"I really love to remember my childhood. When I write, draw, I live everything that I remember and saw in my childhood." Yuri Vasnetsov

Outstanding Russian artist: painter, graphic artist, stage designer, children's illustrator, master of color lithography. In 1921-1926. studied at the State Agricultural Academy (VKHUTEMAS). He was a student of V.V. Lebedev and K.S. Malevich, like the first, he applied his gift of an ironic, inventive artist to the art of children's books. Like the second, he showed in his work a penchant for avant-garde and experimentation. Yu. Vasnetsov is distinguished by his unique and easily recognizable style, familiar to several generations from children's books: "The Little Humpbacked Horse", "Three Bears", "Ladushki", "Cat's House", "Rainbow-Duga" and others.
Like many book illustrators of the pre-offset era, Vasnetsov was fluent in the technique of lithography. Thanks to this, not only books, original drawings and paintings, but also beautiful color lithographic prints remained after him.

Books with illustrations by the artist

This artist has proved his skill both in the creation of paintings, and in the design of performances in theaters, and as a graphic artist. Still, it was the illustrations for the fairy tales of Yuri Vasnetsov that won special love and recognition of little readers. This became the main business of his life. We, former children, readers of books recall this now, in which it was no less exciting to look at the illustrations created by this artist than to disassemble our first texts at that time.

What do we know about the biography of Yuri Vasnetsov?

The artist's youth

The future artist was born in 1900 in the Russian town of Vyatka, in the family of a priest who served in a local cathedral. Distant ties of kinship connected this family with other Vasnetsovs - artists Viktor and Apollinaris, as well as Alexander Vasnetsov, a famous folklorist, collector of folk songs. Of course, such a family heritage could not but affect the future work of the artist.

Yuri Vasnetsov spent all his childhood in Vyatka. A large number of handicraft workshops and artels worked in this provincial town. Crafts were very different - furniture, chest, toy. And Yuri's mother herself was known in the district as an excellent embroiderer and lacemaker. Impressions of childhood are the most vivid and they influence the formation of our ideas about the world, on the memories that remain with us until the end of our days. Towels with embroidered roosters, boxes and chests painted in the Russian folk spirit, bright wooden and clay toys - rams, bears, horses, dolls ... All these images, for a reason, found their way onto the pages of books with Vasnetsov's famous "fairy-tale" illustrations.

Young Yuri really wanted to become an artist - so in 1921 he entered the Petrograd State Free Art Workshops (abbreviated as GSKhM) in the painting department. Among the teachers Vasnetsov is named Osip Braz, Alexander Savinov and even Russian avant-garde artists - Kazimir Malevich and Mikhail Matyushin.

Work in a publishing house

After training, the artist began to collaborate with the famous Detgiz, where he created his first masterpieces under the supervision of the painter and, by all accounts, the outstanding master of the poster, Vladimir Lebedev. The illustrations for the children's books "The Swamp" and "The Little Humpbacked Horse", as they say now, "made him a name." Following them were published designed by Yuri Vasnetsov "Three Bears" by Leo Tolstoy, "Fables in the faces", "Ladushki", "Rainbow-arc". At the same time, he also created a series of paintings created by the so-called "flat printing technique" - children's lithographic prints on traditional folklore themes.

After a trip to the North in 1931, the artist Yuri Vasnetsov finally consolidated his chosen path. Already possessing all the skills of a master painter, he approached the study of folk origins even more carefully.

The phenomenon of painting by Yuri Vasnetsov

Having made a journey to the Russian northern lands, the artist began to master new subtleties of craftsmanship. Then they started talking about "the phenomenon of Vasnetsov's painting". For example, here is one of the still lifes with a large fish depicted on it: on an oblong, red tray lies a large fish with silver scales. The painting is stylistically executed in such a way that it is not clear whether it is a heraldic sign, or just a rug from the wall of a peasant hut. Red, black and silver-gray tones are contrasted, but at the same time balance each other in the general artistic plane of the still life.

