Dead!
As T.P. Buslakova, “the reminiscent source of this picture is the scene of the dance of “quiet shadows” in the ballad by V.A. Zhukovsky "Lyudmila" (1808):
“Chu! a leaf shook in the forest.
Chu! a whistle sounded in the wilderness.They hear the rustle of quiet shadows:
In the hour of midnight visions
In the house of the cloud, the crowd,
Ashes leaving the grave,
With a late month sunrise
Light, bright round dance
In an air chain twisted ...
In terms of meaning, two close ... episodes are polemical. For Nekrasov, the artistic goal is not only to present evidence, unlike Zhukovsky, of the “terrifying” truth, but to awaken the reader’s conscience .. Further, the image of the people is concretized by Nekrasov. From the bitter song of the dead, we learn about their unfortunate fate:
With an eternally bent back,
We have endured everything, God's warriors,
Peaceful children of labor!
... Russian hair,
You see, he is exhausted with a fever,
Tall, sick Belarusian:
Lips bloodless, eyelids fallen,
Ulcers on skinny arms
The legs are swollen; tangle in hair;
I am pitting my chest, which is diligently on the spade
From day to day leaned all day ...
It was difficult for a man to get his bread!
Here the lyrical hero indicates his position. In an appeal addressed to Vanya, he reveals his attitude towards the people. Huge respect to the workers, "brothers", to their feat sounds in the following lines:
This noble habit of work
It would not be bad for us to adopt with you ...
Bless the work of the people
And learn to respect the man.
And the second part ends on an optimistic note: the lyrical hero believes in the strength of the Russian people, in their special destiny, in a bright future:
Do not be shy for the dear homeland ...
The Russian people carried enough
Carried out this railroad -
Will endure whatever the Lord sends!Will endure everything - and wide, clear
He will pave the way for himself with his chest.
These lines are the climax in the development of the lyrical plot. The image of the road here acquires a metaphorical meaning: this is a special path of the Russian people, a special path of Russia. The third part of the poem is opposed to the second. Here Vanya's father, the general, expresses his views. In his opinion, the Russian people are “barbarians”, “a wild crowd of drunkards”. Unlike the lyrical hero, he is skeptical. The antithesis is also present in the content of the third part itself. Here we meet a reminiscence from Pushkin: “Or is Apollo Belvedere for you Worse than an oven pot?”. The general here paraphrases Pushkin's lines from the poem "The Poet and the Crowd":
Everything would be good for you - by weight
Idol you appreciate Belvedere.
You do not see the benefit, the benefit in it.
But this marble is a god! .. so what?
The oven pot is dearer to you:
You cook your own food in it.
However, “the author himself enters into a polemic with Pushkin. For him, poetry, the content of which is “sweet sounds and prayers” ..., and the role of a poet-priest are unacceptable. He is ready to "Give ... bold lessons", rush into battle for the people's "benefit". The fourth part is a household sketch. This is a kind of denouement in the development of the topic. With bitter irony, the satirically lyrical hero paints here a picture of the end of his labors. The workers do not receive anything, because each "contractor should have stayed." And when he forgives them for the arrears, this causes stormy rejoicing among the people:
Here even the lazy could not resist!Unharnessed the people of the horses - and the merchant
Seems hard to please the picture
Draw, general?
There is also an antithesis in this part. The contractor, the "venerable farmer", the foremen are contrasted here with the deceived, patient people. 2.3 Features of the composition of the work. Funds Analysis artistic expressiveness and versification (the presence of tropes and stylistic figures, rhythm, meter, rhyme, stanza).
Compositionally, the work is divided into four parts. It is written in four-foot dactyl, quatrains, rhyming - cross. The poet uses various means of artistic expressiveness: epithets (“vigorous air”, “at a beautiful time”), metaphor (“He will endure everything - and pave a wide, clear path with his chest ...”), comparison (“Ice is not strong on the icy river, As if melting sugar lies”), an anaphora (“A contractor goes along the line on a holiday, He goes to see his work”), inversion “This noble habit of work”). The researchers noted the variety of lyrical intonations (narrative, colloquial, declamatory) in the poem. However, all of them are painted with a song tonality. The scene with the image of the dead brings the "Railway" closer to the ballad genre. The first part reminds us of a landscape miniature. The vocabulary and syntax of the work are neutral. Analyzing the phonetic structure of the work, we note the presence of alliteration (“The leaves have not yet faded”) and assonance (“I recognize my dear Russia everywhere ...”).
2.4 The meaning of the poem for the entire work of the poet ... The poem "Railway" was very popular among the poet's contemporaries. One of the reasons for this is the sincerity and ardor of the feelings of the lyrical hero. As K. Chukovsky noted, “Nekrasov ... in the“ Railway ”has anger, and sarcasm, and tenderness, and longing, and hope, and every feeling is huge, each is brought to the limit ...” N.A. Nekrasov is a poet whose popularity at one time overshadowed the popularity of Pushkin himself. This is largely due to the fact that Nekrasov made the people, their bitter lot, their long-suffering fate, the main theme of his poetry: "I dedicated the lyre to my people." Nekrasov is a man of his time. No one but him could express with such force the main anxiety of the era - anxiety for the fate of his country, which was understood as the fate of a multi-million people. Whatever side of life the poet touched, everywhere he saw human suffering and tears, injustice and cruelty towards the people, whether it was a city street, a hospital for the poor, a railway embankment or an uncompressed lane outside the village.
3. Paintings and illustrations by prominent artists for N.A. Nekrasov’s poem “Railway”.
Say what you like, but foreigners should be shown the vitality and significance of Russia, while art will be the best expression of this intellectual power ... Savitsky K.A.
3.1. A poem by N.A. Nekrasov and a painting by K.A. Savitsky * “Repair work on the railway”, 1874. The painting “Repair work on the railway” was written in the same year as “Barge haulers” by I.E. Repin: both paintings are close in ideological orientation. Consider carefully the picture of K.A.Savitsky in order to understand the artist’s intention (see the beginning).
