Alexey Mikhailovich Laptev - graphic artist, book illustrator, poet. Book illustrator Alexey Laptev (1905-1965) Laptev and m artist’s works download torrent

Alexey Mikhailovich Laptev (1905-1965) - graphic artist, book illustrator, poet. Corresponding Member of the USSR Academy of Arts, Honored Artist of the RSFSR].
He studied at the school-studio of F. I. Rerberg (1923) in Moscow, with P. I. Lvov and N. N. Kupreyanov at the Higher Art and Technical Workshops (1924-1929/1930).
He illustrated children's books: “The Adventures of Dunno and His Friends” by N. Nosov, “Fables” by I. A. Krylov (1944-1945). After the release of “Dead Souls” by N.V. Gogol with his illustrations, he was elected a corresponding member of the Academy of Arts]. He has collaborated with the magazine "Funny Pictures" since its founding. The artist’s works are in many regional museums, as well as in private collections in Russia and abroad. The last work was illustrations for the poem by N. A. Nekrasov “Who Lives Well in Rus'.”
He wrote poetry and published several children's books with his own illustrations.
Alexey Mikhailovich Laptev wrote not just poems for children. Together with illustrations, they make up entire books of games and riddles. What did the kitten draw on the floor with tangled threads? Where did the gopher lose its colors? To answer the question of the poem, you need to look very carefully at the pictures, full of funny and interesting details.
The youngest readers of the book will be delighted by poems about kids just like themselves - a little mouse who accidentally stuck to a mushroom and is calling for his mother, about a “very adult” chicken who is (already!) three days old, a tiny chick who is thirsty, and brave ducklings who will not dare to attack the beetle. You can laugh at greedy or boastful, cowardly or stupid heroes, and draw some useful conclusions for yourself.
The last time one of A. M. Laptev’s books was republished was in 2010.

Alexey Mikhailovich Laptev- graphic artist, book illustrator, poet. Corresponding member of the USSR Academy of Arts. Honored Artist of the RSFSR. The artist was born in Moscow. At the age of three he was left without a father. And his mother devoted her whole life to her children: Alyosha, his older sister Tanya and his younger brother Kolya. They lived poorly. The family did not have money for good paper and paint, so they had to make do with graphite pencils and small notebook leaves. But mother read books to the children and played different games with them. And she taught the children to draw. Alyosha preferred to draw from his imagination (for example, illustrations for fairy tales); from about the age of seven he began to draw from life. But he was not interested in redrawing other people’s pictures. Alexey’s mother worked in an insignificant position at Suvorin’s publishing house. As an exception, he was admitted free of charge to one of the best gymnasiums in the city - the Strakhov gymnasium. Studying was not easy for the boy. But his element was drawing lessons. To get someone's hint, Alexey went to the artist A.E. Arkhipov. He didn't like the way he drew. It’s good that his mother persuaded him to go to Vasily Mikhailovich Vasnetsov. From him he heard a completely different opinion: “I see a clear talent in you...”. While studying in high school, Alexey simultaneously studied drawing and painting in the studio of Fyodor Ivanovich Rerberg. This allowed him to enter the textile department of VKHUTEMAS (Higher Art Workshops). A year later he transferred to the graphic department. Alexey Mikhailovich worked a lot. At this time, he began to collaborate with magazines (for example, “Pioneer,” in which readers were entertained by the character Laptev created, the pioneer Kuzka, with his adventures); various publishing houses; performed portraits, landscapes, still lifes; participated in exhibitions; went on creative business trips. When the Great Patriotic War began, he began working in the Moscow organization of the Union of Soviet Artists: he painted leaflets, posters, and lithographs for TASS Windows. In 1942, as part of a creative brigade, he was sent to the Kalinin Front, and later visited the South-Western Front. For a series of front-line drawings in 1944, the artist was awarded a 1st degree diploma from the Committee for Arts. After the war, Alexey Mikhailovich was one of the initiators of the movement for the preservation of ancient monuments, worked on wooden toys, became interested in sculptures made from roots, and worked on cycles of drawings. The series of drawings “Collective Farm Series” (1947) was acquired by the Tretyakov Gallery and was on permanent display for a long time.