Highly appreciating both the folk "bazaar" art and the canons of refined painting, by 1934 Yuri Vasnetsov created such canvases as "Lady with a Mouse", "Still Life with a Hat and a Bottle", etc. However, fearing persecution that affected the creative workers of that time in connection with the campaign against formalism that began, Vasnetsov painted what is called "on the table", making this part of his painting a secret and showing the paintings only to close people.

Only after his death at exhibitions, the works of Yuri Alekseevich Vasnetsov fully found their fans. Then it became clear how great this man's gift was - being an outstanding "children's" artist, he was also a wonderful master of painting of the 20th century.

Images of illustrations

It is not by chance that the artist later wrote that he always lived by what he remembered from childhood.

And so, almost in the same way as the Vyatka toys, elegantly and festively, the artist "dresses" his heroes. Cats and goats, mothers of numerous families, wear skirts adorned with frills and lace in his illustrations. So they manage. But the Bunny, offended by Fox - the artist must have put on a warm blouse out of compassion for him. Bears and wolves, according to the logic quite understandable to all children, were often not supposed to wear clothes, because they were dangerous and predatory enemies to all other animals.

And here is an unusually kind cat:

I bought a cat pie

The cat went to the street,

The cat bought a bun.

Do you have it yourself?

Or to demolish Borenka?

I'll bite myself

Yes, and Borenka will take it.

In winter, the cat wears good-quality painted felt boots, a pink bow is tied around his neck, and the woman on the side of the walking cat is noisily rejoicing at his appearance, and the dog is in no hurry to bark. And even farther away are houses with snow-covered roofs, with burning windows, and a pillar of smoke from chimneys straight into the sky - which means that the weather is calm, windless, clear.

And how stupid it is to live in enmity! Here are two crows sitting, facing away from each other, cackling, looking in different directions:

On the edge, on the shed

Two crows are sitting

Both look apart:

Because of the dead beetle

They quarreled.

And the landscape surrounding these miserly ravens is not at all the same as in other pictures. He is much more stingy with colors and joy is clearly lacking in him.

In the illustrations by Yuri Vasnetsov, a special world comes to life - cozy, kind, calm. And extraordinarily colorful. In such a world, any child, and maybe sometimes an adult, will want to stay a little longer, peering at his heroes, charging them with their spiritual generosity, living with them, albeit "gingerbread", but such touching stories. At the same time, the animals drawn by Vasnetsov are not luscious, but mysterious. Some critics even believed that the artist painted "scary" pictures, frightening children.

And it’s also very Russian: if it’s scary, then it’s shivering, it’s sad, it’s to tears, and if it’s joy, then it will certainly be a feast for the whole world.

Style and color

The emotionality of Vasnetsov's drawings is dictated primarily by color, which plays a decisive role in the perception of images. He is decorative, which is generally characteristic of folk art, and poetic, which, in turn, distinguishes all of the artist's work.

Vasnetsov's illustrations - a color alphabet for a child. Everything is simple, like in a fairy tale: the wolf is gray, the bunny is white, the fox is red, etc. The artist actively uses the principle, as art historians call this technique, "a magic lantern". The action takes place on a certain, necessarily festive, bright background color (red, yellow, blue, etc.). This environment, in which the characters communicate, is compositional in itself, and at the same time, it is a new bright spot that is so necessary for children who turn the next page in anticipation of new impressions.

Finally

A book, especially in children's hands, is a penny, perishable commodity. Who of us in childhood did not have "Sails-Sails A Boat" illustrated by Konashevich? Or the famous "Baggage" with drawings by Lebedev? And "Rainbow-arc" with the wonderful animals of Vasnetsov is completely impossible to forget. But who has these books "survived" to this day? Probably only very few. But these were well-made, beautifully designed, made in a convenient large format, children's books. And those who still have them know perfectly well how today's children perceive them. Yes, just like adults many years ago - with joy and admiration.