A significant part of the picture is occupied by a huge depression in which a large group of workers is moving in different directions. They carry sand in wheelbarrows. Most of them move from below to the viewer, which allows you to see the ultimate stress of the workers. In the foreground, this is emphasized by a pile of broken wheelbarrows that could not withstand the weight of the load. In the center of the foreground of the picture - a heroically built worker in a strong jerk rolls his wheelbarrow forward. Figures are given to the right and left of him, showing that the strength of the diggers is running out: an elderly worker, harnessed to a strap, cannot pull out a wheelbarrow, although his comrade pushes it by the handles. Behind a pile of broken wheelbarrows, we see the same extreme tension in a young man, with some desperation carrying a wheelbarrow; nearby, a thin, emaciated worker hung helplessly in a strap. On both sides rise embankments of the railroad tracks, as if closing the exit for workers from this hell. The scorching sun and brown-yellow sand everywhere where people work. It’s good only in the distance, in the center of the upper part of the picture: there you can see a copse, green grass and the sky turns blue. But the exit in that direction is blocked by a sharply outlined figure of a foreman with a stick in his hand. Despite the fact that the foreman is given a small shot, his figure stands out: the pose is motionless and calm. He stands pointedly straight, staring indifferently at the bent backs of the workers. His clothes (red shirt, caftan, boots, pulled down cap) are neat, which contrasts with the clothes of workers, somehow dressed in tatters. The coloring of the picture evokes the same impression in the viewer as the overall composition, and enhances the ideological orientation of the picture. There is no doubt that this picture makes us recall the famous poem by N.A. Nekrasov “Railway”, written a whole decade earlier:
We tore ourselves under the heat, under the cold,
With an eternally bent back,
Lived in dugouts, fought hunger,
Were cold and wet, sick with scurvy.We were robbed by literate foremen,
The bosses were crushed, the need was crushing ...
But what is different the main idea poems from the idea of a picture? Unpoetic at first glance, pictures of nature ("kochi, and moss swamps, and stumps") become beautiful under the magical "moonlight", these are parts of the vast "dear Russia". There are many things in nature that seem ugly, but this is our Motherland. And it depends only on the person himself how he will see his homeland: through the eyes of a loving son or the critical gaze of a connoisseur of beauty. There are also many terrible and ugly things in the life of the people, but, according to Nekrasov, this should not obscure the main thing: the creative role of a simple worker. It is after the terrible pictures of forced labor that the narrator invites Vanya to take a closer look at the builders of the railway and learn to “respect the peasant”. The poet says that this work is not at all a pleasure, it is hard, disfigures a person, but such work is worthy of respect, since it is necessary. Awareness of the creative power of labor gives Nekrasov faith in the future. * Konstantin Apollonovich Savitsky (1845 - 1905) - an active participant in the Association of Traveling Art Exhibitions. His paintings are a vivid protest against the war (“To the War”, 1880), religious dope (“Meeting the Icon”, 1878), exploitation of the common people (“Repair work on the railway”, 1874). Born in Taganrog in the family of a military doctor. He studied at the St. Petersburg Academy of Arts, where he was one of the best students. In 1871, for the excellent performance of the painting on the biblical story "Cain and Abel", he received a gold medal. The creative style of the artist was formed under the influence of friendship with I.E. Repin, I.N. In 1874, at the III traveling exhibition, the artist presented the painting "Repair work on the railway", which made the author's name widely known. One of the most significant works of the artist reflects the whole phenomenon of contemporary life, where ordinary people become the main characters. The masterfully built multi-figure composition perfectly conveys the “choral beginning” characteristic of the artist’s late work, the rhythm and intensity of the hardest work of the peasants working as loggers on the construction of the railway. The idea is echoed by the coloring of the picture, which is based on the tonal unity of gray, yellow, blue-gray, brown colors. P.M. Tretyakov bought it for his gallery, with the proceeds from the sale the young artist was able to travel to France, where Savitsky studied the experience of French painters, worked on the problem of the open air (“The Sea in Normandy (A Fisherman in Trouble)”, 1875; “Travelers in the Auvergne, 1876). Returning to Russia, in subsequent years the artist created several multi-figure paintings "Meeting the Icon" and "To War", which were his response to the events associated with the war that began in 1877. Russian-Turkish war. The main theme of these canvases was the fate of the peasantry, apparently in connection with these works, Savitsky would later be called "Nekrasov in painting." For over 20 years he has given pedagogical activity while working in art schools Petersburg, Moscow, Penza. In 1897 he was awarded the title of academician of painting. Savitsky died in Penza on January 31, 1905.
3.2.I. Glazunov. Illustration for the poem by N. Nekrasov "Railway". 1970
The artist is obliged to understand and express, first of all, his time with its alignment of forces, with its understanding of good and evil, with its understanding of the harmony of the world and the purpose of art. Each work of fiction, bearing the truth about a person, about the darkness and light of his spiritual quest, is a feat that requires civic courage from the artist.
I.S. Glazunov
Glazunov Ilya Sergeevich.(born June 10, 1930). Rector of the Russian Academy of Painting, Sculpture and Architecture, Full member Russian Academy Arts, Professor, People's Artist of the USSR, Honorary Member of the Royal Academies of Arts of Madrid and Barcelona, Recipient of the "Picasso Gold Medal" of the UNESCO award for his contribution to world culture, Laureate of the Jawaharlal Nehru Prize, Laureate of the State Prize Russian Federation. Ilya Glazunov is an artist whose name has been the subject of controversy for several decades now. The enthusiasm of the public is accompanied by sharp criticism, in spite of everything, interest in the work of this outstanding person does not weaken. “Leningrad made me an artist,” he says, “with its huge slender houses, its Palace Square, its Neva, bridges, wind ... The Hermitage is like a flicker of candles reflected in the parquet, dark breakthroughs of paintings in gilded frames ... As long as I can remember myself - drew. My first impression in my conscious life is a piece blue sky with dazzling white foam clouds, a road drowning in a field of daisies, and a mysterious forest in the distance. From that moment, it was as if someone turned me on, saying: “Live!” “It is not only possible to be proud of the glory of one’s ancestors, but one must, not to respect it - there is shameful indifference” - these words of Alexander Sergeyevich Pushkin became Glazunov’s motto in his work on the “History of Russia” cycle. “The history of Russia is daring and wars, fires and unrest, rebellions and executions, victories and accomplishments,” says the artist. - There were moments of humiliation, but the hour was striking, and Russia was reborn from the ashes even more beautiful, stronger and more amazing. The history of Russia is the red flame of the Revolution and faith in the future. But there is no future without a past. I believe in the future of mankind, I believe that it brings a new spiritual art, equal to the peaks of the past and, perhaps, higher ... ”The artist has devoted more than 20 years to the“ History of Russia ”cycle and continues it. "Oleg with Igor", "Prince Igor", "Two Princes", "Russian Icarus", "Seeing the Troops", "Eve" (Dmitry Donskoy and Sergius of Radonezh on the eve of the Battle of Kulikovo), "Andrei Rublev", "Russian Beauty" , "Mystery of the 20th century", "Eternal Russia" and many other canvases sing of a difficult and heroic fate Ancient Russia. An important stage in the artist's work - illustration literary works. If the cycle "City" is compared with lyrical poems, then about the cycle of illustrations they write that in it Russia appears in all its social versatility, diversity. Illustrations for the works of Melnikov-Pechersky, Nikitin, Nekrasov, Leskov, Ostrovsky, Lermontov, Blok, Kuprin… From reading the entire writer, from his books, Glazunov seeks to recreate the visible image of the Motherland — the way it crystallized in the writer’s soul. And what Glazunov succeeds in the end is by no means always an “illustration” in the truest sense of the word: it is both a pictorial addition to the writer’s text and an independent work. A cycle of such works constitutes a kind of pictorial encyclopedia of Russian life of bygone times. The name of the artist Glazunov is sometimes associated with the name of F.M. Dostoevsky; the cycle of illustrations made for his works conveys the thoughts-images of the writer in a visible form. Dostoevsky taught Glazunov "to look for a man in a man", in everyday reality to feel the great course of time with its eternal fierce battle between good and evil, "where the battlefield is the heart of man."
