The fairy tales of Hans Christian Andersen are known and loved by children and adults in every home around the world. Illustrators love them too, so the variety of books is huge.
But for me, Andersen will forever remain the same as Anatoly Kokorin saw him, because even as a child I copied his portrait countless times from a shabby book with my favorite illustrations.
For drawings for Andersen's works, Kokorin was awarded the Gold Medal of the USSR Academy of Arts and the ardent love of several generations of readers.
“He knew everything about Andersen. For seventeen years he collected and assembled a special library, where different languages they talked about Andersen, remembered Andersen, studied Andersen, portrayed his heroes in different styles and manners. But the artist Kokorin did not need anyone's style. By the time of the meeting, he possessed a certain secret, against which, in fact, neither time, nor space, nor the features of another culture could resist. The type of art in which the artist Kokorin worked should be called "professional improvisation", and the result of this improvisation, when the pencil touches the paper literally on the fly, is truly akin to a fairy tale, which, as you know, touches reality only when it wants to. ". http://bibliogid.ru/articles/497
Here is what his colleague and friend Viktor Tsigal said about Kokorin’s work: “There is a persuasiveness in Kokorin’s illustrations that captivates with skill, mischief, a playful moment, a firework of joyful colors. Looking at his drawings in albums and books, I was amazed at how organically his drawing lays down on a sheet, how it coexists with text, type, how the line itself twists merrily, and where it breaks, how a charcoal pencil crumbles under the pressure of temperament.
And here are the words of the author himself: “When I was a little boy, they gave me a book in a red cover. On it, in gold patterned letters, was written: "The Tales of G. X. Andersen." With bated breath, I read these amazing tales .... and unusual countries arose in front of me, ancient cities, peasant houses, unlike ours. I saw funny ships with inflated sails running along the waves and people in unusual clothes .... And I wanted to make drawings for them.
Every time you start illustrating new fairy tale, I ... quietly say: Good morning great Andersen! I always strive to make the drawing clear, extremely expressive. But such simplicity does not come easily and requires a lot of preliminary work. I like to draw with a black soft pencil. I also draw with pen and ink. And I paint with paints according to the finished drawing.
Therefore, how delighted I was when AST undertook to republish Andersen's fairy tales with Kokorin's favorite illustrations. For a long time I chose which book to buy, and settled on "Favorite Fairy Tales". The book includes three fairy tales by Andersen: Flint, Swineherd and Potato. The first two - in the translation of A. Hansen, the last - in the retelling of A. Maksimova. And since these tales are not only familiar to everyone, but are also in every library, it makes no sense to talk about the text. Therefore, I will say about the publication - a large square format, hardcover, thick white offset paper, large print, illustrations on each spread (!), print quality is normal, colors are bright, illustrations are clear. If you find fault, the only negative is a thin white stripe in the center in some illustrations for the entire spread (you can see it on the scans), apparently due to illiterate stitching.
Other versions of Andersen's editions with illustrations by Kokorin: (in the first, in addition to Andersen's three fairy tales, there is also Perrault's "Puss in Boots", and in the last two only the cover and format (reduced) differ):
Recently, AST released as many as three versions of Charles Perrault's tale "Puss in Boots" with illustrations by Kokorin. That is, there is essentially one option, just, as usual, the covers are different - for every taste, both hard and soft. A fairy tale in a wonderful translation by Valentin Berestov, as in the edition of the seventieth year, drawings are both color and black and white.
At the request of Marina, I will tell you a little about Andersen's collection of fairy tales "Sausage stick soup and other fairy tales" from the Moscow Textbooks publishing house. The book contains rarely published fairy tales, which is very important, given the availability and sale of an incredible number of Mermaids, Thumbelinas and Snow Queens with a wide variety of illustrations.
There are six fairy tales in the collection, four of which are in the classical Hansen translation: Sausage Stick Soup, Little Ida's Flowers, Little Klaus and Big Klaus, Ole-Lukoye, Ib and Khristinochka, Magic Hill.
Illustrations by Elena Abdulaeva are light and smoky, not for everybody. And although I do not consider myself one of those, I am very glad that this book is in Shkapu, thanks to its content and quality of execution. It is simply excellent: large format, hardcover (with a cute font composition in the form of a mouse))), thick coated paper, excellent printing, large print, suitable for independent reading. You pick up a book and you don't want to let it go.
Over 300 domestic artists created illustrations for fairy tales G-X Andersen. From the moment they were translated into Russian in 1834.
The appeal to the analysis of illustrations as a way of comprehending the content of a literary text is due to the understanding of a children's illustrated book as phenomena of the synthesis of the arts (literature and fine arts). At the same time, our understanding of the synthesis of arts is consistent with the understanding proposed in specialized dictionary"Plastic Arts": a synthesis of the arts - organic compound different arts or types of arts into an artistic whole. The synthesis of arts implies the creation of a qualitatively new artistic phenomenon, which is not reducible to a simple sum of its constituent components (51, p. 119). According to Yu.Ya. Gerchuk, the book is a construction that should be considered as a whole (23). artistic concept children's illustrated book, based on the idea of synthesis of arts, was developed by V.V. Lebedev and his students in the 20-30s of the twentieth century. In their opinion, the book that emerges as a result of dialogue - co-creation, has two authors - a writer and an artist. It follows that a children's picture book as a text is literally a dialogue.
As E.O. Orlova emphasizes, the synthesis of arts, according to Lebedev's concept, should be embodied both in content and in composition. In other words, the compositional merging of the spread of the book into a single whole should reflect the unity of the semantic content, and this is the embodiment of the dialogue between the writer and the artist (48, p. 52).
The study of the book as a phenomenon of the synthesis of arts continued in subsequent years. This topic was dealt with by: E.Z. Gankina, Yu.Ya. Gerchuk, L. Kudryavtseva, N.A. Kurochkina, E.O. Orlova and others (22,23,33,36,48).
The results of the communication of domestic artists with Andersen are exceptionally multifaceted and rich, like the work of the storyteller itself. Let's name some artists who created the images of Andersen's fairy tales: A. Arkhipova, V. Alfeevsky, N. Goltz, B. Dekhterev, B. Diadorov, L. Zolotarev, A. Ilyin, A. Kokorin, V. Konashevich, N. Knyazkova , G. Makeeva, V. Panava, G.A.V. Traugot and others.
Each artist created the world of his Andersen. B. Dekhterev, according to E. O. Orlova, used images of classical world art in illustrations in creating illustrations (47, p. 212). The heroes of the fairy tale "Thumbelina" in the illustrations of the artist, as it were, descended from the canvases of the great French artists (J.-B. Chardin, J.-B. Greuze, etc.) onto the pages of a children's book. In the perception of images, it is important to follow the slowness of the language of French art with its attention to everyday situations, the loving prescribing of details, the desire to capture joy. human being, which come to life in the drawings of B. Dekhterev. By placing the images of Andersen's fairy tales in the world of classical art, the artist prepared children for a meeting with examples of world culture.
In the illustrations of the artists G.A.V. Traugot dominates the reflection of the romantic content of the tale in a warm color scheme. The illustrations are light, graceful, carrying a mystery. With the help of color, the artists very subtly convey the mood of the characters.
Among the richly illustrative world of fairy tales by the Danish writer, we chose the work of those artists that most fully correspond to the topic of our study: Nika Goltz, Boris Diodorov, Anatoly Kokorin.