Several generations of young readers have already grown up on the bright, witty and entertainingly executed illustrations by Vasnetsov, and the artist himself was called a classic of children's book illustrations during his lifetime.

Vasnetsov Yuri Alekseevich (1900-1973)- graphic artist, painter, People's Artist of the RSFSR (1966). Studied at the Academy of Arts (1921-26) under A.E. Kareva, K.S. Petrova-Vodkina, N.A. Tyrsy.

Vasnetsov's work is inspired by the poetics of Russian folklore. The most famous are illustrations for Russian fairy tales, songs, riddles ("Three Bears" by L. N. Tolstoy, 1930; collection of "Wonderful Ring", 1947; "Fables in the Faces", 1948; "Ladushki", 1964; "Rainbow- arc ", 1969, State pr. USSR, 1971). Created separate color lithographs (Teremok, 1943; Zaykina izbushka, 1948).

After Vasnetsov's death, his exquisite pictorial stylizations in the spirit of primitiveness became known ("Lady with a Mouse", "Still Life with a Hat and a Bottle", 1932-1934)

The floor is given to the artist Vasnetsov Yu.A.

• "I am so grateful to Vyatka - my homeland, childhood - I have seen beauty!" (Vasnetsov Yu.A.)
• “I remember spring in Vyatka. The streams are flowing, as stormy as waterfalls, and we, guys, are launching boats ... In the spring, a merry fair opened - Whistle. The fair is smart and fun. And why not! Earthenware dishes, pots, jugs, jugs. Homespun tablecloths with all sorts of patterns ... I was very fond of Vyatka toys made of clay, wood, plaster horses, cockerels - everything is interesting in color. The carousels at the fair are all in beads, all in sparkles - geese, horses, carriages, and the accordion is always playing "(Vasnetsov Yu.A.)
• “Draw, write what you love. Look around more ... You can’t tell or draw everything scary. When a lot of something is done, drawn, then naturalism arises. Let's say a flower. Take it, but recycle it - let it be a flower, but different. Chamomile is not chamomile. I like forget-me-nots for their blue, yellow speck in the middle. Lilies of the valley ... When I smell them, it seems to me that I am a king ... "(Vasnetsov Y. V. From advice to young artists)
• (Vasnetsov Yu.A.)
• “In my drawings I try to show a corner of the beautiful world of my native Russian fairy tale, which brings up in children a deep love for the people, for our Motherland and its generous nature” (Vasnetsov Yu.A.)
• When asked what was the most expensive gift he received, the artist replied: “Life. The life given to me "

Yuri Vasnetsov was born on April 4, 1900 in the ancient city of Vyatka, in the family of a priest. Both his grandfather and his father's brothers belonged to the clergy. Yu.A. Vasnetsov was distantly related to and. The large family of Father Alexy Vasnetsov lived in a two-story house at the Cathedral, in which the priest served. Yura loved this temple very much - the cast-iron tiles of its floor, rough so that his foot would not slip, a huge bell, an oak staircase that led to the top of the bell tower ...

The artist absorbed his love for the flowery folk culture in his dear old Vyatka: "I still live by what I saw and remembered in my childhood."

The entire Vyatka province was famous for handicrafts: furniture, chest, lace, toys. Yes, and mother Maria Nikolaevna herself was a noble lace-embroiderer, famous in the city. Little Yura will remember for the rest of his life towels embroidered by roosters, painted boxes, multi-colored clay and wooden horses, lambs in bright pants, lady dolls - "painted from the heart, from the heart."

As a boy, he himself painted the walls of his room, shutters and stoves in the houses of neighbors with bright patterns, flowers, horses and fantastic animals and birds. He knew and loved Russian folk art, and this helped him then draw his amazing illustrations for fairy tales. And the costumes that were worn in his native northern lands, and the festive attire of horses, and wooden carvings on the windows and porches of huts, and painted spinning wheels and embroidery - everything that he saw from an early age was useful to him for fabulous drawings. Even as a child, he liked all kinds of manual labor. He sewed boots and bound books, loved skating and flying a kite. Vasnetsov's favorite word was "interesting."