4. My illustrations I also wanted to write my own illustrations for the poem by N.A. Nekrasov “Railway”. Firstly, I really liked this work, so I learned it completely by heart and told it in a literature lesson, for which I received “excellent” in a class magazine. Secondly, I study at an art school and it became interesting for me to try myself as an illustrator. Thirdly, of course, both the teacher of literature and my parents supported me in my impulse.
Illustration one “Glorious autumn! Healthy, vigorous air invigorates tired forces "
In the picture, I depicted the edge of the forest, covered with bright leaves. A stream flows along the edge. Under the moonlight, thin ice slightly covered a small river. I painted all this with gouache, using a roller and a sponge. It was with a sponge that I made highlights on the trees and the edge of the forest, covered with leaves.
Glorious autumn! Healthy, vigorous
The air invigorates tired forces;
The ice is fragile on the icy river
As if melting sugar lies;Near the forest, as in a soft bed,
You can sleep - peace and space!
The leaves have not faded yet,
Yellow and fresh lie like a carpet.Glorious autumn! frosty nights,
Clear, quiet days...
There is no ugliness in nature! And kochi
And moss swamps, and stumps -All is well under the moonlight
Everywhere I recognize my dear Russia ...
I quickly fly along cast-iron rails,
I think my mind...
Illustration two “Good dad! Why keep the clever Vanya in the charm?
In this picture, I painted a train compartment in which Vanya, his dad and N.A. Nekrasov are sitting. This is a plot illustration. The father-general is dressed in a rich coat with a red lining, and Vanyusha in a coachman's coat and Nekrasov in a simple ordinary coat. And on this moonlit night, the narrator asks permission from the general to tell Vanyusha about the history of the creation of the railway, along which they travel from Moscow to St. Petersburg, and, in particular, about its builders. How difficult it was, how to respect their work. I painted this picture with gouache, in some places using a dry brush.
Good papa! Why in charm
Keep Vanya smart?
You let me in the moonlight
Show him the truth.This work, Vanya, was terribly huge
Not on the shoulder alone!
There is a king in the world: this king isspared
Hunger is his name.
Illustration three "You see, he is standing, haggard with a fever, a tall sick Belarusian"
In this picture, I imagined a sick Belarusian. To better convey the gloomy, frightening atmosphere and the illness of the Belarusian, I used faded, dull and dark shades of gouache. I painted the painting with a dry brush. I felt very sorry for this Belarusian, so I drew carefully, slowly.
It's a shame to be shy, to close with a glove,
You are no longer small! .. Russian hair,
You see, he is standing, exhausted by a fever,
Tall sick Belarusian:Lips bloodless, eyelids fallen,
Ulcers on skinny arms
Forever knee-deep in water
The legs are swollen; tangle in hair;I am pitting my chest, which is diligently on the spade
From day to day leaned all century ...
You look at him, Vanya, carefully:
It was difficult for a man to get his bread!Didn't straighten his hunchbacked back
He is still: stupidly silent
And mechanically rusty shovel
Frozen ground hammering!
Illustration four "Listen, my dear: the fatal works are over"
In this picture, I depicted how the work of the peasants ended, but it turned out that they were deceived. They did not receive anything for such a great work: neither money nor awards, on the contrary, they owed. In order to convey a depressing, and at the same time joyful atmosphere (after all, the work is over), I used ocher and black gouache. The painting was done with a dry brush.
Listen, my dear: fatal works
It's over - the German is already laying the rails.
The dead are buried in the ground; sick
Hidden in dugouts; working peopleGathered in a close crowd at the office ...
They scratched their heads hard:
Each contractor must remain,
Truant days have become a penny!Everything was entered by ten's men in a book -
Did he take a bath, was the patient lying:
“Maybe there is now a surplus here,
Yes, you go! .. ”They waved their hands…
Illustration 5 "In a blue caftan, an honorary labaznik"
In this picture, I painted a fat meadowsweet, who sits on a horse and praises the workers. And for their great work, he gives them a barrel of wine, as if, in my opinion, as a mockery. But even this, the peasants and workers - all the builders of the railway were happy. I painted this picture with gouache and a roller.
In a blue caftan - a venerable meadowsweet,
Fat, squat, red as copper,
A contractor is walking along the line on a holiday,
He goes to see his work.The idle people make way dignifiedly...
Sweat wipes the merchant from the face
And he says, akimbo pictorially:
“Okay ... something ... well done! .. well done! ..With God, now home - congratulations!
(Hats off - if I say!)
I expose a barrel of wine to workers
And - I give arrears! .. "Someone cheered. Picked up
Louder, friendlier, longer... Look:
With a song, the foremen rolled a barrel ...
Here even the lazy could not resist!Unharnessed the people of the horses - and the merchant
With a cry of "Hurrah!" sped along the road...