The well-known artist in Russia Anatoly Kokorin said that as a result of working on illustrations for the works of the Danish writer, he became a close friend for the artist. Kokorin, wanting to more fully comprehend Andersen's creative world, not only traveled to the storyteller's homeland, but also reread all his fairy tales (more than 150), got acquainted with his poetry, novels, travel essays, epistolary heritage, memoirs of friends and autobiographical story. Such interest of the artist shows that Andersen really became his friend. In his book "How I drew the fairy tales of G.-H. Andersen", addressed to children, Kokorin wrote: "I wanted to show in illustrations what I love most in Andersen's fairy tales, and convey my love to children" (35, p. 4 ). The artist not only made many beautiful drawings about Andersen's life, but also a whole book about him in the form of travel notes and old letters "In the country of the great storyteller." He completed this work at the age of 62. In this book, Kokorin admits that "Andersen became like an old friend to him" (34).
Kokorin illustrated many fairy tales, among them: "Swineherd", "Flint", "How the storm outweighed the signs", "What the hubby does not do is fine", "Hans the Chump" and others. Books with illustrations by Kokorin were published and reprinted in 1969, 1976, 1988, 1992 (,9,10,11)
The very choice of fairy tales tells us about the artist's need to illustrate, first of all, comic texts. It will be interesting to trace how the comic created by literary text, conveyed by the artist, using expressive means fine arts, thus respecting the idea of art synthesis.
In the fairy tale "Swineherd", Kokorin, following the writer's satirical attitude to the arrogant and empty princess, showed the heroine's tastelessness, depicting her in a yellow dress with green roses and pink shoes. In this outfit, the princess looks more like a cake than a girl of exquisite taste, able to distinguish true beauty from fake. On another page, the king himself went to open the door at night in a red cape with white flowers, in worn-out darned slippers and with a small dog. This whole picture looks funny - is it possible to open the door with such a doggie at night to who knows, and is this how the king should appear before an unknown visitor. Depicting a romantic kiss scene, the artist, revealing the comical nature of the situation proposed by Andersen (a kiss on barnyard), surrounds the heroes with dirty but very cute pigs.
Referring to the illustrations of the fairy tales "The Flint" and "What the hubby does not do, that's okay" presents us with an artist capable of expressing the comic not only in a satirical direction. The main characters of these tales are depicted in a kindly funny and funny way, which is facilitated in particular by the use of bright and colorful colors.
One of the funniest illustrations of Kokorin to Andersen's fairy tales is a picture of dressed grooms from the fairy tale "Hans Chump". For each character, the artist came up with his own funny image: a dunce dressed in armor to the very ears and overdressed as if in a golden wig, a prince dried up from love, a pale, melancholy fat glutton; besides, they are all numbered, which in itself makes it comical - unless they place the numbers of the princess' suitors right on their backs.
So, in Kokorin's drawings, a comic mood, perky and funny images prevail, therefore, we can say that Kokorin, with his work, reveals, first of all, the comic nature of the content of Andersen's fairy tales.
Another artist who dedicated his work to creating special world Andersen - Boris Diodorov, who is currently the chairman of the Russian G.-Kh. Andersen. The illustrations of this artist are also of interest because he received an award for illustrations of Andersen's fairy tales in 2001 in the writer's homeland in the Danish city of Odense and from the hands of Princess Alexandra. Boris Diodorov says this about his work: “I illustrate for a very long time, and I don’t want to part with every fairy tale ... there is such a world that I want to live in it” (31, p. 16). According to E.O. Orlova the artist has a unique quality. To denote this quality, the researcher uses the term common today - authentic, those. authentically reproducing the work, as close as possible to the author's intention (48, p. 53).
Diodorov chose for his work two fairy tales - "The Snow Queen" and "The Little Mermaid", currently he illustrates "Thumbelina" (3,4). In the paragraph of our study proposed above, we attributed these tales to the group of those that carry tragic features. At the same time, the tragedy in these tales is expressed: in a situation of a difficult choice that the hero must make, in the loneliness of the hero and in the tragic development of the plot leading to the death of the hero, which leads to the spiritual triumph of the cause.
The artist expresses these features of the tragic in his illustrations in his own way. He, for example, transmits in "The Little Mermaid" tragic content color: at the time of the shipwreck, when the main character dies, dark dominates blue color with a dash of black. Color immediately calls the reader to experience tragic feelings. Diodorov portrays the heroine in underwater world- alone, she is always away from her sisters. The tale ends with the death of the little mermaid, but is asserted moral ideal sacrificial love. The artist achieves this by applying this technique: he twice depicts the little mermaid, soaring up after her death. Thus, he helps the reader to experience not a feeling of despair or despondency caused by the death of the heroine, but a feeling of faith in the triumph of good - after all, the little mermaid is depicted as a beautiful air fairy.
One of the themes of the tale The Snow Queen Andersen - the theme of love as overcoming the loneliness of the heroine.
Many compositions of Diodorov's illustrations for this fairy tale by Andersen are aimed at revealing the confrontation between the little heroine and big world, seeking to absorb it and thereby knock it off the chosen path. In the depiction of the moment when Gerda was sailing down the river in a boat, the artist uses a color composition technique: the whole world around the heroine is made in cold tones, and the color scheme is dominated by grey colour, against which the girl stands out with a color spot. So the artist showed that the heroine is alone in this world.
The composition depicting a girl in front of the palace reflects the moment of trial by grief, when one has to overcome one's own despair, fatigue, and a feeling of loneliness. Again, the artist repeats the technique of opposing Gerda and the world around her - a little girl and a huge world alien to her. Such an impact on the consciousness of the reader and the viewer is achieved through the conscious construction of the composition, in which the view from below is chosen and, accordingly, the completion of the palace fence is not shown, they did not fit on the page, thus we are offered the opportunity to continue this lattice to the limits of our imagination, feeling the tinyness of the abandoned here heroines. The feeling that the heroine is cold and lonely is instantly transmitted to the viewer.
Diodorov also portrayed another hero of the fairy tale - Kai. The Snow Queen took Kai to her castle, her world was alien to him, so he is depicted in color, and the world of the queen is black and white and the hero does not want to get there. The black background on which the queen is depicted indicates to the viewer the inevitability of the death of this evil. In our opinion, the artist thus expressed Kai's feeling of loneliness.
So, Boris Diodorov, as an artist, reveals, first of all, the tragic features of Andersen's images.
The artist Nika Goltz has been working for many years on illustrations for the works of G.-Kh. Andersen for the publishing house "Eksmo". In one of the interviews, the artist replied that she understands Andersen and puts a lot of "heartfelt feeling" into her work. The artist's friends say that "Goltz's illustrations have a special romantic intonation" (32, p. 41).
In the fairy tale "The Princess and the Pea", the artist depicted the "real princess" exactly the way the prince wanted to find in this fairy tale. The princess is presented as a sleepy village girl, which emphasizes the humorous reason for choosing a princess.
In the fairy tale "Hill of the Forest Spirits", Goltz drew a "chosen society" that came to the wedding of the sons of the old Troll, but in the end the old Troll himself married, and the sons were left alone again. The artist became a co-author with the writer, portraying the sons as stupid heroes, putting them at the table next to the pig. "They put their feet on the table, thinking they were doing it nicely." The facial expressions of the characters and their poses, shown by the artist very accurately, convey the comical nature of the work. Goltz in this tale portrayed the heroes comically, thereby emphasizing the playful mood of the tale.
In the tale "The King's New Clothes" the king is described as stupid and primitive. The artist emphasizes these qualities with the help of his headdress - a hat with feathers like a parrot; a motley combination of colors - blue, juicy green, bright pink and red. In it, the king is depicted from the first page of the tale to the last. In our opinion, this is a special move by Goltz - the king is wearing a parrot hat all the time. Thus, the artist helps the reader to see the stupid and funny nature of the king, expressed in love for clothes as the main content of his life.