After the revolution, all the families of priests, including the Vasnetsov family (mother, father and six children), were literally evicted into the street. “... Father no longer served in the cathedral, which was closed ... and indeed he never served anywhere ... He would have cheated, resigned his dignity, but then a meek fortitude was revealed: he continued to walk in a cassock , with a pectoral cross and long hair, ”recalled Yuri Alekseevich. The Vasnetsovs wandered in strange corners, soon bought a small house. Then I had to sell it, we lived in a former bathhouse ...

Yuri went to Petrograd to seek his fortune in 1921. He dreamed of becoming an artist. Miraculously, he entered the painting faculty of the State Art Museum (later Vkhutemas); successfully completed his studies in 1926.

His teachers were the noisy metropolitan Petrograd itself with its European palaces and the Hermitage full of world treasures. They were followed by a long line of many and varied teachers who opened the world of painting to the young provincial. Among them were the academically trained Osip Braz, Alexander Savinov, the leaders of the Russian avant-garde - "flower" Mikhail Matyushin, the supremacist Kazimir Malevich. And in the "formalistic" works of the 1920s, the individual characteristics of Vasnetsov's pictorial language testified to the uncommon talent of the novice artist.

In search of earnings, the young artist began to cooperate with the Department of Children's and Youth Literature of the State Publishing House, where, under the artistic direction of V.V. Lebedev happily found himself in the interpretation of themes and images of Russian folklore - fairy tales, in which his natural craving for humor, grotesque and good irony was best satisfied.

In the 1930s. he became famous for illustrations to the books "The Swamp", "The Little Humpbacked Horse", "Fifty Little Pigs" by K.I. Chukovsky, "Three Bears" by L.I. Tolstoy. At the same time, he made excellent - elegant and exciting - lithographic prints for children, based on the same plot motives.

The artist made amazing illustrations for Leo Tolstoy's fairy tale "Three Bears". The big scary, like an enchanted forest, and the bear hut are too big for a little lost girl. And the shadows in the house are dark, eerie too. But the girl ran away from the bears, and the forest immediately brightened in the drawing. So the artist conveyed the major mood with paints. It is interesting to see how Vasnetsov dresses his heroes. Elegantly and festively - to the nurse-mother-Goat, mother-Cat. He will definitely give them colored skirts with ruffles and lace. And he will regret the Bunny offended by the Fox, put on a warm jacket. The artist tried not to dress up wolves, bears, foxes, which prevent good animals from living: they did not deserve beautiful clothes.

Thus, continuing to search for his own path, the artist entered the world of children's books. Purely formal searches gradually gave way to popular culture. The artist looked more and more often at his "Vyatka" world.

A trip to the North in 1931 finally convinced him of the correctness of the chosen path. He turned to folk sources, already being sophisticated in the intricacies of the modern pictorial language, which gave rise to the phenomenon that we can now call the phenomenon of painting by Yuri Vasnetsov. A still life with a large fish fully testifies to new bright trends in Vasnetsov's works.

On a small red tray, crossing it diagonally, lies a large fish glittering with silver scales. The peculiar composition of the picture is akin to a heraldic sign and at the same time a folk rug on the wall of a peasant hut. With a dense, viscous, colorful mass, the artist achieves an amazing convincingness and reliability of the image. The external contrasts of the planes of red, ocher, black and silver-gray are tonally balanced and give the work a feeling of monumental painting.

So, book illustrations were only one side of his work. The main goal of Vasnetsov's life was always painting, and he went to this goal with fanatical persistence: he worked independently, studied under the guidance of K.S. Malevich in Ginkhuk, studied in graduate school at the All-Russian Academy of Arts.