Seems hard to cheer up the picture
Draw, General?5. Commonwealth of Arts. Findings.
While doing this project, I learned a lot of new and important things for my later life: - about the life and work of Nikolai Alekseevich Nekrasov, the great Russian poet, about the important period of his work, about the history of the creation of the poem "Railway"; - about the life and work of Konstantin Apollonovich Savitsky, the great Russian artist, about whom she knew nothing before the project, about the history of the creation of the painting “Repair work on the railway. 1874"; - about the life and work of Ilya Sergeevich Glazunov, a famous Russian artist, my contemporary, who painted illustrations for the works of N.A. Nekrasov with interest; - and finally, I wanted to become an illustrator for the poem "Railway" myself, moreover, to see everything in my own way, through the eyes of a thirteen-year-old girl living in the twenty-first century. I agree with the words of I.S. Glazunov that “every work of art that bears the truth about a person, about the darkness and light of his spiritual quest, is a feat that requires civic courage from the artist.” The main theme of his poetry Nekrasov made the people, their bitter fate, long-suffering fate: "I dedicated the lyre to my people." Nekrasov is a man of his time. No one but him could express with such force the main anxiety of the era - anxiety for the fate of his country, which was understood as the fate of a multi-million people. Whatever side of life the poet touched, everywhere he saw human suffering and tears, injustice and cruelty towards the people, whether it was a city street, a hospital for the poor, a railway embankment or an uncompressed lane outside the village.
6. List of references. 1. files.school-collection.edu.ru 2. http://www.glazunov.ru/ 3 Lebedev, A. From the bibliography about N. A. Nekrasov (List of basic literature for teachers over the past 10 years). - "Literature at school", 2012, No. 2, p. 79-80. 4. Chukovsky K.I. Nekrasov N.A. in book. Nekrasova N.A. Poems for children from 3-12 M., "Children's Literature", 1972 5. Works of the school curriculum in a summary Nekrasov N.A. pp. 206-207 M., Rodin and company, publishing house Ast, 1998 6. L.A. Rozanov. About the work of N.A. Nekrasov - M., 1988 7. N.N. Skatov. “I dedicated the lyre to my people” - M., 1985 8. N.I. Yakushin. Path to Nekrasov - M., 1987 Review of research project students of the 7th "B" class of the MOU "Gymnasium "Dmitrov" Mokhnacheva Maria Alexandrovna. The work of Maria Mokhnacheva is dedicated to the poem by N.A. Nekrasov, the paintings written for him, and the creation of her own illustrations for this poem. The relevance of the topic is beyond doubt, because this work is included in the school curriculum and the teacher can use the Mashin project in his teaching activities. The modern world has a great influence on the younger generation, values are changing, and Masha's project has a beneficial effect on her peers. The author set herself the goal of studying the poem, the history of the creation of the Nikolaev railway and writing her own illustrations. Masha carried out serious work on the study of the images of the poem, themes, problems, she memorized it completely, and not an excerpt like the others, got acquainted with the work of K.A. Savitsky and I.S. memory. In her work, Masha describes the research step by step and shows the solution of the tasks with concrete examples. The project under review is a serious and interesting work. It is executed at a high level, contains a number of conclusions of interest. The material is presented consistently and clearly. The conclusions and conclusions are correct. I believe that the research project of Maria Alexandrovna Mokhnacheva can be presented at the regional scientific and practical conference and deserves the Head of the Department of Teachers of the Russian Language and Literature _Khmelevskaya S.A.
December 10, 2004 at 16.30 The Ministry of Culture and Mass Communications, the All-Russian Museum of A.S. Pushkin, the Memorial Museum-Apartment of N.A. .A. Nekrasov in illustrations by artists of the 19th-20th centuries.
The exposition of the Museum-apartment of N.A. Nekrasov - a branch of the All-Russian Museum of A.S. Pushkin - tells about the life and work of N.A. Nekrasov and his contemporaries in the post-Pushkin era. In this apartment, where the poet lived for the last twenty years, there was the editorial office of the best Russian magazines of the 2nd floor. XIX century: Sovremennik, conceived and published by Pushkin, and Fatherland Notes. The whole color of Russian literature of this era was here: I. Turgenev, L. Tolstoy, A. Ostrovsky, F. Dostoevsky, M. Saltykov-Shchedrin and many others. other famous poets and writers.
The museum is actively involved in cultural life Petersburg and in its exhibition halls periodically organizes temporary exhibitions of St. Petersburg artists, both masters of Russian realistic painting and modern ones.
This exhibition from the museum's collection presents illustrations by artists of the 19th-20th centuries to the works of N.A. Nekrasov.
The development of reproduction woodcuts caused in the 1830s-1850s. a wave of broad illustration in Russia. The use of this technique made it possible to significantly increase book circulation, reduce publishing costs, make an illustrated book more accessible to the reader, and since then, a picture, caricature, polytypage have become an indispensable accessory for books, various collections, periodicals. It was during these years that N.A. Nekrasov was formed as a poet and publisher. Being a writer of the natural school, he was one of the first to come to the idea that text and picture complement each other. An example of such aesthetic unity is shown at the exhibition by Nekrasov's Illustrated Almanac.
The chronological framework of the exhibits presented at the exhibition is as follows: from the first lifetime illustrations to the works of N.A. Nekrasov - to the works of artists of the late twentieth century.
The works of A.I. Lebedev, N.V. Ievlev, P.P. Soklov, E.M. Bem, N.D. Dmitriev-Orenburgsky, R.K. Zhukovsky, E.E. Bernardsky, M .P.Klodt.
The second hall exhibits illustrations by artists of the second half of the 20th century, such famous masters as: N.I. Altman, D.A. Shmarinov, K.A. Klementyeva, A.F. Pakhomov, V.A. Serov, B. A.Protoklitov, D.Borovsky. Some products of Palekh artists on the theme of the exhibition are presented.
The graphic works of masters of different art schools, which form the basis of the exhibition, differ from each other in the technique of execution, in the manner and degree of talent. They accurately guess the era in which they were created. The harsh time of the early twentieth century. reflected in the drawings of P. Shmarov in 1905. D. N. Kardovsky's ink drawings for the story "Twenty-five rubles" are imbued with irony and gentle humor. Drawings by D.I. Mitrokhin are shown both in the original and on the pages of the "First Collection" of poems by N.A. Nekrasov published in Petrograd in 1919. A series of brilliant watercolors by artists B.M. Being complete works of graphics, these drawings are inseparable from Nekrasov's text, translated by the artists into the language of visual images.