Thus, Goltz reveals herself as an artist of a comic direction, while the tragic images of Andersen's fairy tales are not alien to her.
Andersen's fairy tale "The Little Match Girl" about a poor girl who is cold in winter New Year's Eve nobody helped. And trying to warm herself, the poor thing burned matches and looked out the windows, how others were having fun. The heroine was lonely, and the artist depicted this image of a lonely hero. Goltz in her illustration showed that the girl is separable from the world by highlighting the heroine, and faceless people in the second. Another technique for depicting the loneliness of the hero was used by the artist - the poor thing stands with her back to people. The tragedy is expressed not only in loneliness, but also in the death of the hero, which leads to the triumph of love, on the last page it says that "on the morning of the first day of the new year" they found a body completely cold, "the face turned pale, but a happy smile froze on the lips" ( 6, p.136). The girl entered better world"higher and higher - to the sky, fortunately." Andersen ends the tale with the frozen body of the girl, and the artist depicts the moment of the triumph of love.
Nika Goltz, explaining her love for fairy tales, says: "There are many sad and even tragic tales (the same "The Little Mermaid" by Andersen). There are also cruel tales, but goodness, intelligence, nobility, courage always triumph in them ... "(59, p.17). The illustrator's words reflect the idea of a possible tragic development of the plot of Andersen's fairy tales, leading to the death of the hero, which leads to the spiritual triumph of good.
So, in the illustrations chosen by us, Nika Goltz reveals both tragic and comic features in fairy tales, as well as both of them in combination. L. Kudryavtseva, characterizing Goltz's works for Andersen's fairy tales, notes that the artist was able to "penetrate the secret of the secrets of his poetic world...", while at the same time "how much charming humor and even satire in her drawings" (26, p. 42).
Interesting to spend comparative analysis illustrations of artists for the same fairy tales (Table "Comparison of the artists' choice of fairy tales by G.-H. Andersen" in Appendix 2). The fairy tale, the heroes of which were portrayed by all three artists, is "The Snow Queen".
So, A. Kokorin portrayed the main characters Kai and Gerda as toy dolls who live in their toy town. The Snow Queen appears on the front page, but not in cold tones, but in cheerful bright blue tones. Even Kokorin's robbers are funny, kind, in mischievous poses. The artist illustrated only the funny and kind moments of the fairy tale, thereby confirming that he reveals the comic nature of the fairy tale.
B. Diodorov's illustrations are very realistic, so Kai and Gerda are depicted as real girls and boys. Fairy tale illustrations gives the image of the snow queen. So the robbers are depicted as terrible, embittered, which gives the fairy-tale situation a tragic character. The artist, with the help of cold black color, conveyed all the tragedy of the fairy tale even in bright moments. the main character, do not leave feelings of sadness, loneliness. So, Diodorov wrote illustrations for a fairy tale with a tragic content.
Nika Goltz depicted both tragic and comic illustrations. Animals are drawn comical, or rather amusing - a crow in a cap, dogs, deer. They look so mischievous, the robbers do not frighten either Gerda or the reader, but evoke a feeling of good irony.
The artist illustrated Gerda walking towards "a whole shelf of snowflakes" as if she were resisting the odds. Diagonal tension conveys confidence that the girl will reach and not break. (5, p. 62)
In the next illustration, she depicted the Snow Queen and Kai. The curve of the child's back follows the curve of the queen. The dominating figure of the sorceress, as it were, swallowed up the image of the boy. Thus, with the help of lines and construction of the composition, Goltz expressed the subordination of the will of Kai to the evil power of the queen. In our opinion, these illustrations have a tragic content. (5, p. 64)
Thus, the work of Hans Christian Andersen is presented in the illustrations of artists from the comic side, and from the tragic side, and from the tragicomic side, which opens up the possibility for pedagogical understanding of these illustrations and their use in working with younger students.
The study of the aesthetic categories of tragic and comic in the context of different sciences in relation to the work of G.-Kh. Andersen allows us to draw the following conclusions:
the tragic in literary criticism is understood as the product of a conflict, the tragic essence of which is manifested in the hopelessness of the contradiction, the complexity of the choice, the loneliness of the hero and his death. Let us note at the same time that the death of the hero leads to the spiritual triumph of the cause. The content of the tragic work is intended to arouse compassion for the heroes, which will contribute to the purification human feelings or catharsis, and awaken sublime feelings;
aesthetics, in addition to the already mentioned features of the tragic, highlights such important characteristics of it as the significance of the hero's world in generating a sense of the tragic; considers the ideal as a source of aesthetic experiences for both the hero and the viewer (reader);
comedy in literary criticism is characterized by ridiculing the vices of negative characters and affirming the actions and behavior of positive ones, by unexpectedly exposing the internal inferiority of the characters, such a construction that leads to ridiculous situations.
Reflection and interconnection of the tragic and the comic in the work of G.-Kh. Andersen can be considered as a special direction in the study of his fairy tales. The ratio of the content of the writer's works with the indicated characteristics of the tragic and the comic makes it possible to determine the following features of the tragic in his fairy tales: the situation of a difficult choice that the hero must make; hero's loneliness; the tragic development of the plot leading to the death of the hero, which affirms a lofty ideal. Comic in these tales, in our opinion, is expressed in: funny situations, actions, words of heroes; stupidity and arrogance, generated by conceit, which lead the heroes to a situation of ridicule over them; good-natured, condescending and cheerful attitude of a person towards other people.
In our opinion, in this unique combination of the tragic and the comic in fairy world Andersen and is the peculiarity of his work as a writer. On the one hand, tragic and comic are opposite aesthetic categories, which determines the complexity of their interaction. On the other hand, it is precisely this aesthetic content that reflects the fullness of human existence. It is no coincidence that the tragic and the comic belong to the paired categories of aesthetics, when the existence of one is impossible without the other. The result of their interaction in Andersen's work is the emergence of a new aesthetic category- tragicomic .
The younger student as a reader often interacts with an illustrated book. A children's illustrated book is a phenomenon of the synthesis of arts, which is based on a dialogue between a writer and an artist. The synthesis of arts opens up the possibility of understanding the intent of a work with the help of analysis, which considers how an image created by means of one type of art is embodied in the language of another type. Therefore, we believe that the use of illustrations for the fairy tales of G.-Kh. Andersen can help to reveal to the younger student the features of the writer's work. Among the richly illustrative world of fairy tales of the great Dane, we chose the work of those artists that most fully correspond to the topic of our study: Nika Goltz, Boris Diodorov, Anatoly Kokorin.
Kokorin's drawings are dominated by a comic mood, fervent and funny images, the artist, with his work, reveals, first of all, the comic content of Andersen's fairy tales. Boris Diodorov prefers to present the reader with the tragic features of Andersen's images. Nika Goltz in the illustrations chosen by us reveals both tragic and comic features in fairy tales, as well as their combination.
So, the work of G.-Kh. Andersen, presented by Russian artists in the variety of its tragicomic content, opens up rich opportunities for pedagogical organization understanding by younger students of the features of the writer's work.
KNOW SOSH "ROSINKA"
"In search of beauty" (artists-illustrators of children's books)»information and research project
Stepanova Polina, 7 "a" class
Work manager:
Manokhina Galina Konstantinovna
Introduction
A children's book is as much a monument of culture and time as any work of art.
