Billy Alexander Feliksovna( Artist)
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Biography Billy Alexander Feliksovna
Alexander Feliksovna Bill (genus. 1914)
Getting acquainted with the work of Alexandra Feliksovna Bill, turned the pages of her biography, unwittingly notes the energy which is inherent to her not only as a character trait, but also as an integral feature of her talent. Active perception of life is reflected in the wide range of professional interests of the artist, . dealing with the same enthusiasm book graphic, . Easel engraving, . watercolor, . Patterned, . and selecting those civil Sound, . and in an effort to convey to the viewer all the diversity of their impressions from the outside world.,
. In 1939, Bill graduated from the Moscow Institute of Fine Arts
. She was lucky to learn from talented teachers. Painting taught K. Istomin and A. Goncharov, drawing - P. Pavlinov and M. Rodionov. Especially memorable for future schedules were filled with B. Favorsky. They go beyond the course of composition, which he read at the Institute. Tabor was trying to form in their students a deep artistic outlook, inculcate in them an honest, sincere and strict attitude to art, high standards for himself. School traversed the outstanding schegosya masters, largely determined the future path of creative development of the artist and many of her fellow students, among them B. Goriaev, A. Livanov (husband Bill A.), LA Ilyin, V. Domogatskii, A. Zhurov .
. Upon graduation Bill performs its first work in book illustration for the publishing house "Detgiz"
. But the arts were interrupted by the war.
Active formation of the creative personality of the artist falls on the first postwar decades. Since 1946, Bill has consistently advocated as an illustrator of the book. Her first major works - woodcuts to play by Alexander Ostrovsky, Poor Bride "(1946), to the works of Alexander Pushkin (1949), M. Rylski (1950), Lermontov (1952), A . Mickiewicz (1955) and other authors. Since 1951, her works are regularly exhibited at the All-Union exhibitions.
. In each new work the Bill were further developed her graphic skill, felt the desire not simply "illustrate the" story of conflict, but to express the spirit of a literary work.
. In the organic to the Bill to the work of illustrator affect the principles of artistic design of the book, learned from Victor Favorskogo
. Appeal to them with the greatest force was defined in a Soviet book graphics at the turn of 1950-60-ies.
In the illustrations, done in 1960, the artist already appears as a mature artist, confident technician, shape, composition. Engravings of the "abode of Parma" by Stendhal (1959), "The Tale of Italy" by M. Gorky (1964), "Lyrics" Marshak, S. (1966) marked the depth of imaginative solutions, integrity enforcement. Along with woodcuts and linocut illustrations in these years, A. Bill is drawn to the technique of watercolor and ink (as, for example, in S. Quasimodo "My country, Italy"), actively introduces color.
. Undoubted success AG Bill was work on decorating the Christmas poem R. "Requiem" (1970)
. The book is original in layout, format and even though it is small, filled with illustrations of her organic monumentality, vivid and convincing expression of images.
Easel engraving Bill fruitfully engaged since the beginning of 1960. In the large-format sheets, made primarily in technology linocuts, woodcuts and sometimes, clearly reveals the artist's talent nonfiction. The titles of these sheets - "Song of Peace" (1964), "No War!", "Africa is struggling" (1970-1975) - illustrate the civic orientation of these works. For journalistic sheets Bill characteristic generalized, . often expressive figurative solution, . clearly visible in the engravings of a series of "Requiem", . and leaves of the triptych "For peace!, . and in the original composition "In memory of the Slovak National Uprising" (1973-1974), . awarded the Grand Prix at the Fifth International Biennial of wood engraving in of Van-Vistritse (Czechoslovakia, . 1974),
. Rhythmic and color, make a monumental performance in imagery of these works note heroic-dramatic sound that is developing in a passionate call to fight against the war.
. Publicistic theme - the central, but not the only art easel A
. Bill. Among her linocut - and the portrait series of "Russian Women" (1974), and genre series "Bathing" (1975-1976), and a series of colored engravings, memories of trips to the country and abroad.
. Constantly drawn to the artist and watercolor pencil drawing and creating lists, conquering technical looseness, spontaneity vision
. They are both very collected, piece by arrangement. They all trembling pervaded the life space, internal mobility seemed to animate forms. This is characteristic of the paintings of nature, imprinted artist, and even architectural and industrial landscapes.
Color images can be called the undoubted success of the artist. They clearly demonstrate the originality of its coloristic vision and an original approach to solving technical problems. While the palette of these paintings are often based on two or three colors, they're amazing fully convey the richness of colors of the surrounding world. Getting such an attitude toward color was laid at the Bill during his studies at K. Istomin.
. Bill works in the easel and book graphics, not once received a high evaluation to the union and international competitions, were awarded honorary diplomas of the Artists' Union and the USSR Academy of Arts
. Among them is one of the last works of Bill - ingeniously designed volume of the poets of Pushkin's pores "(1986). Among the new works the artist - to illustrate two volumes of poetry about the Great Patriotic War (1985), a series of large two-color woodblock prints on grounds of military poetry, a series of colored linocut "On Tajikistan," and drawings "in the Pushkin estate". The artist is full of new plans.
Describing the Bill among his favorite pupils, B. Tabor emphasized that each of them went his own way in art. Bright and original art of the artist, which found its unique way, but perceived by his teacher importantly - his attitude toward art and life - the best proof of the words of the wizard.