These works have many merits, but in a literary museum, I would like to put in the first place the ability of the artist to read the text of N.A. Nekrasov, the desire to understand the author's intention, the delicacy and sensitivity of the artist to the manner and style of the poet.
The opening of such an exhibition and the holding of a festive event dedicated to the next anniversary of the birth of the poet - notable event in the life of Petersburg. We are waiting for guests in the exhibition halls of the N.A. Nekrasov Museum on Liteiny.
The great Russian poet N.A. Nekrasov has been familiar to us since childhood. His work had an impact on the entire further development of Russian poetry. The heir and continuer of the traditions of A.S. Pushkin, M.Yu. Lermontov, A.V. Koltsov, Nekrasov told about the suffering and hopes of the people. His poetry was the most important phenomenon of Russian public life, forever entered the treasury of Russian culture.
The poet was born on December 10, 1821 in Nemyriv, a place in Kamenetz-Podolsk province (now Vinnitsa region). Nekrasov's childhood years were spent in the village of Greshnev near Yaroslavl - the family estate of the father-landlord. Here, on the Volga, surrounded by beautiful Russian nature, from childhood he saw the horrors of serfdom, forced labor of peasants and barge haulers. The poet for the rest of his life retained in his soul love for Russian nature and hatred for lawlessness and oppression. In 1838, after graduating from the Yaroslavl gymnasium, Nekrasov, at the behest of his father, had to enter a military educational institution - the Noble Regiment. However, the poet did not obey his father and became a volunteer at St. Petersburg University, for which he was deprived of any material support from his father. About these and subsequent years, full of severe need and deprivation, the poet later wrote:
... A celebration of life - youth is naked -
I killed under the weight of labor...
For the first time Nekrasov began to publish in 1838. Writes poetry, short stories, vaudeville, reviews. The first collection of poems, Dreams and Sounds, was published in 1840. In 1842, he became close to V. G. Belinsky and his circle, which determined the entire further development of Nekrasov's work. The poet dedicated many lines full of admiration and gratitude to the memory of the great critic - democrat.
... You taught us to think humanely,
Almost the first to remember the people,
Almost the first you spoke
About equality, about brotherhood, about freedom…
From that time on, the theme of his works was not “pure lyrics”, but the life of the common people, a truthful depiction of the negative aspects of serf life, bureaucratic Russia. The poet writes the poem "On the Road", "Modern Ode", "Lullaby", "Hound Hunt", "Moral Man" and others, as well as a number of prose works and critical articles. In 1847, Nekrasov, together with I.I. Panaev, acquired the Sovremennik magazine and became its permanent editor-publisher. N. G. Chernyshevsky and then N. A. Dobrolyubov collaborated in Sovremennik. In 1856, Nekrasov published a collection of poems, enthusiastically received by the progressive people of Russia. Several poems from the collection, published in Sovremennik, caused sharp discontent of the government. It was announced to Nekrasov that “the first such trick will put his journal to a complete halt.
In the second half of the 50s - early 60s, the poet creates works whose theme is the life of the oppressed peasantry. During this period, “Reflections at the Front Door”, “Eryomushka’s Song”, “On the Volga”, “Knight for an Hour”, “Peasant Children”, “Pedlars”, “Orina, Soldier’s Mother”, “Frost, Red Nose” and other.
In 1866, after Karakozov's assassination attempt on Alexander II, the government intensified police repression. Sovremennik was closed. In 1868, Nekrasov, together with M.E. Saltykov-Shchedrin, became the head of the journal Otechestvennye Zapiski, which, under their leadership, became a spokesman for advanced democratic ideas. During these years, the theme of Nekrasov's work was the revolutionary struggle against the autocratic system. Then the poems "Russian Women" and "Who Lives Well in Russia" were written.
life path N. A. Nekrasov ended in 1878. The funeral of the poet, who achieved national recognition, was in the nature of a popular political demonstration. Nekrasov is a truly folk poet. Many of his poems have become songs, his works have inspired many artists and composers. 
The author of the proposed illustrations for the works of N. A. Nekrasov is Dementy Alekseevich Shmarinov, People's Artist of the USSR, full member of the Academy of Arts, laureate of the USSR State Prizes, one of the leading masters of Soviet fine art. For many years of his creative activity the artist created illustrations for the works of the largest representatives of Russian and world classics.
D. A. Shmarinov was born on April 29 (May 12), 1907 in Kazan in the family of an agronomist. He studied in Kyiv (1919-1922) in the studio of N. A. Prakhov and in Moscow with D. N. Kardovsky (1923-1928). Known mainly as an illustrator. His works are characterized by the realistic accuracy of the pictorial interpretation of literary works, the persuasiveness of the transfer of dramatic situations and the socio-psychological characteristics of his characters. During the Great Patriotic War, he made a number of political posters and a series of easel drawings imbued with angry pathos and telling about the suffering and courage of the Soviet people in the fight against the enemy. Author of the book "Years of life and work" (1989) 
"Troika" (1846)
What are you greedily looking at the road
Away from fun roads?
To know, the heart beat alarm -
Your whole face lit up all of a sudden.
And why are you running so fast
Behind the rushing trio after? ...
On you, akimbo beautifully,
A passing cornet looked in.
It's no surprise to look at you.
Everyone does not mind loving you:
The scarlet ribbon curls playfully
In your hair, black as night;
Through the blush of your swarthy cheek
Light fluff breaks through
From under your semicircular eyebrow
Looks smartly crafty eye.
One look of a black-browed savage,
Full of spells that ignite the blood
The old man will be ruined for gifts,
In the heart of a young man will throw love. 
"uncompressed band" (1854)
Late fall. The rooks flew away
The forest is bare, the fields are empty,
Only one strip is not compressed ...
She makes a sad thought.
It seems that the ears whisper to each other:
We are bored listening to the autumn blizzard,
Boringly bow down to the ground,
Fat grains bathed in dust!
We are being ruined by the villages every night
Every flying gluttonous bird,
The hare tramples us, and the storm beats us ...
Where is our plowman? what else is waiting for?
"Reflections at the Front Door" (1858)
Since I saw the men come here,
Village Russian people
We prayed to the church and stood far away,
Hanging Russian heads to the chest;
The doorman showed up. "Let it go," they say
With an expression of hope and anguish.