V. Pivovarov
The 21st century has inherited one of the main patterns: at the time of the extraordinary rise technical progress of particular importance are the spiritual values associated with the sensation inner harmony that awaken our love for the beautiful, for beauty, goodness and justice. Children's book, children's writers, children's fairy tales. How poor our life would be if, from the first years of our stay on earth, the child did not see, did not hold in his hands this miracle - the book of our childhood. She discovered something new, unknown and surprised by the fact that images, pictures, events were born from words. From childhood entered our lives folk tales, fairy tales by A.S. Pushkin, the Brothers Grimm, Ch. Perrault and, of course, G.Kh. Andersen - the most published storyteller in the world. How many artists, graphic artists, illustrators in all countries were inspired by the heroes of the great Dane. In my work I tried to touch the world high art through the work of the best Russian illustrators who are recognized as such in the world. Their works develop the author's idea, give it their own artistic interpretation, enhance the sharpness of aesthetic vision, reveal the world, form Creative skills and, most importantly, they make us, the readers, witnesses of how a miracle is born from shades and halftones - a work of great art. Subject design work: "In search of beauty..."(Creativity of artists - illustrators of children's books) Relevance of this work is determined by the need to find ways to study and analyze the illustrations of the book in order to comprehend the main idea of the work and understand the author's intention, to create own texts, in the opportunity to touch the world of high art through the work of the best illustrators of children's books. The project is implemented within the framework of literature lessons. It can be qualified as research, individual, long-term. object research is the work of artists - illustrators Subject of study : illustrators of G. Andersen's fairy tales. Research hypothesis was the assumption that the study of the work of the best illustrators of children's books will be the key to understanding the author's intention and the possibility of creating your own descriptive texts as an opportunity to touch the great art of the book. Target of this work is the opportunity to touch the world of high art through the study of the work of the best artists - illustrators of children's books and the development of creative abilities. To achieve the goal, we set the following tasks:
- Create a speech development manual for grade 5 students “In Search of the Beautiful”; study the literature on the topic; talk about the work of famous artists- illustrators of fairy tales G. H. Andersen; conduct a survey of students and teachers of the school; hold a book exhibition "In Search of the Beautiful".
- Questionnaire Observation method Analysis and synthesis Method linguistic analysis Method mental simulation
- Word drawing method
Chapter 1
1.1 A galaxy of Russian illustrators of fairy tales G.Kh. Andersen.
Children's book, children's writers, children's fairy tales... How poor our life would be if from the first years of being on earth the child did not see, did not hold in his hands this miracle - the book of our childhood. She discovers something new, unknown and surprises that images, pictures and events are born from the word.
Since childhood, folk tales, fairy tales of A.S. Pushkin, the Brothers Grimm and, of course, Hans Christian Andersen, the most published storyteller in the world.
One can imagine how many book artists, graphic artists, illustrators* in all countries were inspired by the heroes of the great Dane.
Let's try to touch this world through the work of the best Russian illustrators who are recognized as such in the world.
Andersen's illustrators are a galaxy of remarkable artists. It is difficult to tell about all, let's focus on the most big names, on artists loved by children.
O one of the oldest artists Vladimir Mikhailovich Konashevich 1 (1888 - 1963), who stood at the origins of children's books in Russia, more than once turned to Andersen's fairy tales. His drawings are decorative, recognizable and bright.
The artist created an individual, recognizable style of designing fairy tales, in which the brightness of images, ornate patterns and vignettes are combined with the artist's ironic look, the ability to captivate a child with playful, lively compositions, the poetry of fantasy and the colorful decorativeness of the picture.
Talking about how he comes up with drawings, Konashevich admitted: “There are artists who invent and think with a pencil in their hand ... I am an artist of a different warehouse. Before I take up a pencil, I have to figure everything out in advance, imagine mentally a finished drawing in all its details ... ”Konashevich’s work educates children in taste, a sense of beauty and harmony, the joy of being and kindness. Because besides everything, His painting is kind, in every stroke, in every glare one can always feel the talent of kindness - a huge, three-girth heart, without which his valiant service to children would be impossible.
O of particular note is the work of the illustrator Valery Sergeevich Alfeevsky- a classic of European fairy tales: Hoffmann, Gauf, Carroll, Kolodi, and, of course, Andersen. His drawings are remarkable for the combination of fabulousness and mystery with reliable reality. Illustrations for Andersen's fairy tales are the brightest cycle of his works. In large multi-color editions and in small black-and-white line drawings, the artist managed to create a sparkling extravaganza, a magical celebration of drawing.
ValeryGrigorievich Traugot (1931) and Alexander Grigorievich Traugot (1936). The Traugoth brothers have a special way: they do not sketch, but they do a lot various options illustrations. When there are a lot of drawings, they sit side by side and, delicately listening to each other, select the best. They are one of Andersen's best illustrators. When the brothers drew for books, they tried to make the illustrations sparkle white, as if they were made of porcelain.
Valery Traugot and Alexander Traugot are laureates of the All-Russian competitions "The Art of the Book" in 1988, 1990, 1991, 1992. It is difficult to tell about all the works of the Traugoth artists, and we stopped at the most significant, memorable and beloved by young readers.
Evgeny Grigorievich Monin(1931 - 2002) - one of the recently departed illustrators, folk artist Russia, corresponding member Russian Academy arts. In total, he designed more than a hundred books, and 24 of them were awarded various awards, including international ones. Art critics note in Monin's work an addiction to all sorts of architectural structures and medieval castles. The characters of Andersen's fairy tales, drawn by the artist, are different from other characters. Almost everyone has special “outstanding” noses. If we look at the picture for the fairy tale "Persistent tin soldier”, then we can easily see that art historians are right. The whole page, the whole spread is houses, windows, doors, only at the very bottom is a barely noticeable soldier on a paper boat. Most strengths Monin's creativity is color and impeccable taste. All with taste and charm
E another illustrator Anastasia Ivanovna Arkhipova Born in Moscow in a family of artists - father and grandfather are book graphic artists. In 1978 she graduated from the Moscow state institute named after V.I. Surikov. Already in 1980, the artist was working on the design of a volume of Russian fairy tales in the series "Library of World Children's Literature" for the publishing house "Children's Literature".
In the 80s and 90s, books of Andersen's fairy tales with illustrations by A.I. Arkhipova "Wild Swans and Other Tales", "The Snow Queen", "The Steadfast Tin Soldier" and others. Delicate, expressive, light-filled pictures make you want to look and look at them. In 2003, Egmont publishing house republishes the fairy tales of G.Kh. Andersen together with illustrations by A. Arkhipova.
Her work is known in Norway, Italy, Denmark, Sweden and Germany. In 2001, "The Little Match Girl" by Arkhipova was noted as the best edition of Andersen in the Scandinavian countries.
In 2003, Anastasia Arkhipova won the "Best Illustrator of the Year" award at the "Book of the Year" competition in Russia.
The book "G.Kh. Andersen. The best fairy tales" is 200 pages of really best fairy tales. BUT best fairy tales, according to the publisher, those that were drawn by the artist Arkhipova. Here and "The Little Mermaid", and "The Girl with Matches", and "The Snow Queen".
The illustrations for "The Snow Queen" are different from any other drawings for this fairy tale. Gerda is not like any other girl in the illustrations. This is talent, skill, your own view of a true artist. His handwriting is unique. The most delicate colors, smoky landscapes, many white color in illustrations.
Arkhipova chooses the key moments of the fairy tale for her drawings: Kai and Gerda among her flowers, Kai and the Snow Queen, Gerda sails in a boat to the house of an old witch, etc.
Perhaps adults will look at these pictures even with more interest than children. Adults have something to compare with, they can compare the creative style of the artist, while for a child his book will be the best.
