LEBEDEV Sarah

Lebedeva SD. (1892-1967). After a long period of decline, which was Russian sculpture in the nineteenth century, its sudden flowering in the twentieth was largely due to works of three women sculptors - A. S. Golubkina IN. I. Mukhina, S. D. Lebedeva, - who had the courage to defend their plastic vision of the world. Legacy Sarah Dmitrievna Lebedeva relatively small. But it is so saturated, concentrated, which generally develops in a significant phenomenon. Favorite genre, which served Lebedev - a portrait. Portrait of a contemporary, and always from nature. Since it is kind of a deep contact with his model sculptor - one on one in an intense dialogue. Nothing rough, no platitudes, no idealization, no regard for fashion. Characteristically, she did not look for songs in the creative process, nature offered her ready only possible solution. Its decisions are final and integrity, even in sketches and sketches. Such is the portrait of pilot Valery Chkalov (1936) - a hot, intense, passionate, as he portrayed. It is difficult to assume that this - so much - a portrait lepitsya a sketch from nature. Lebedeva lepila not individual features, folding in a particular facial expression, she was looking for character in one piece form a dense and energetic. Portrait Lebedeva - this is usually a separate head, badly placed in the space. Fragmentation in the compositions of these portraits do not exclude, but even contributes to their monumentality (eg, portrait and. Andromkov 1946), and that she learned from nature. (This may look like a single stone of a monumental mountain range.) Favorite material Lebedeva - bronze. Bronze Lebedeva heavy, hollow sound, the mat, the gleaming, not like a bronze Rodin and Golubkina, transmitting the movement of soft, pliable clay.

Lebedev has always attracted the whole passionate. And it is their immortalized in bronze. These are the heroes of the revolution, the heroes of the Great Patriotic War, the artists. Especially famous, romantic portrait of Felix Dzerzhinsky (1925), portraits. Ivanova (1925), A. Tvardovskogo (1943), In. Mukhina In. Tatlin (1944), C. Mikhoels (1939). A complete, dense surface of the sculpture she loved scratched, paints, giving extra urgency. Usually form in the process of modeling to increase, but sometimes surprisingly easily withdrawn, and then the voids are included in the plastic composition. For example, 'female head shield)' in 1928 with a deep cut through 'thick' eyebrows. Lebedeva liked the combination of convex and in-depth forms, enriching plastic. A remarkable portrait of Boris Pasternak's at the plate tombstone placed in a deeper relief. The tragic image of the unsuspecting and unprotected in the world of the poet seems woven from the natural space, poured into a stone bowl depth of relief.

. Like most talented artists, have taken the path of creativity during the revolutions, Lebedeva tried his hand at a variety of forms and genres of art
. In 20-ies, together with B. Mayakovsky and in. Lebedev, she drew propaganda posters in the 'Windows of Growth', has been an active member of Lenin's plan of monumental propaganda (it had been created portraits of Danton and Robespierre), worked as a theater artist and t. n. At the International Exhibition in Paris Lebedeva won the silver award for service 'chicken' with a surprisingly witty and strictly functional solution kettle. Unfortunately, not fully unfolded its rare monumental talent. However, in the 30-ies in Moscow in the central park of culture and rest. Gorky Park was established two-meter sculpture Lebedeva 'Girl with a butterfly'. Elastic, solid, streamlined figure girl is in the power invincible movement. Butterfly with a slotted cross-cutting wings outstretched hand on the girl leads her to a. From the image emanates strength and freshness. A closed silhouette figures, its rounded rhymed with round tree trunks, soft contours of bushes. In the halls of the Tretyakov Gallery, where she exhibited, cast in bronze after the death of the artist, her closely.

Children in art Lebedeva particularly monumental in them a deep breath of life, something eternal, immutable. In portraits, as in grains, tightly folded future life, and not so much an individual as a common human. Such portrait Wani Bruni, 'Nyurka', 'Girl with pigtails' and other. Monumental breath of eternity in small naked female figure ( 'Luda' *) and the amazing plasticity of his sketches for me.

In 30-x-40-ies Lebedev successfully participated in competitions for monuments A. S. Pushkin for Michael and A. P. Chekhov in Yalta for. These projects were not, however, implemented. Time was little favorable for such an uncompromising artist, as Lebedeva. She was in disgrace, a struggle with the 'formalism'. But it was not easy to shake Lebedev. She continued to work on still - calm, concentrated, exacting: One of its existence it has supported the creative tone and high moral atmosphere in the arts. Artists remember her with gratitude and admiration. 'I remember Sarah blond, blue-eyed, plastic tightly knit, as they say sculptors, streamlined, - recalled a famous artist. G. Tyshler. - She looked like a sculpture of a pale pink marble. Nesuetlivaya, slow, she moved in space, though invisible beings bore her gently from place to place, not to drop. In my mind that Sarah is so integrated with its work, and work it so penetrated its essence, that only in this combination, I see her '. Heritage Lebedeva, clear and harmonious, not only did not diminish with time, as has happened with many artists of the surface, but steadily increasing. Her works have become classics of Soviet art. The wholeness of nature - a pledge the integrity of the artist. No, even the most brief history of Soviet art can not do without reference to its work, reflecting the light of the difficult time.