In 1932-34. he finally created several works ("Lady with a Mouse", "Still Life with a Hat and a Bottle", etc.), in which he showed himself as a very prominent master who successfully combined the refined pictorial culture of his time with the tradition of folk "bazaar" art. which he appreciated and loved. But this late finding of oneself coincided with the then campaign of struggle against formalism. Fearing ideological persecution (which had already touched upon his book graphics), Vasnetsov made painting a secret occupation and showed it only to close people. In his landscapes and still lifes, emphatically unpretentious in their motives and extremely sophisticated in pictorial form, he achieved impressive results, in a peculiar way reviving the traditions of Russian primitivism. But these works were practically unknown to anyone.

During the war years, spent first in Molotov (Perm), then in Zagorsk (Sergiev Posad), where he was the chief artist of the Institute of Toys, Vasnetsov performed poetic illustrations for "English folk songs" by S.Ya. Marshak (1943), and then to his book "The Cat's House" (1947). New success was brought to him by illustrations for the folklore collections "The Wonderful Ring" (1947) and "Fables in the Faces" (1948). Vasnetsov worked unusually intensively, many times varying themes and images dear to him. The well-known collections "Ladushki" (1964) and "Rainbow-Duga" (1969) became a kind of result of his long-term activity.

In Vasnetsov's bright, entertaining and witty drawings, Russian folklore found almost the most organic embodiment, more than one generation of young readers grew up on them, and he himself was already recognized as a classic in the field of children's books during his lifetime. In the Russian folk tale, everything is unexpected, unknown, unbelievable. If it is scary, so to the shiver, if joy is a feast for the whole world. So the artist makes his drawings for the book "Rainbow-arc" bright, festive - now the page is blue with a bright rooster, now it is red, and on it is a brown bear with a birch staff.

The artist's difficult life has left an indelible mark on his relationships with people. Usually gullible and gentle in nature, already being married, he became unsociable. He never exhibited as an artist, never performed, referring to the upbringing of two daughters, one of whom - the eldest, Elizaveta Yurievna - would later become a famous artist.

Leaving home, family, even for a short time, was a tragedy for him. Any parting with family was unbearable, and the day when they had to hit the road was a ruined day.

Before leaving the house, Yuri Alekseevich even let out a tear from grief and melancholy, but nevertheless he did not forget to put a present or a cute trinket under the pillow for everyone. Even friends gave up on this couch potato - a man for great art has disappeared!

Fairy tales remained Yuri Alekseevich's favorite reading until old age. And my favorite pastimes are to paint still lifes, landscapes with oil paints, to illustrate fairy tales, and in the summer to fish on the river, be sure to use a bait.

Only a few years after the artist's death, his paintings were shown to viewers at an exhibition at the State Russian Museum (1979), and it became clear that Vasnetsov was not only an excellent book graphic artist, but also one of the outstanding Russian painters of the 20th century.

Vasnetsov Yuri Alekseevich

In my opinion, there is no better fairy tale illustrator than V.M. Vasnetsov, except perhaps I. Bilibin. The next page is about him.

Viktor Mikhailovich Vasnetsov (1848-1926) is one of the first Russian artists who pushed the boundaries of familiar genres and showed a fairy-tale world, illuminated by the poetic fantasy of the people. Vasnetsov, one of the first Russian artists, turned to the recreation of images of folk tales and epics in painting. His fate turned out as if he was intended in advance to be a singer of a Russian fairy tale. He spent his childhood in the harsh picturesque Vyatka region. The talkative cook telling children fairy tales, the stories of wandering people who have seen a lot in their lifetime, according to the artist himself, "made me love the past and present of my people for my whole life, largely determined my path." Already at the beginning of his career, he created a number of illustrations for "The Little Humpbacked Horse" and "The Firebird". In addition to fairy tales, he has works dedicated to the heroic images of epics. "A Knight at the Crossroads", "Three Heroes". The famous painting "Ivan Tsarevich on the Gray Wolf" is written on the plot of one of the most famous and widespread fairy tales, reproduced in popular prints of the 18th century.