Andersen's fairy tales are fairy tales for any age. For adults it is a parable, for children it is magic.
KNOW SOSH "ROSINKA"
"In search of beauty" (artists-illustrators of children's books)"
information research project
Moscow
2010
Table of contents
Introduction
A children's book is as much a monument of culture and time as any work of art.V. Pivovarov
The 21st century has inherited one of the main patterns: at the time of the extraordinary rise in technological progress, spiritual values associated with a sense of inner harmony, awakening our love for beauty, beauty, goodness and justice, take on special significance.
Children's book, children's writers, children's fairy tales. How poor our life would be if, from the first years of our stay on earth, the child did not see, did not hold in his hands this miracle - the book of our childhood. She discovered something new, unknown and surprised by the fact that images, pictures, events were born from words.
Since childhood, folk tales, tales of A.S. Pushkin, the Brothers Grimm, Ch. Perrault and, of course, G.Kh. How many artists, graphic artists, illustrators in all countries were inspired by the heroes of the great Dane.
In my work, I tried to touch the world of high art through the work of the best Russian illustrators, who are recognized as such in the world. Their works develop the author's idea, give it their own artistic interpretation, enhance the sharpness of aesthetic vision, reveal the world around them, form creative abilities and, most importantly, make us, the readers, witnesses of how a miracle is born from shades and halftones - a work of great art.
The theme of the project work: "In search of beauty ..." (Creativity of artists - illustrators of children's books)
The relevance of this work is determined by the need to find ways to study and analyze the illustrations of the book in order to comprehend the main idea of the work and understand the author's intention, create your own texts, in order to touch the world of high art through the work of the best illustrators of children's books.
The project is implemented within the framework of literature lessons. It can be qualified as research, individual, long-term.
The object of the study is the work of artists - illustrators
Subject of study: illustrators of G. Andersen's fairy tales.
The hypothesis of the study was the assumption that the study of the work of the best illustrators of children's books will be the key to understanding the author's intention and the possibility of creating your own descriptive texts as an opportunity to touch the great art of the book.
The purpose of this work is the opportunity to touch the world of high art through the study of the work of the best artists - illustrators of children's books and the development of creative abilities.
To achieve the goal, we set the following tasks:
- Create a speech development manual for grade 5 students “In Search of the Beautiful”;
study the literature on the topic;
talk about the work of the most famous artists - illustrators of fairy tales G. H. Andersen;
conduct a survey of students and teachers of the school;
hold a book exhibition "In Search of the Beautiful".
- Questionnaire
Observation method
Analysis and synthesis
Method of linguistic analysis
Mental Modeling Method
Word drawing method
Chapter 1
1.1 A galaxy of Russian illustrators of fairy tales G.Kh. Andersen.
Children's book, children's writers, children's fairy tales... How poor our life would be if from the first years of being on earth the child did not see, did not hold in his hands this miracle - the book of our childhood. She discovers something new, unknown and surprises that images, pictures and events are born from the word.Since childhood, folk tales, fairy tales of A.S. Pushkin, the Brothers Grimm and, of course, Hans Christian Andersen, the most published storyteller in the world.
One can imagine how many book artists, graphic artists, illustrators* in all countries were inspired by the heroes of the great Dane.
Let's try to touch this world through the work of the best Russian illustrators who are recognized as such in the world.
Andersen's illustrators are a galaxy of remarkable artists. It is difficult to tell about all of them, let's focus on the most significant names, on the artists whom children love.
One of the oldest artists, Vladimir Mikhailovich Konashevich 1 (1888 - 1963), who stood at the origins of a children's book in Russia, more than once turned to Andersen's fairy tales. His drawings are decorative, recognizable and bright.
The artist created an individual, recognizable style of designing fairy tales, in which the brightness of images, ornate patterns and vignettes are combined with the artist's ironic look, the ability to captivate a child with playful, lively compositions, the poetry of fantasy and the colorful decorativeness of the picture.
Talking about how he comes up with drawings, Konashevich admitted: “There are artists who invent and think with a pencil in their hand ... I am an artist of a different warehouse. Before I take up a pencil, I have to find out everything in advance, imagine mentally a finished drawing in all its details ... ”Konashevich’s work educates children in taste, a sense of beauty and harmony, the joy of being and kindness. Because besides everything, His painting is kind, in every stroke, in every glare one can always feel the talent of kindness - a huge, three-girth heart, without which his valiant service to children would be impossible.
Of particular note are the works of illustrator Valery Sergeevich Alfeevsky - a classic of European fairy tales: Hoffmann, Gauf, Carroll, Kolodi, and, of course, Andersen. His drawings are remarkable for the combination of fabulousness and mystery with reliable reality. Illustrations for Andersen's fairy tales are the brightest cycle of his works. In large multi-color editions and in small black-and-white line drawings, the artist managed to create a sparkling extravaganza, a magical celebration of drawing.
Valery Grigorievich Traugot (1931) and Alexander Grigorievich Traugot (1936). The Traugoth brothers have a special style: they do not make sketches, but they do many different versions of illustrations. When there are a lot of drawings, they sit side by side and, delicately listening to each other, select the best. They are one of Andersen's best illustrators. When the brothers drew for books, they tried to make the illustrations sparkle white, as if they were made of porcelain.
Valery Traugot and Alexander Traugot are laureates of the All-Russian competitions "The Art of the Book" in 1988, 1990, 1991, 1992. It is difficult to tell about all the works of the Traugoth artists, and we stopped at the most significant, memorable and beloved by young readers.
Evgeny Grigoryevich Monin (1931 - 2002) - one of the recently departed illustrators, People's Artist of Russia, Corresponding Member of the Russian Academy of Arts. In total, he designed more than a hundred books, and 24 of them were awarded various awards, including international ones. Art historians note in the work of Monin an addiction to all kinds of architectural structures and medieval castles. The characters of Andersen's fairy tales, drawn by the artist, are different from other characters. Almost everyone has special “outstanding” noses. If we look at the picture for the fairy tale "The Steadfast Tin Soldier", we can easily see that art historians are right. The whole page, the whole spread is houses, windows, doors, only at the very bottom is a barely noticeable soldier on a paper boat. The strongest aspects of Monin's creativity are color and impeccable taste. All with taste and charm
Another illustrator, Anastasia Ivanovna Arkhipova, was born in Moscow into a family of artists - her father and grandfather were book graphic artists. In 1978 she graduated from the Moscow State Institute named after V.I. Surikov. Already in 1980, the artist was working on the design of a volume of Russian fairy tales in the series "Library of World Children's Literature" for the publishing house "Children's Literature".
In the 80s and 90s, books of Andersen's fairy tales with illustrations by A.I. Arkhipova "Wild Swans and Other Tales", "The Snow Queen", "The Steadfast Tin Soldier" and others. Delicate, expressive, light-filled pictures make you want to look and look at them. In 2003, Egmont publishing house republishes the fairy tales of G.Kh. Andersen together with illustrations by A. Arkhipova.
Her work is known in Norway, Italy, Denmark, Sweden and Germany. In 2001, "The Little Match Girl" by Arkhipova was noted as the best edition of Andersen in the Scandinavian countries.
In 2003, Anastasia Arkhipova won the "Best Illustrator of the Year" award at the "Book of the Year" competition in Russia.
The book "G.Kh. Andersen. The best fairy tales" is 200 pages of really best fairy tales. And the best fairy tales, according to the publisher, are those drawn by the artist Arkhipova. Here and "The Little Mermaid", and "The Girl with Matches", and "The Snow Queen".