He looked around at the guests: they were ugly to look at!
Sunburnt faces and hands
Armenian thin on the shoulders,
By knapsack on the backs bent,
Cross on the neck and blood on the legs
Shod in homemade bast shoes
(To know they wandered - for a long time they
From some distant provinces).
"PEASANT CHILDREN" (1861)
Wow, it's hot!... We picked mushrooms until noon.
Here they came out of the fox - just towards
A blue ribbon, winding, long,
Meadow river: they jumped in a crowd,
And blond heads over the desert river
What porcini mushrooms in a forest clearing!
The river resounded with both laughter and a howl:
Here a fight is not a fight, a game is not a game ...
And the sun scorches them with midday heat.
Home, kids! It's time to dine.
Have returned. Everyone has a full basket,
And how many stories! Got scythe
Caught a hedgehog, got lost a little
And they saw a wolf .. wow, what a terrible one!
The hedgehog is offered both moss and boogers,
Roots gave him his milk -
Doesn't drink! Retreated….
"GREEN NOISE" (1862-1863)
Goes-buzzes Green noise, Green Noise, spring noise! Playfully disperse Suddenly the wind is riding: Shakes alder bushes, Raise flower dust Like a cloud, everything is green: Both air and water! Green Noise is coming, Green Noise, spring noise!
"IN FULL SHAPE THE VILLAGE STRADA" (1862-1863)
Playfully disperse Suddenly the wind is riding: Shakes alder bushes, Raise flower dust Like a cloud, everything is green: Both air and water! Green Noise is coming, Green Noise, spring noise!
"IN FULL SHAPE THE VILLAGE STRADA" (1862-1863)
Suddenly the wind is riding: Shakes alder bushes, Raise flower dust Like a cloud, everything is green: Both air and water! Green Noise is coming, Green Noise, spring noise!
"IN FULL SHAPE THE VILLAGE STRADA" (1862-1863)
Raise flower dust Like a cloud, everything is green: Both air and water! Green Noise is coming, Green Noise, spring noise!
"IN FULL SHAPE THE VILLAGE STRADA" (1862-1863)
Both air and water! Green Noise is coming, Green Noise, spring noise!
"IN FULL SHAPE THE VILLAGE STRADA" (1862-1863)
Green Noise is coming, Green Noise, spring noise!
"IN FULL SHAPE THE VILLAGE STRADA" (1862-1863)
"IN FULL SHAPE THE VILLAGE STRADA" (1862-1863)
A cry is heard from the neighbors of the strip,
Baba there - kerchiefs were disheveled, -
Gotta rock the baby!
Why did you stand over him in a daze?
Sing him a song of eternal patience,
Sing, patient mother!
Are there tears, is she sweating over her eyelashes,
Right, it's wise to say.
In this jug, stuffed with a dirty rag,
They sink - anyway!
Here she is with her singed lips
Eagerly brings to the edges ... ..
Are the tears delicious, sweetheart?
With sour kvass in half? ..
"FROST, Red NOSE" (1863-1864)
Not a sound! Soul dies
For grief, for passion. standing
And you feel how conquers
Her dead silence.
Not a sound! And you see blue
The vault of the sky, yes the sun, yes the forest,
In silver-matt hoarfrost
Dressed up, full of miracles,
Attractive unknown mystery,
Deeply impassive ... but here
A random rustle was heard -
The tops of the protein goes.
Whom the snow she dropped
On Daria, jumping on a pine tree.
And Daria stood and froze
In your enchanted dream...
"railroad" (1864)
It's a shame to be shy, to close with a glove,
You are no longer small! ... Russian hair,
You see, he is standing, exhausted by a fever,
Tall, sick Belarusian:
Lips bloodless, eyelids fallen,
Ulcers on skinny arms
Forever knee-deep in water
The legs are swollen; tangle in hair;
I am pitting my chest, which is diligently on the spade
From day to day leaned all century ...
You look at him, Vanya, carefully:
It was difficult for a man to get his bread!
Didn't straighten his hunchbacked back
He still: stupidly wets
And mechanically rusty shovel
Frozen ground hammering!
This noble habit of work
It would not be bad for us to adopt with you ...
Bless the work of the people
And learn to respect the man. 
"Uncle Yakov" (1867)
"Stop, old man!" The old man was surrounded
Guys, and girls, and kids darkness.
Everyone changed sweets, bought-
That was the hustle and bustle!
Laughter at someone sad Kuzya:
Holds a horse in front of the nose of the leaf;
The horse is a feast for the eyes and a piece of varnish ....
Where can you endure? Eat boy!
Pity the orphan girl Feklusha:
Everyone chews, and you swallow your saliva ...
“For the pear! By the pear!
Buy, change!
"General Toptygin" (1867)
Fast, furiously rushing
Troika - and no wonder:
On a bump every time
The beast growled zealously;
Only a groan stood around:
"Clean the road!
General Toptygin himself
Goes to the lair!
The oncoming man will shudder,
It will be terrible for a woman,
Like a furry bastard
Barks on a bump.
And the horses are even more afraid
Didn't take a break!
Fifteen miles to the fullest
The poor ones are gone!
She woke up - in the hand of a dream! Chu, heard ahead "Hey coachman, wait a minute" Then the exiled party is coming, My chest hurt more. The princess gives them money, - "Thank you, good luck!" She long, long their faces Dreaming later, And do not drive away her thoughts, Don't forget sleep!
"who in Russia live well" (1863-1877)
"Hey coachman, wait a minute" Then the exiled party is coming, My chest hurt more. The princess gives them money, - "Thank you, good luck!" She long, long their faces Dreaming later, And do not drive away her thoughts, Don't forget sleep!
"who in Russia live well" (1863-1877)
Then the exiled party is coming, My chest hurt more. The princess gives them money, - "Thank you, good luck!" She long, long their faces Dreaming later, And do not drive away her thoughts, Don't forget sleep!
"who in Russia live well" (1863-1877)
The princess gives them money, - "Thank you, good luck!" She long, long their faces Dreaming later, And do not drive away her thoughts, Don't forget sleep!
"who in Russia live well" (1863-1877)
She long, long their faces Dreaming later, And do not drive away her thoughts, Don't forget sleep!
"who in Russia live well" (1863-1877)
And do not drive away her thoughts, Don't forget sleep!