"Princess Nesmeyana"

In the royal chambers, in the princely palaces, in the high tower, Nesmeyana the princess flaunted. What a life she had, what freedom, what a luxury! There is a lot of everything, everything is, what the soul wants; and she never smiled, never laughed, as if her heart was not happy about anything.

Here there are merchants, boyars, and foreign guests, storytellers-musicians, dancers, jesters and buffoons. They sing, clown about, laugh, strum on the psaltery, all in all. And at the foot of the high tower - ordinary people, too, crowd, laugh, shout. And all this buffoonery is for the princess, the only royal daughter. She sits sadly on a carved white throne by the window. “There is a lot of everything, there is everything that the soul wants; but she never smiled, never laughed, as if her heart was not happy about anything. " And what is there, in truth, to rejoice if no one ever talks to her heart to heart, no one with a pure heart will come ?! All around are just noisy, they mark them as grooms, they try to present themselves in the best possible light, but no one cares about the princess herself. That is why she is Nesmeyana, until the only one, long-awaited, comes, who will give her a smile instead of buffoonery, warmth instead of indifference. And he will come, of course, because the fairy tale affects that.

"Koschey the Immortal and Beloved Beauty"

He only had time to leave the yard, and Koschey into the yard: “Ah! - is talking. - Smells like a Russian horse; know, you had Ivan Tsarevich. " - “What are you, Koschey the Immortal! Where can I see Ivan Tsarevich? He stayed in dense forests, in viscous mud, the animals have eaten up to this day! " They began to have supper; at supper, Beloved Beauty asks: "Tell me, Koschey the Immortal: where is your death?" - “What do you want, silly woman? My death is tied in a broom. "

Early in the morning Koschey leaves for the war. Ivan Tsarevich came to the Beloved Beauty, took that broom and brightly gilded it with pure gold. Only the prince had time to leave, and Koschey went into the courtyard: “Ah! - is talking. - Smells like a Russian horse; know, you had Ivan Tsarevich. " - “What are you, Koschey the Immortal! He flew across Russia himself, he picked up the Russian spirit - from you it smells of the Russian spirit. Where can I see Ivan Tsarevich? He stayed in dense forests, in viscous mud, the animals have eaten up to this day! " It's time for supper; The beloved Beauty sat down on a chair herself, and sat him on a bench; he glanced under the threshold - there was a gilded broom. "What's this?" - “Ah, Koschey the Immortal! You yourself see how I honor you; if you are dear to me, so is your death dear. " - “Silly woman! I was joking, my death was sealed up in an oak tynu ”.

"Princess Frog"

Consider a reproduction of V. Vasnetsov's painting "Feast" (p. 19 of the textbook).
If possible, it would be interesting to compare this picture with the illustration made for this episode of the tale by I. Bilibin.
Bilibin's illustrations framed by floral ornament very accurately reflect the content of the tale. We can see the details of the heroes' costumes, the expression on the faces of the surprised boyars and even the pattern on the kokoshniks of the daughters-in-law. Vasnetsov in his picture does not dwell on the details, but perfectly conveys the movement of Vasilisa, the enthusiasm of the musicians, who seem to stamp their feet in time with the dance song. We can guess that the music to which Vasilisa dances is funny, mischievous. When you look at this picture, you feel the character of a fairy tale.
- Why do people call Vasilisa the Wise? What qualities does the people glorify in the image of Vasilisa?

V. Vasnetsov's painting creates a generalized image of a beautiful princess: next to her are guslars, people. The illustration by I. Bilibin specifically depicts the episode of the feast: in the center - Vasilisa the Wise, with a wave of her hand miracles happen; around people, amazed by what is happening. Different types of work are possible here:

1. Describe verbally what you see in each of the paintings (characters, setting, appearance of people around, their mood, prevailing colors).

2. Compare the image of Vasilisa the Wise by Vasnetsov and Bilibin. Is this how you imagine the main heroine of a fairy tale?