The illustrations for "The Snow Queen" are different from any other drawings for this fairy tale. Gerda is not like any other girl in the illustrations. This is talent, skill, your own view of a true artist. His handwriting is unique. The most delicate colors, smoky landscapes, a lot of white in the illustrations.
Arkhipova chooses the key moments of the fairy tale for her drawings: Kai and Gerda among her flowers, Kai and the Snow Queen, Gerda sails in a boat to the house of an old witch, etc.
Perhaps adults will look at these pictures with even more interest than children. Adults have something to compare with, they can compare the creative style of the artist, while for a child his book will be the best.
Andersen's fairy tales are fairy tales for any age. For adults it is a parable, for children it is magic.
1.2 "Fairy of a pencil and a brush" (creativity of the artist Nika Goltz).
Nika Georgievna Goltz 2 was born in 1925 in Moscow in the family of an architect. In 1943 - 1950 she was a student of the Moscow State Institute named after V.I. Surikov. Since 1953, Nika Georgievna has been working in book and easel graphics at the publishing houses "Children's Literature", "Fiction", "EKSMO - press" and others.Throughout his long life, N. Goltz has been drawing fairy tales. The artist Leonid Vladimirsky called her "the fairy of a pencil and a brush". Illustrated by the artist E.A. Hoffman, C.Perro, the Grimm brothers, S. Lagerlöf.
Simultaneously with her work in book graphics, N. Golts released a series of paintings depicting Egypt, Russia, and Scotland. She painted the foyer of the Musical Theater for Children by Natalya Sats, including two panels based on sketches by Academician of Architecture G.P. Golts, the artist’s father.
Fig.1 Fig.2 Fig.3
Portrait of Nika Goltz. Illustrations by Niki Goltz for the fairy tales of G.Kh. Andersen
In 1988, Nika Georgievna became a laureate All-Russian competition"The Art of the Book" for illustrations to A. Pogorelsky's fairy tale "Black Hen, or Underground Dwellers".
Goltz's drawings are full of nobility and refined taste. They are friendly and kind. This can be seen both in the stroke and in the plasticity of the compositions. She treats the little reader with respect and carefully guides him through the adventures to the happy end of the fairy tale. She is a good witch.
The artist also illustrates Andersen's fairy tales. For several generations of children, his fairy tales have been read - "Thumbelina", "Ole-Lukoye", "Flint", etc. In 2002, the EKSMO publishing house delighted young readers with the book "The Snow Queen" with new illustrations by the artist. This book immediately attracted the attention of fellow graphic artists. It was named the book of the year by the famous artist Leonid Vladimirsky, the artist Mitrofanov and others.
In March 2002, an exhibition of Nika Goltz took place in the Russian State Children's Library, where numerous illustrations for Andersen's fairy tales, landscapes of Denmark were exhibited, which the artist walked around with an easel and paints.
Her illustrations are pierced with iridescent light, depicting the subtlety, transparency and fragility of fairy-tale magic with amazing skill.
Many works by Nika Georgievna Goltz are in Russian museums, including Tretyakov Gallery, and private collections in Russia and abroad - in Denmark, Sweden, Germany, Italy, USA.
Since 1953, N.G. Golts has been participating in Moscow, Russian, All-Union and international exhibitions.
Exhibitions took place in many countries: Canada, India, Denmark (1964); Yugoslavia (1968); Berlin (1985).
The artist's friends say that when Nika Georgievna paints still lifes - bouquets of flowers, little people are sure to sit in the flowers: nymphs, elves. Moreover, adults do not immediately notice them, but children look at the flowers and, above all, see these fabulous little men.
When you look at the works of Nika Goltz, it seems that the world of a fairy tale is real and exists somewhere in a corner of the planet known to the artist. Perhaps this place is Nika Georgievna's favorite Denmark: “This is a small country, but it is colossal. Because it contains such a variety of different landscapes: there is a dense forest, and of amazing beauty; there are such amazing oaks - they grow a little differently than our oaks. They branch from the root - these are the famous Umols oaks. I am so lucky that for almost 20 years I have had very close friends there, and we traveled all over this amazing country with them. There I saw churches of the 11th century with murals, which also do not look like anything else. This is already Christianity, but the Vikings painted them. It's something very Danish. Denmark is also my favorite artist Hanashoe, whom I sometimes call "Danish Serov". Thanks Denmark. For her beauty, for her kindness, for her amazing charm.”
In recent years, Nika Georgievna has been working on illustrations for the works of H.K. Andersen for the EKSMO publishing house.
Rice. 4 Fig.5 (Illustrations by Nika Goltz)
1.3 "The endless joy of discovery" (meeting with the work of Boris Arkadevich Diodorov)
Fig.6 Fig.7 Fig.8Portrait of B.A. Diodorov Illustrations for the fairy tales of G.Kh. Andersen
B. Diodorov - People's Artist of Russia, holder of the diploma of Ivan Fedorov, the silver medal of the International Book Exhibition in Leipzig (1982), silver medal Academy of Arts of the Russian Federation (1996), nominee for gold medal (1998, 2000).
Art education began in 1945 at the Moscow Art School on Chudovka, then from 1952 to 1954. - Moscow average art school(in the Lavrushinsky district) at the Moscow State Art Institute named after V. I. Surikov. Among the teachers and artists whose influence was the most significant were: K.K. Zefirov, M.T. Khazanov, K. G. Dorokhov, A. A. Meleshkin, K. M. Molchanov, N. I. Andriyaka, V. Babitsyn, A. P. Gorsky, P. Radimov, R. R. Falk, N. P. Krymov, S. A. Chuikov, E. A. Maleina, M. I. Kurilko and many, many others.
Recognition came to the artist in 1979 after the publication of the fairy tale story by the Swedish writer, Nobel Prize winner Selma Lagerlöf “The Wonderful Journey of Niels with wild geese". The book was illustrated with exquisite color etchings with aquatint and watercolor. She received the highest diplomas of the Art of the Book competitions, including the Diploma to them. Ivan Fedorov (1980), "Golden Apple" BIB-81 in Bratislava, "Silver Medal" IBA-82 in Leipzig.
Boris Diodorov has made over 400 books. He is the author of illustrations for "Winnie the Pooh", fairy tales by L. N. Tolstoy, "The Scarlet Flower" by S. T. Aksakov, "The Snow Queen", "The Little Mermaid" and "Thumbelina" by X. K. Andersen, "Song of the Soul" and S. Turgenev, "Sivke-Burke", "Malachite Box" by P. Bazhov and many others.
People's Artist of Russia Boris Arkadyevich Diodorov is so in love with the work of Hans-Christian Andersen that it seems that the storyteller himself sent the painter to Russia. However, we have always loved the main writer of Denmark. But what happens in two years will, perhaps, be the main event in the posthumous - and eternal - life of Andersen and his heroes in the Russian expanses. “First of all, it will be the opening of a monument to the writer - the first in Moscow, and, it seems, in Russia,” says Boris Diodorov, president of the H.-K. Andersen Foundation. “In addition, a whole series of anniversary events is planned, the center of which will be Day 2 April 2005 is the storyteller's birthday."
Boris Diodorov argues that Andersen was on a par with Pushkin in "educating the high moral and aesthetic ideals of generations of Russians."
Two years ago, Mr. Diodorov received the Grand Prize of the International Andersen Competition in Odense from the Danish Princess Alexandra. The prize has been awarded once a year since 1996.
When you pick up books with illustrations by Diodorov, you are not let go by the feeling of miracle and magic.