"who in Russia live well" (1863-1877)
"who in Russia live well" (1863-1877)
In what year - count
In what land - guess
On the pillar path
Seven men came together:
Seven temporarily liable,
tightened province,
County Terpigorev,
empty parish,
From adjacent villages:
Zaplatova, Dyryavina,
Razutova, Znobishina,
Gorelova, Neelova
Crop failure, too,
Agreed - and argued:
Who lives happily freely in Russia?
Roman said: to the landowner,
Demyan said: to the official,
Luke said: ass.
Fat-bellied merchant! -
Gubin brothers said
Ivan and Mitrodor.
Old man Pahom pushed
And he said, looking at the ground:
noble boyar,
Minister of the State.
And Prov said: to the king ...
"Russian women" (1871-1872)
She woke up - in the hand of a dream! Chu, heard ahead Sad ringing - shackle ringing! "Hey coachman, wait a minute"
Sad ringing - shackle ringing! "Hey coachman, wait a minute"
Popova Ksenia Andreevna
8B class
MBOU "Average comprehensive school settlement Round Field»
Tukaevsky municipal district Republic of Tatarstan
Title of work: "Works of Russian writers in the visual arts."
Head: teacher of fine arts Gufranova Nadezhda Veniaminovna
Table of contents
Introduction.
2.1.
2.2. Illustrations by graphic artist A. Lebedev.
3. Conclusion.
"The works of N.A. Nekrasov in the visual arts."
Introduction.
In this 2010-11 academic year we celebrate the anniversaries of Russian writers: 120 years since the birth of M.A. Bulgakov, 190 years since the birth of N.A. Nekrasov, 190 years since the birth of F.M. Dostoevsky and many others.
A month ago we participated in the All-Russian competition of children's drawings "I came out of the forest." The competition was dedicated to the 190th anniversary of the birth of N.A. Nekrasov and was included in the project “Fatherland through the eyes of children”.
To participate in this competition, I had to read most of the wonderful works of N.A. Nekrasov, to consider the work of artists - the Wanderers, illustrators.
This knowledge helped me to prepare for the LN Tolstoy Scientific and Practical Conference.
“The works of N.A. Nekrasov in Fine Arts.
Nekrasov characters, Nekrasov village, Nekrasov landscape - how often these definitions are found in essays and monographs about many Russian artists. Nekrasov's poetry had a certain influence on the formation and establishment of democratic tendencies in the Russian fine arts of the 1850s-1870s. Nekrasov's views on Russian reality were close to many Wanderers.
The poem by N.A. Nekrasov “Silence” and the painting by the artist I.I. Shishkin “Rye”.
From the article by I.V. Dolgopolov "Ivan Shishkin" I learned that our countryman, Ivan Ivanovich Shishkin, painted the landscape "Rye". The picture was painted after the artist made a trip to Yelabuga in 1877. Throughout his life, he constantly came to his father's land, where he seemed to draw new creative forces. The motive found at home, captured in one of the pencil sketches with a laconic author's inscription: "This", formed the basis of the picture.
The very name "Rye" to a certain extent expresses the essence of the depicted, where everything is so wisely simple, and at the same time significant. This work is involuntarily associated with N. A. Nekrasov's poem "Silence" - which Shishkin especially loved.
All rye around, like steppe, alive,
No castles, no seas, no mountains.
Thank you dear side
For your healing space.
And V. Dolgopolov analyzes the painting "Rye" in the following words:
“... It was a special, quiet, fine day.
Majestically, spaciously stretched a field of ripening bread, and in the midst of this ocean of golden rye, as if the guardian of Russian wealth, giant pine trees stood up, raising their proud peaks to the very sky.
Incredible silence reigns in the landscape. It seems that you can hear how each blade of grass breathes. Even, unhurried breathing of the field reaches the ear. Only the chirping of small birds - swallows, piercingly cutting the air above the ground - disturbs the peace. Masses of cumulus clouds are crowding in a dove-gray haze near the horizon.
Soars.
And, despite the fact that the breeze does not sway a single spikelet, not a single twig of pines, the soul feels that there will be a thunderstorm ...
A vague state of anxiety is strengthened by the burned lonely skeleton of a tree, absurdly and wildly sticking out among this bewitching grace. Maybe a lightning strike burned a pine tree?
She looms strangely and drearily, reminding the viewer of the accidents, adversities, troubles of the author of the canvas himself.
This landscape is not so idyllic. A serious, almost minor note of a complex, difficult life, not always clear and comprehensible, is heard in the picture. It is opened and supported by the theme of the road, buried in rye, along which two travelers wander, and above them, high, high in the blue zenith, birds are circling ... "
I. N. Kramskoy wrote in his letter to Ilya Repin: “Rye is one of Shishkin’s most successful things in general. Thanks to a wide linear perspective and color generalization in the transfer of a field of ripe rye and an almost lifeless air environment, the painter achieves a monumental narrative. The landscape is deliberately static, as if captured by the artist for eternity.
2.2.Illustrations by graphic artist A. Lebedev.
The artists of the Nekrasov circle strove to “transmit everything that can only be grasped with a pencil of the wonderful, both in the past, and, in particular, in modern life of the Russian people...” Artists often emphasized a satirical, accusatory beginning in Nekrasov’s poetry. Perhaps the most significant illustrations for the works of the poet at that time were created by the famous graphic artist A. Lebedev. Lebedev first turned to the work of Nekrasov in the mid-1860s. The works of A. Lebedev are close in spirit to his poetry. The artist deliberately chooses poems and poems about the hard life of the common people, sympathy for " little man”, Criticism of the existing order: “Reflections at the front door”, “Who should live well in Russia”. Lebedev's drawings can hardly be called illustrations in the modern sense. These are easel compositions. The album of his drawings "Something from Nekrasov" (1878) used great success, but was not completed because censorship banned publication.
2.3. Female images in the works of the poet N.A. Nekrasov and artists A.G. Venetsianov and V.G. Perov
In his work, Nekrasov pays special attention to the disclosure female images. At the same time, observing and studying the female character, he is not limited to his own circle - the circle of the tribal nobility. His creative intuition and poetic imagination can penetrate the soul of a simple peasant woman, a Decembrist's wife, and even a fallen woman.
