Andreevich (1886-1964), Russia's graphic artist and painter, People's Artist of the USSR (1963), full member AH the USSR (1962). The creator of the national school woodcuts, monumental, theater artist. For works Favorskogo characteristic of philosophical depth and brightness of images, the high skill of expressive possibilities woodcuts ( 'Dostoevsky', 1929, illustration to 'Lay', ed. 1954, as well as to 'Boris Godunov', 1955, and 'Little Tragedies', ed. 1961, A. S. Pushkin). Lenin Prize (1962).
. Favorski Vladimir
[3 (15) March 1886, Moscow 29 December 1964, ibid], Russian painter and art theorist, a master of art books.
. Canvas of life
. Born in a family lawyer (mother of the artist About
. V. Sherwood). Took lessons at the studio to. F. Juon (1903-05), as well as in private academies W. Holloshi in Munich (1906-07). Lived in Moscow. Was a member of the association 'Four Arts'. Many worked as a teacher at the Moscow Higher Art (1921-29; rector in 1923-25), Moscow polygraph (1930-34) and other institutions.
. Master Books
. Operating since 1907 mainly in technology woodcuts, became a virtuoso of the author machined wood engravings, continuing in this respect the tradition of T
. Bewick. Was close to late-poetics of symbolism, but followed closely and for the innovations of the avant-garde, including cubism, seeking their very constructive exquisite, carefully balanced compositions.
. The ideal field for the realization of his compromise approach, harmoniously combining the skills, traditions and achievements of avant-garde art was the book
. Tabor has developed a coherent theory of its design, understanding the book as a holistic organism in which the aesthetic, decorative top should closely coupled with the functional ( 'tool for reading').
. To illustrate the period 1910-x mid-1930's characterized laconically-expressive symbols, love the black, almost tangible stroke ( 'Tamar' A
. P. Globa, published in 1923; 'New Life' of Dante, published in 1934), features an epic cosmism with all the miniature images ( 'Ruth', 1925), or, on the contrary, evil or grotesque drama ( 'The House in Kolomna' A. S. Pushkin, 1929; 'Stories' B. A. Pilnyak, 1932). The work at times becomes as it were, in the phenomena of the mystery of art itself, to pay attention to P. A. Florensky and O. E. Mandelstam, giving praise to Tabor as an engraver-sorcerer.
Since the mid 1930's master often uses white stroke, actively transferring light and movement, in his work enhanced features of classicism: 'Sonnets' Y. Shakespeare (1948), a collection of 'P. Burns in translations from. YA. Marshak '(1950),' The Lay of Igor '(1953);' Boris Godunov '(1956) and' Little Tragedies' (1961) A. S. Pushkin.
Other areas of creativity
Tabor was also an excellent craftsman romantic-historical engravings portraits ( 'F. M. Dostoevsky, 1929; 'Pushkin Lyceum student', 1935), as well as portraits of domestic (series of pencil 'double portrait' relatives and friends, 1938-61). As of 1942, appealed to linocut (series 'Samarkand', 1942-44). He has also worked as a theater artist.
. If many of his graphic works (eg, . 'Double Portrait') are adjacent in spirit to the secluded 'quiet art', . then in his monumental and decorative things (frescoes in the Museum of Maternity and Child, . 1933, . and composition-sgraffito in the House of patterns, . 1935, both in Moscow, . not preserved), the artist, . one hand, . performed quite formal thematic order, . On the other, and there continued to adhere to the principle of impeccable, . self-contained 'pure form'.,
. Theory and School
. This principle of the formal closure of the work, harmonious artistic structure within which the work as it saves itself from the futile rage of the day, was partly inherited from Favorsky A
. Hildebrandt (his book 'The problem of form in the fine arts' was published in 1914 in the translation Favorsky and H. B. Rosenfeld). In his theoretical statements, Tabor called meticulously think through the internal structure of the product, thereby preserving the art, even in the darkest years of the external ideological onslaught from political konyunkturschiny and hack-work.
. Call Favorskogo to the formal and spiritual purity of creativity has always found a ready response
. He has an effective influence on several generations of Russian artists, including representatives of the 'severe style'.
About art, about books, engravings. Moscow, 1986.
Literary-theoretical heritage. Moscow, 1988.
In the book about. Tabor. Moscow, 1967.
In. A. Tabor. Memoirs contemporaries. Letters artist. Transcript of. Moscow, 1991.
- Overview In. A. Tabor, his relatives and namesake on the site "Russia's genealogical tree."