After this success, the artist was offered to illustrate Sholokhov’s novel “Virgin Soil Upturned.” And then there were wonderful illustrations for Gogol’s works “Dead Souls”, “Evenings on a Farm near Dikanka”, for Krylov’s fables, for Pushkin’s “The Tale of the Fisherman and the Fish”, many pictures for the magazine “Funny Pictures”, there were several children's books, in of which the author acted as not only an artist, but also an author. There was a book “On the Way...Notes of an Artist”, drawing tutorials “How to draw a horse”, “Pen drawing”; ...and, of course, the image of Dunno. Everyone knows about Dunno. All children, as well as adults, fell in love with this artist because he, together with the writer Nikolai Nosov, gave them Dunno. Alexey Laptev was the first to draw a portrait of this mischievous kid, which turned out to be very successful. A successful choice of illustrators played a significant role in winning Dunno’s love among young readers. The first two parts of the trilogy were illustrated by Alexei Laptev, the third part, after the death of A. Laptev, was illustrated by Heinrich Valk. Early editions of the books were richly decorated for their time - they had dust jackets and colored inserts (subsequent editions were decorated more modestly). The last work was illustrations for the poem by N. A. Nekrasov “Who Lives Well in Rus'.” One of A. Laptev’s books was republished in 2013. In 2015, Eksmo Publishing House, in the “Retro Classics” series, presented the book “The Adventures of Dunno and His Friends” with illustrations by A. M. Laptev. The artist’s works are in many regional museums, as well as private collections in Russia and abroad.

Gogol N.V. Evenings on a farm near Dikanka: Stories published by the beekeeper Rudy Panko/ N.V. Gogol; [Artist. A. Laptev; Entry Art. and comment. I. Vinogradova; Rep. ed. A. N. Pecherskaya] - M.: Children's literature, 2003. - 298, p.: ill., portrait - (School library)

Gogol N.V. Selected works: in 2 volumes./ N.V. Gogol.- M.: Fiction, B.G.- (Library of classics. Russian literature) T. 2. / [art. Yu. Korovin, D. Dubinsky, A. Laptev]. - 1978. - 475, p. l.: ill.:180.00

Gogol N.V. Dead souls: text analysis: main content: essays/[aut.-comp. L. D. Strakhova]; [reg. I. G. Salnikova; in the region use ill. artist A. M. Lapteva; artist A. A. Agin; resp. ed. T. D. Dazhina] - 5th ed., ster.-M.: Bustard, 2003.- 93, p. ill.- (School program: mid. founded in 1997)

Krylov I. A. Fables: [for primary school age] / I. A. Krylov; artist Alexey Laptev.-Moscow: Children's literature, 2013.- 31, p.: ill., portrait.- (Book by book)

: fairy tale novel / N. Nosov; [art. A. Laptev].- M.: Children's literature, 1989.- 157, p. : ill..-- (Library series)

Nosov N. N. Adventures of Dunno and his friends; Dunno in Sunny City/ N. N. Nosov; [art. A. Laptev].- M.: Onyx, 2000.- 494, p.- (Golden Library)

Nosov N. N. Adventures of Dunno and his friends: fairy tale / N. Nosov; rice. A. Lapteva.-Moscow: Eksmo, 2015, [vol. e. 2014].- 188, p.: color. ill.

Yasnov M.D. Good morning!: [poems: for reading by adults to children] / M. D. Yasnov; ill. A. Laptev.- [Moscow: Speech, cop. 2012].- 16, p.: color. ill.

LAPTEV Alexey Mikhailovich(1905-1965). Graphic artist and book illustrator, Honored Artist of the RSFSR. His work is presented in the State Tretyakov Gallery, the State Museum of Fine Arts. A.S. Pushkin, the State Russian Museum and other museums.