"Magic carpet"

The fantasy of the people created the tale of the flying carpet. You see two paintings by Vasnetsov with this name - early and late. On the first of them, a proud fellow looks from the airplane carpet at the expanses of the Russian land spread below. The discreet northern nature served as the background for the artist's painting. Rivers and lakes sparkle, a forest stands as a dark wall, huge birds accompany the carpet. The Firebird caught by the hero burns with a bright fire in the cage. This canvas tells about the wisdom, strength, dexterity of the people. The second picture is lighter and more colorful. The bright rays of the sunset, cutting through the veil of clouds, became a good background for the picture. Nature is seen through the clouds bright, the greenery is juicy, perhaps because the heroes descended closer to her. And the girl and the boy in shining, gold-embroidered clothes do not seem to be outsiders on the canvas. Their young faces are beautiful, they gently bowed to each other, personifying loyalty and love.

Alyonushka, Snegurochka, Elena the Beautiful - these fictional images and portraits of women close to Vasnetsov "in spirit" - Elena Prakhova, Vera and Elizaveta Grigorievna Mamontov, portraits of his wife, daughter, niece from different angles highlight what is called the Russian female soul Vasnetsov is the personification of the Motherland, Russia.

Alkonost. In Byzantine and Russian medieval legends, a wonderful bird, an inhabitant of Iria - a Slavic paradise. Her face is feminine, her body is a bird's, her voice is sweet, like love itself. Having heard the singing of Alkonost with delight, he can forget everything in the world, but there is no evil from her, unlike Sirin.

Alkonost lays eggs at the edge of the sea, but does not incubate them, but plunges them into the depths of the sea. At this time, the weather is calm for seven days. According to the ancient Greek myth, Alcyone, the wife of Keik, upon learning of the death of her husband, threw herself into the sea and was turned into a bird named after her alkyona (kingfisher).

It is depicted in popular prints as a half-woman, half-bird with large multi-colored feathers and a girl's head, shaded by a crown and a halo, in which a short inscription is sometimes placed. In addition to the wings, Alkonos has hands in which she holds flowers of paradise or a bundle with an explanatory inscription. She lives on a paradise tree, on Buyan Island, together with the Sirin bird, has a sweet voice, like love itself. When she sings, she does not feel herself. He who hears her wonderful singing will forget everything in the world. With her songs, she consoles and elevates future joy. This is a bird of joy.

And here is Sirin, a dark bird, a dark force, a messenger of the ruler of the underworld. From the head to the waist, Sirin is a woman of incomparable beauty; from the waist, she is a bird. Whoever listens to her voice, forgets about everything in the world and dies, and there is no strength to force him not to listen to Sirin's voice, and death for him at that moment is true bliss. Dahl explained in the famous dictionary as follows: “... mythical and church birds of an owl, or an eagle owl, a scarecrow; there are popular prints depicting birds of paradise with female faces and breasts»(V. Dal" Explanatory Dictionary of the Living Great Russian Language "). In Russian spiritual poetry, sirin, descending from heaven to earth, enchants people with her singing. In Western European legends, the sirin is the embodiment of an unhappy soul. This is the bird of sorrow.