The Russian peasant woman became the heroine of many poems and poems by Nekrasov; they are all imbued with deep compassion for her fate:
He did not carry a heart in his chest,
Who did not shed tears over you, -
the poet writes, speaking about the fate of a Russian woman.
Women in Nekrasov's poetry are always doomed to injustice, her unfortunate fate is predetermined by the society in which she lives. We see this in the poems of N.A. Nekrasov "Russian Women", "Frost, Red Nose", in the center of one of the most significant chapters of the epic poem "Who Lives Well in Russia" - again the image of a woman, a peasant woman. In one of his poems, the poet calls a young peasant woman beaten in the square the sister of his muse.
Yesterday at six o'clock
I went to Sennaya;
They beat a woman with a whip,
A young peasant woman.
Not a sound from her chest
Only the whip whistled, playing ...
And I said to the Muse: "Look!
Your own sister!"
A. Amshinskaya in the article “Alexey Gavrilovich Venetsianov” claims that Nekrasov’s women were the prototypes of Venetsianov’s peasant women in the paintings, although they were created a quarter of a century later. I fully agree with her, although many critics refute this. They refer to the fact that in the critical literature about Nekrasov, nor in the works devoted to Venetsianov, they did not find a comparison of their works.
Reading the works of N.A. Nekrasov and considering the paintings of the artist A.G. Venetsianova, I see a similarity.
The gallery of folk female images of Venetsianov is diverse - the appearance of the peasant women posing for the artist, their character, and age are different. However, there is something in common internal state that unites them all.
Venetsianov's early painting "Peeling the Beets" depicts a group of peasant women cleaning beets. The arrival of the guy broke the monotonous, measured rhythm of work, and in this moment of unexpected respite, a state characteristic of each of the women is revealed: a little girl - a silly girl is busy with her porridge, a teenage girl is immersed in a happy world of fairy tales, a girl standing on the threshold of maturity is full of quivering curiosity before life. Her face is turned to the older neighbor, and as if in response to her gaze full of hope, she meets the faded, bleak look of an elderly woman who is conducting some kind of silent dialogue with the young man who has come. The expression on the face of the peasant woman is striking indifference, physical and mental fatigue, complete inner emptiness, behind which there is no longer and cannot be hope.
Looking at the picture, I remembered the poem by N.A. Nekrasov "Troika":
From work black, and difficult
You will bloom, not having time to bloom,
You will fall into a deep sleep.
You will babysit, work and eat.
We see the same fatigue and inner emptiness in the face of a woman putting on bast shoes in the painting "Barn".
I think you agree with me that the plots and characters of the works of Nekrasov and Venetsianov are similar. Their works are imbued with deep compassion for the Russian woman "peasant", tortured by work, whose unfortunate fate becomes the object of their depiction.
However, the Russian woman appears in Nekrasov's poems and Venetsianov's paintings as a "majestic Slav", as Nekrasov called him in the poem "Frost, Red Nose". In the appearance of such a woman, folk ideas about a real handsome man were embodied: strongly built, ruddy, lively, dexterous, hardworking.
The beauty of the world marvelously,
Blush, slim, tall,
Beautiful in every dress
Skill in every job.
The same warmth and humanity emanates from Venetsianov's painting "Bathers". The bathers of Venetsianov are ordinary Russian peasant women, with healthy and beautiful bodies, they have strong and hardened hands, slightly reddened knees. Indeed, such a woman
Stop a galloping horse
He will enter the burning hut.
We can say that the ideal of Nekrasov and Venetsianov is a beautiful Russian woman, ruddy, lively, hardworking. Whoever the poet and artist depicted - peasant women or representatives of the nobility - they bow before the determination and pride of the Russian woman, her ability to sacrifice and strength of character, at the same time they lovingly describe simple Russian girls, their clean faces and pure souls, their freshness, warmth and humanity.
Such, for example, is Perov’s painting “Seeing the Dead Man,” in which everything - the figure of a widow broken by grief, and the wide-open sad eyes of children, and the twilight, dreary winter landscape, and the coffin upholstered in matting - everything conveys the idea of Nekrasov’s poem with amazing force. "Frost - Red Nose" and involuntarily evokes mournful lines:
Savraska got stuck in half a snowdrift;
Both guys with the dead
Two pairs of frozen bast shoes
They sat, not daring to cry.
Yes, the corner of a bast-covered coffin
And, ruling Savraska, at the tomb
They stick out of poor firewood ...
With the reins of their poor mother
Chagall...
The painting “Seeing the Dead” is the result of Perov’s deep study of peasant life, which has now become the main theme of his art.
Conclusion.
To the works of N.A. Nekrasov was addressed by artists different plan, finding in his poetry a lot of interesting things for himself.
Nekrasov - the poet inspired his poem "Silence" by I. Shishkin ("Rye"); the poems “To whom it is good to live in Russia” and “Reflections at the main entrance” by the graphic artist A. Lebedev; poems and poems “Russian Women”, “Frost, Red Nose”, “Troika”, G. Venetsianova (“Peeling the Beets”, “Threshing Floor”, “Bathers”, Fortune Telling on the Cards”, “Morning of the Landowner”); V. Perov ("Troika", "Seeing the dead man"); the poem "Green Noise" by A. Ryleev ("Green Noise"); the poem "Reflection at the front door" by I. Repin ("Barge haulers on the Volga"); the poem "Railway" by G. Savitsky ("Repair work on the railway").
Artists - illustrators such as A. Lebedev, V. Serov, V. Nagaev, N. Vorobyov, S. Gerasimov, P. Sokolov lovingly illustrate a truly "folk" poet.
Bibliography.
1. Amitrov G. N.A. Nekrasov's poem "Russian Women". - M.: Children's literature, 1965.
2. Amshinskaya A. Alexei Gavrilovich Venetsianov. - M., 1980.
3. Alexey Gavrilovich Venetsianov. Article. Letters. Contemporaries about the artist. Comp., Introductory Articles and Notes A.V. Kornilov.- L., 1980.
4. Brief literary encyclopedia. T.6. - M., 1982.
5. Leontieva G.K. Alexey Gavriilovich Venetsianov. - L., 1980.
6. Nekrasov N.A. Poems and poems. - Ufa, 1981.
7. Stepanov N. N.A. Nekrasov's poem "Russian Women". - M.: Children's literature, 1985.
8.I.V.Dolgopolov "Ivan Shishkin", magazine "Artists".
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