The "Snow Queen" with drawings by the artist Diodorov is mesmerizing. Each picture makes me want to look again and again.
Conclusions: With Andersen through the centuries
1) Hans Christian Andersen once called mighty Russia the “Pearl of all the states of Europe”. It was a tribute of the great Danish writer to Russian literature, which he knew, according to his confession, “from Karamzin to Pushkin”, and to some extent gratitude for the incredible love that Russian readers immediately showed to his translated fairy tales.
2) Andersen became on a par with Pushkin in the upbringing of high moral and aesthetic ideals of generations of Russians.
3) Almost all the best Russian artists illustrated Andersen.
4) The works of talented illustrators of Andersen's fairy tales highlighted the unique facets of the great storyteller.
5) The artist's skill, his understanding of the text and time itself live in the illustration. As the authors write, "Andersen's work, with its mysterious romanticism, a unique combination of everyday and fantastic, with its all-redeeming Christian kindness, deep philosophy and original symbolism, turned out to be in tune with the soul of the Russian artist."
6) The talented works of the best illustrators were used by Russian publishers a century ago and continue to be published to this day.
7) Their work brings to everyone - both children and adults the Miracle of the Book, awakens the desire to read, know, understand, love the world, believe in the mission of the Printed Word.
Chapter 2
2.1 Organization and description of research methods “Everything that their brush touched became magical” (the author’s reading of Andersen by various illustrators)
In this project, the following research tasks were set:- to study the literature on the topic
-tell about the work of the most famous artists - illustrators of fairy tales G. H. Andersen
- conducting interviews in information center schools.
- conduct a survey of students and teachers of the school
-create an album "The World of Magical Transformations" about the work of artists - illustrators of Andersen's fairy tales.
-create a speech development manual for grade 5 students "In Search of the Beautiful"
The basis for the survey are students of the 5th grade of the school "Rosinka".
To achieve the goal of the project and solve the research tasks set, a set of methods and techniques was used:
Empirical methods:
-Free survey of 5th grade students in order to identify reading competence.
- Sign modeling of your own texts (descriptions of illustrations for fairy tales) to create a manual for the development of speech
Theoretical methods:
-Analysis and synthesis of the artistic originality of Andersen's fairy tales
-Linguistic analysis method
- Generalization of artistic means used by illustrators.
-Method of mental modeling.
- Method of verbal creativity.
Also, the sequence of actions for the benefit of our project was determined:
1. Create a questionnaire.
2. Questioning of 5th grade students.
3. Summing up the results of the survey.
4. Modeling of texts - descriptions.
5. Analysis of texts - descriptions for illustrations of Andersen's fairy tales.
6. Writing primary conclusions.
7. Approbation of the results (confirmation or refutation of the hypothesis) - verification of recommendations based on the study
8. Summing up the final results.
The record forms for our project are:
For the interview: description of the interview and the results of this experiment.
For questioning: description of the results of the questioning.
Primary processing, analysis and presentation of the results of the study is the introduction of the results of the study into the appropriate forms of records; schematic, graphic, illustrative presentation of the results (preparation of applications); writing conclusions.
Approbation and confirmation of the hypothesis is the analysis of the emotional state of the reader on the materials of the study of the work of illustrators.
Of course, every illustrator saw the fairy tales of Hans Christian Andersen with his own eyes - and captured his idea in the illustration. These are Arkhipova, Monin, Alfeevsky, Goltz and many others. The Traugot brothers presented Andersen's fairy tales in the most vivid colors, and Konashevich painted the story in cold colors.
2.2 Description and analysis of study results
"Painting is poetry that is seen" (Texts - descriptions of illustrations for Andersen's fairy tales - an attempt to join the world of art of the word)
Analysis of the results of the survey1. To the question "Do you like fairy tales?" All respondents answered "Yes". Almost all respondents like author's fairy tales the most, some like about animals, and very few like fairy tales.
2. Questioned students to the question "Do you pay attention to how this book is illustrated?" answered in the affirmative, because sometimes everyone has to find illustrations that amaze the imagination.
3. To the third question “Do you think the work of illustrators influences the perception of the author’s intention?” respondents answered "Yes". Some students expanded on their answer by saying that the illustration helps them visualize the story in their minds.
4. To the next question “What do you think is the difference between the work of illustrators and the work of artists?” the majority answered that the illustrator draws according to the intention of the author, and the artist - on free theme. Some answered that the illustrator rather than draws, but writes, decorates the imaginary picture of history created by the author.
5. 62% of respondents could not give examples of illustrators G.H. Andersen. 38% answered in the affirmative to the question "Do you know the illustrators of Andersen's fairy tales?" and cited as an example the most famous assistants in the concept of the author's intention, such as Diodorov, Arkhipova, Goltz.
6. 88% of respondents to the question “Does your home library Andersen's fairy tales, illustrations for which are made by contemporary artists? answered "Yes". The remaining 12% of students answered "I don't know".
7. To the seventh question, “Have you ever wanted to illustrate your favorite fairy tale yourself?” Almost all students answered in the affirmative. One respondent answered in the negative.
8. To the last question, "What images does your imagination give rise to when you look at two illustrations made by different artists for the fairy tale "The Snow Queen"?" respondents responded differently. The most frequently used phrases were "The Snow Queen looks very cold and evil" - to the first picture, "The village resembles a pre-Christmas mood and looks very warm" - to the second picture.
Based on the analysis of the questionnaire, it can be concluded that most of readers of Andersen's fairy tales understands the significance of the work of an illustrator, his high role in understanding the author's intention, and this helps to shape the reader's culture, and, most importantly, makes them witnesses of how a miracle is born with the help of a brush and paints - a work of high art - illustration to the Tale.
Results of the experiment (research)
Our experiment was carried out among students of the 5th grade. This is appropriate, because at the lessons of literature, fifth-graders get acquainted in detail with Andersen's fairy tales. But, unfortunately, the school literature curriculum does not include lessons about the work of illustrators. Therefore, in one of the literature lessons, we tried to tell in detail about the galaxy of the best illustrators of Andersen's fairy tales, who, with their work, open the world of a fairy tale to the reader, complement and enrich the reader's "vision" of heroes and events. After all, an illustrator is a thoughtful reader of a book, and the main task of a book illustration is to recreate what is written in a literary work by means of fine art.
We invited 5th grade students to describe illustrations by different artists for Andersen's fairy tale "The Snow Queen" (B. Diodorov, V. Konashevich, A. Arkhipova, N. Goltz) and create their own descriptive texts based on what they saw. The work was carried out according to the following plan:
1. First impression of the painting
2. What moment of the fabulous action unfolds before your eyes.
3. Think about what the artist admires, what his skill is manifested in (composition and color).
4. What details did the artist add to the fairy-tale text (portraits, plan of the picture and “talking” details).
5. How illustration helps to understand that the artist is first of all a thoughtful reader of the book (the idea of the author and your impressions).
We invite you to the “gallery”, where, in our opinion, best descriptions to the fairy tale "The Snow Queen".
I would like to introduce you to the essays-descriptions of the fifth graders. Here is how Nika Goltz describes the illustration for the fairy tale “The Snow Queen” by Liza Golukhova: “This illustration can be titled like this: “Gerda is captured by an old woman - a sorceress.” This picture is permeated with iridescent light, the old woman's smile creates a good-natured mood, and Gerda's blurred look is a little disturbing. The artist depicts the subtlety and fragility of glass vessels with amazing skill. Nika Goltz uses different colors in her drawing. Basically, it is light yellow and light beige. They depict the walls of the room, Gerda's blouse and apron. The whole drawing is bright and iridescent, and the artist follows the text of the fairy tale, which describes the scene where Gerda ate ripe cherries, and the old woman combed her hair. I really liked this drawing with its light and kindness.
