People of Russia

Mukhina Ignatyevna (19.06 (01.07) .1889 – 6.10.1953), a Soviet sculptor, People's Artist of the USSR (1943), full member of the USSR AX (1947). She studied in Moscow (1909 – 1912) by KF Juon and I. Mashkov, as well as in Paris (1912 – 1914) by EA Bourdelle. From 1909 lived in Moscow. Taught at the Moscow Higher School of Industrial Art (1926 – 1927) and Vhuteine (1926 – 1930). Already in his early works Muhinoy highlighted some influence of Cubism, much attraction to monumentality and laconic forms ("Pietà", clay, 1916, was not preserved). After the October Revolution of 1917 Muhina participated in the implementation of Lenin's plan of monumental propaganda. In the 20-ies. Muhina created the monument project – the romantic sublime, impersonation, permeated by a rapid movement (pam. B. M. Zagorskogo, 1921, "Flame of Revolution, 1922 – 1923, the two – gypsum, Museum of Revolution of the USSR, Moscow), and mounted figures a burly, heavy-weight volumes of which reflect the power of the inner life of nature ("Wind", 1926 – 1927, "Peasant Woman", 1927, both – bronze, Tretyakov gal.). In 30-ies. Muhina goes to More detailed modeling, combining a clear identification of patterns of life design with concrete manner. Turning to the portrait, Muhina sometimes sharpens the salient features of the model ("Kotlyarevsky", bronze, 1929, ibid), but more often symbolizes them, creating a generalized image of the contemporary ("SA Castles, Marble, 1935, , ibid), but always keeps alive a direct relationship to the portrait. Since 30-ies. Muhina increasingly dealing with the problems of synthesis of arts. The main result of these searches – 24-meter band "Worker and Collective Farm," topped the Soviet pavilion at the World Exhibition in Paris in 1937 (now established before planting. Entrance USSR National Economy in Moscow, stainless steel, 1935-37, the State Prize of the USSR, 1941) . The diagonal composition group reflects the growing rhythm of the building-up of pedestal (architect B. M. lofan) spatially differentiated forms of memorial combined motif of acceleration rapidly, thus making it a special decorative sonorous and visual lightness silhouette. The figures of boys and girls, bearing the hammer and sickle, became not only a landmark piece of socialist realism, but also world-renowned symbol of the new society, moving towards communism. Among the best works Muhinoy years – a monument of M. Gorky, imbued with revolutionary spirit of the early romantic writer's work (architect V. Lebedev, P. Steller, bronze, granite, 1938 – 1939, installed in 1952 in Gorky), as well as a decorative band "Bread" harmonically-smooth, "singing" rhythms which give birth to an idea of the physical and spiritual beauty of working people (bronze, 1939, Tretyakov gal.). During the Great Patriotic War 1941 – 1945 Muhina works mainly in the field of portraiture (invariably linking individual characteristics of the human person with the destiny of the people, allowing you to feel the pathos of the heroic era): the harsh truly capture the look of Soviet soldiers ("BA Yusupov," and "I. L. Khizhnyak "both – plaster, 1942, and bronze, 1947, Tretyakov gal.; Gos. Prize of the USSR, 1943) creates images of science and culture (" The surgeon HH Burdenko, plaster, 1943, and bronze, 1947, Tretyakov gal., "Akademik Krylov AH, Wood, 1945, Tretyakov gal.; instantly. premium USSR, 1946), as well as a generalized symbolic image Soviet girl, expressing hatred for the enemy, and invincible confidence in the victory over him (" Partisan " , plaster, 1942, Resp. Joint Local History and plot. Art Museum. Behzad, Dushanbe, bronze, 1951, Tretyakov gal.). In the postwar period Muhina again turns to a monumental sculpture, embodying almost filled ID Shadrov draft monument. Gorky to Moscow (in collaboration with H. G. Zelenskaya and ZG Ivanova, architect. Z. M. Rosenfeld, bronze, granite, 1951; Gos. Prize of the USSR, 1952), working on a multi-figured composition "We demand peace!" (Together with H. G. Zelenskaya, ZG Ivanova, SV Kazakov, AM Sergeev, gypsum, 1950, Russian Museum, Leningrad, Gos. Prize of the USSR, 1951) and a monument to Tchaikovsky in Moscow (together with H. G. Zelenskaya and Z. G. Ivanov, architect. AA Zavarzin, bronze, granite, since 1945, opened in 1954). In an effort to enrich the artistic language of Soviet art, Muhina repeatedly acted as a theorist of sculpture, often turned to new materials, developed a technique of polychrome sculpture.As a master generalist, Muhina designed the exhibition, created an industry. graphics, designs and drawings for clothing fabrics, porcelain (statuette S. Root in the role of Mercutio, 1949, etc.), scenery work (Costume design for "Electra" by Sophocles, 1944, at the Theatre of . E. Vakhtangov, Moscow, etc.), was one of the initiators of the movement for improving the production of owls. art glass, working in this field in 1938-53 ("Female Torso", 1929-52). Self-artistic importance Muhinoy drawings, with elegant conciseness TX particularly plasticity. structure of nature. She was awarded two medals, and medals. Name Muhinoy named Leningrad Higher School of Industrial Art (1953). Cit.: Artistic and literary-critical legacy, v. 1 – 3, M., I960. Lit.: Ternopets B., Vera Mukhina, M, – L., 1937; Abolinya R., Mukhina, M., 1954; Klimov, R., creative research. On the evolution of artistic vision Mukhina, "Art", 1959, № 12, pp. 12-22; Suzdalev PK, Vera Mukhina, M., [1971].