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Yuri Alekseevich Vasnetsov is considered to be the artist of the Russian fairy tale.
One of the main features of his artistic method is an inextricable organic connection with folk art. Moreover, Yu. Vasnetsov revises the principles of folk art, bringing them closer to contemporary art. The images he created are marked by optimism, the life-affirming force that is characteristic of folk art.
Fantastic, fairy-tale landscapes are based on vivid impressions of real Russian nature. Birds and animals, acting in fairy tales, acquire special expressiveness from Yu. Vasnetsov precisely because the artist gives them movements and habits that are keenly noticed in reality. A specific feature of the artistic method of Yu. Vasnetsov is a rare ability to create, as it were, on behalf of his future viewer, the ability to relive a childhood enthusiasm for a fairy tale and, as it were, pass through the prism of children's perception of the tradition of folk art.
One of the artist's favorite compositional techniques is repetition and call-over of motives. At the same time, each Vasnetsov's book is a new version of the figurative, compositional, coloristic solution.
The emotional structure of Yu. Vasnetsov's drawings is organized by color, which plays a special role. It does not lose the decorativeness characteristic of folk art; it simultaneously becomes the bearer of the intense poetic feeling that the artist has put into the theme of the fairy tale.
The color of Vasnetsov's illustrations is like a color alphabet for a child. The color of the characters is defined, simple, it is easy to name it: a gray wolf, white geese, a red fox, etc. At the same time, Vasnetsov surprisingly accurately achieves the proportionality of real and fantastic colors, which contributes to the correct perception of the image by the child. In the book "Okay", the artist uses background color in a bold and creative way. Color here becomes, as it were, a medium in which the action takes place. Art critics conditionally called this technique "the principle of the magic lantern". Joyfully and festively illuminating amusing scenes with yellow, red, blue or pink "light", the artist attracts the viewer's attention with the unexpectedness of the background color of the page, using the method of quick change of impressions, which is close to children. But each color spot of the illustration, "tuned" in accordance with the sound of the color background, lives its own life, being included in the overall composition.

Yuri Alekseevich illustrated and designed books by V. Bianchi, S. Marshak, K. Chukovsky, Russian folk tales, etc.
Books designed by Yu. A. Vasnetsov are easily recognizable. The illustrations in them are of paramount importance, the text obeys them. Yu. A. Vasnetsov designs the book as a whole, while the strict constructiveness and logical completeness of all its elements do not constrain the master's creativity and inexhaustible imagination.
Picture books by Y. Vasnetsov introduce the child to life through art (L. Tolstoy "Three Bears", P. Ershov "The Little Humpbacked Horse", S. Marshak "Teremok", etc.). The best works of the artist are illustrations for the collections "Ladushki" and "Rainbow-arc".

Chukovsky K.I./ K.I. Chukovsky. ; rice. Yu. Vasnetsov, A. Kanevsky, V. Konashevich, V. Suteev.-M .: Art, 1982.- 164, p. : col. silt

Vasnetsov Yu.A. 10 books for children/ Yu. Vasnetsov. ; [ed. foreword L. Tokmakov; ed. V. I. Serebryanaya; comp. G. M. Vasnetsova; formalized. D. M. Plaksin]. -L .: Artist of the RSFSR, 1984.- 173, p. : ill., color. silt

Ladushki: poems, songs, nursery rhymes, fairy tales/ artist Yu. Vasnetsov. .-M .: Samovar, print. 2005.- 76, p. : col. ill .; 23 cm - (Thirtieth tales)

Russian tales/ rice. Yu. A. Vasnetsova. .- [Ed. 3rd] .- L .: Children's literature, 1980.- 84, p. : ill.: 1.20 82.3 (2Ros) -6P15

Rainbow: Russian folk tales, songs, nursery rhymes/ [rice. Yu. Vasnetsov]. .-M .: Children's literature, 1989.- 166, p. : col. silt

Bianki V. Karabash.- M. - L.: GIZ, 1929.

Bianchi V. Swamp... - L .: Mol. Guard, 1931.

Ershov P. The Little Humpbacked Horse... - L .: Detizdat, 1935.

Tolstoy L. Three bears... - L .: Detizdat, 1935.

Chukovsky K. Stolen sun... - M .: Detizdat, 1936.

Children's folk tales... - L .: Detizdat, 1936.

Marshak S. Teremok.- M .: Detizdat, 1941.

English folk tales.- M .: Detgiz, 1945.

Bianchi V. Fox and the Mouse... - L .: Det. lit., 1964.

Okay. Russian folk tales, songs, nursery rhymes... - M .: Det. lit., 1964.

Rainbow arc. Russian folk songs, nursery rhymes, jokes... - M .: Det. lit., 1969.

Chiki-chiki-chikalochki. Russian folk songs and nursery rhymes... Collected and arr. N. Kolpakova. - L .: Det. lit., 1971.

Artist's works