From the work of Zhenya Labzina: “In the painting by Nika Goltz, I saw the Snow Queen taking Kai away. The boy does not feel trouble yet, he is having fun with the Snow Queen. But the coloring of the picture is like a warning: something will happen! The drawing is written in dark colors. I saw despair and felt fear for Kai. With the help of the artist, I clearly imagined this strange city, where ships are sailing through the streets, and the fact that Kai is being taken away from his homeland for a long time. In the picture, a horse harnessed to the Snow Queen's sleigh begins to take off into a dark, gloomy sky, illuminated only by a lonely, thin moon.
“The picture is absolutely amazing! Look how the artist Arkhipova portrayed the characters! What special colors! And the carriage? It seems that she is flying, circling in a whirlwind of snow. Sadly, the artist draws the figure of Kai against the backdrop of a snow-covered city, but something disturbs the heart of the viewer. The artist explains the author's intention with composition and coloring" - describes Podshivalova Polina's amazing illustration by Anastasia Arkhipova.
Myagotin Denis wrote down his thoughts about the painting by B. Diodorov: “My first impression of this painting: amazing beauty! What I misunderstood in this episode fell into place. This is one of my favorite episodes. I felt Gerda's love for her friend Reindeer and realized how much she misses Kai. In the background I see a snow-covered forest. Perhaps barefoot Gerda in her little blue dress will have to make her way through this silent thicket. I was also struck by the color of the picture: iridescent light colors and snow, white - white.
Here is what Melamud Dasha writes in her essay based on an illustration by B. Diodorov: “We have before us an episode of Gerda's meeting with the wise Raven. Against the backdrop of a beautiful but cold castle with pointed spiers (I think this is the artist’s style of writing), behind a cast-iron fence covered with snow, poor barefoot Gerda is sitting on a cold stone. She lowered her head and gave up all hope of finding Kai. The raven, stretching its neck, is trying to look into the face of an unfamiliar girl. Maybe he asks her: “Why are you sitting here alone in the cold, how can I help you?”. Faded gray colors and only Gerda's red dress in the midst of all this darkness, as it were, gives hope for the salvation of her beloved brother. With the help of paints and a brush, the artist helped to imagine the plight in which Gerda found herself ... "
“In front of me is a magical illustration by A. Arkhipova for the fairy tale “The Snow Queen”. In the foreground on the clouds are Kai and the Snow Queen. She leads the boy to her ice kingdom. I always thought: what is she, the Snow Queen? The artist helped me to “see” her: with a cold look, a stern face, in a snow-white coat strewn with snow, beautiful, but ruthless and lonely. The coloring of the picture is gloomy: gray tones are mixed with a cold sheen of white, and only a lone figure of Kai is given in color, ”- from the work of Azim Saida.
And here is an excerpt from the work of Masha Ross to another illustration by the artist A. Arkhipova:
etc.................
The painting is located in Gresten Castle, Denmark.
Available great amount illustrations for fairy tales and other works of Andersen.
Vilhelm Pedersen 1820-1859
was the first illustrator of fairy tales and stories by Hans Christian Andersen. His illustrations are distinguished by smoothness, softness and roundness of forms, concise execution. It is interesting to note that often the faces of children painted by Pedersen have a completely unchildish expression, and at the same time, adults look like just big children. The world of Pedersen's illustrations is a world of leisurely stories in which things and objects can suddenly begin to speak and behave like people, and children - the heroes of Andersen's fairy tales - find themselves in a surprising and sometimes cruel world where you have to pay for everything, and where both good and evil get what they deserve.
Lorentz Frolich 1820-1859
was the second illustrator of fairy tales and stories of Hans Christian Andersen. His illustrations are quite similar to those of Andersen's first illustrator of fairy tales, Vilhelm Pedersen. Perhaps that is why he was chosen.
Edmund Dulac
was born in 1882 in Toulouse, France. His artistic ability manifested itself in early age, there are sketches made by him when he was a teenager. Many of them are done in watercolor, a style he favored throughout his life. For two years he studied law at the University of Toulouse while studying at the School Fine Arts. Having received a prize at the competition there, he understood where to pave his way. Since then, he has been studying only at the School. In 1901 and 1903 he received the Grand Prix for the work sent to the annual competitions. In 1904, under the patronage of a school friend, he studied for two weeks in Paris at the Academy Gillen and then went to London, where he began his dizzying career. This was the period when color printing of illustrations had just become technologically accessible and widespread. The first book with pasted illustrations was published in 1905.
E. Dulac's first work was a series of 60 illustrations for a collection of works by the Bronte sisters. It was his testimony high level that he, a young 22-year-old foreigner with no big name, received an order for such work.
An interesting aspect of these early illustrations was that they did not have pencil lines as borders between different colors. This was made possible thanks to new printing technologies that made it possible to accurately align the borders. different colors. For E. Dulac, who worked on paper in this style, he did not have to return to the old-fashioned style of pencil lines that hide the inaccuracies of overlaying paints.
With the great success of the new type of illustration, more publishers became interested in artists who could draw in the new style. Therefore, in 1907, E. Dulac received a new order for illustrations for the Thousand and One Nights. Then the orders poured in one by one. The Tempest by W. Shakespeare 1908, Rubaiyat by Omar Khayyam 1909, Sleeping Beauty and Other Tales 1910, Tales by H.K Andersen 1911, Bells and Other Poems by E. A . By 1912, "Princess Badura" 1913,
In 1913, an interesting thing happened: his palette became brighter, thanks to the use of a richer, more romantic blue, ... and more oriental, which later became a constant in his approach. 1914 saw the publication of "Sinbad the Sailor and Other Stories from the Thousand and One Nights" and the outbreak of the First World War. The war immediately entered his work. "King Albert's Book", "Princess Mary's Gift Book" and his own book"The Book of Pictures from the French Red Cross by E. Dulac" were designed by one single author. The book "Tales of E. Dulac" was published in 1916. When the war ended, the last of his luxurious editions of "Tales of Tangelwood Forest" saw the light of day. At this point, at the age of 35, he found himself in a situation where his profession became unnecessary.
This would be true if only making illustrations for books were all he could do. Despite the fact that the rest of his life was marked by poverty (he lived paycheck to paycheck, as we would say), he was able to earn money and became famous in many areas. He was an outstanding cartoonist and for a year and a half supplied the weekly "The Outlook" with drawings. He painted portraits. He illustrated "The Kingdom of Pearls" - a story from the 1920s. He created costumes and scenery for the theatre. He was a designer of stamps and banknotes in Britain, and then, during the Second World War, Free France. He designed playing cards, chocolate packages, medals, graphics for the Mercury Theater, bookplates for books and much, much more.
In 1924 he began an association with The American Weekly, the Saturday supplement of the Hearst newspaper network, where he created a series of color drawings on given topic. The first series, Biblical Scenes and Heroes, began in October 1924 and ran for 12 issues. Until 1949, he again and again returned to this market as a source of income.
In the autumn of 1942, a series of his illustrations for " Canterbury Tales". He was not satisfied with the quality he received. Cheap paper and folded illustrations did not satisfy his tendency towards perfectionism.
And the books! Among all the great illustrators of deluxe editions, E. Dulac remained the most active throughout his life. "Green Lacquer Pavilion" in 1925, "Treasure Island" in 1927, and his other works, created up to the beginning of the 50s, surpassed everything created by contemporaries.
Edmund Dulac died in 1953.