A.M. Laptev was born and lived in Moscow. This is how he recalled his first artistic experiments:

« When did it start? Memory retains barely noticeable traces. Pieces of writing paper, cut smaller by mom to save money. I draw horses, their live line moves quickly. It’s like whole herds are jumping in front of me. I like to draw. My mother taught me this. How old am I? Apparently about three years. After my father’s death, we moved from Moscow to my father’s homeland and to his relatives in the village. I remember running out onto a lawn with simple, but very fragrant grass, and an amazing picture appeared before my eyes. Having hooked the barn with ropes, the men pulled it, others placed logs in front of it. The result was rollers on which the barn slowly moved. Their friendly efforts were united by the melody of the drawn-out choral song “Dubinushka”. These childhood memories from an early age carry images of the sounds, colors, smells and shapes of forever loved ones.

Mom devoted herself entirely to us. Playing games at home became the best pastime for my older sister and younger brother. And I was passionate about drawing. One day my mother bought the book “Russian Fairy Tales” by Afanasyev. This book remained a source of irrepressible children's creativity in our family. My sister read aloud these wonderful works of the Russian people, and then she and I uncontrollably drew illustrations for what we read. When now, many years later, I attend exhibitions of children’s drawings, I involuntarily remember my early childhood and the too modest opportunities that my sister and I had. We drew only with graphite pencils on small, often lined sheets of paper, or rather, scraps of paper. Mom couldn’t buy paints or good drawing paper. But fairy tale images lived with us. We sat late into the night by the light of a kerosene lamp with a glass green lampshade and drew illustrations for fairy tales series after series.

It was not only the world of fairy tales that attracted my imagination. In the evenings I endlessly drew what I saw during the day in the yard or in the summer in the village. We were given the magazine “Firefly”. Everything there seemed interesting and interesting. But most of all I was attracted by the illustrations, especially by Alexei Nikanorovich Komarov. His pen drawings were imbued with such a warm feeling of sympathy for various animals, humor and enthusiasm. It was a special pictorial world where fairy-tale characters of animals and little animals beloved from early childhood acted and lived, laughed, jumped, ran, and talked to each other.

I started drawing voraciously very early. The drawings of three years old were already quite skillful. I drew from life, I remember when I was seven years old. Drawing from imagination (which included illustrations) and life drawing went side by side.

I was incredibly happy when something worked out. I loved my drawings and played with them like toys. On my bed I laid out my works and looked at them for a long time. The Indians were galloping in pursuit of someone, Cossacks with swords drawn were flying on horses, shots were thundering, emotions were accompanied by emotional exclamations - the game was going on.

The drawings accumulated, they went into the archives of my mother (she carefully collected everything). It’s curious that I almost never redrawn from pictures. It was somehow uninteresting to me. Apparently, I was very interested in the very process of the birth of an image out of nowhere. Mom couldn’t always buy us paints due to constant financial difficulties. Perhaps it was precisely this circumstance that laid in me a very early habit of drawing and a love for the stroke, for the line. When, a little later, I finally received the paints, I didn’t even know what to do with them. It seems that from an early age a child should have both pencils and paints in his arsenal, so that his desire to convey the visible and imaginary, as well as the color of living nature, will harmoniously develop.

Now I ask myself a question: what prompted me and encourages children to draw non-stop and with such zeal? Apparently, the very process of translating one’s ideas and observations onto paper. Life interested me not only in something particularly catchy and memorable. One of the early drawings shows an old bucket abandoned on the lawn. Seeing him, I sat down with interest and drew. Only now I understand what could have been the impetus for this. The bucket, the only object on the wide, flat meadow, emphasized the expanse of the lawn. Throughout my life, I have constantly been convinced that even the most ordinary-looking object can be interesting to depict. Without actually realizing it, I then chose the path for myself: to be able to draw everything».

Since 1925 A.M. Laptev worked as an illustrator in magazines, then in the field of book graphics, collaborated with various publishing houses in Moscow: GIZ, Detgiz, Goslitizdat, “Young Guard”, “Soviet Graphic”, “Soviet Artist”, “Children’s Literature”, etc. Since 1956 of the year - artist of the magazine “Funny Pictures”.

A.M. Laptev was one of the first to illustrate the poems of A.L. Barto (“About the War”, 1930), and also came up with graphic images of that same Nosovsky Dunno and his friends, who are known all over the world.

He not only illustrated children's books, but also painted portraits, landscapes, still lifes, genre compositions, created autolithographs on historical and revolutionary themes, composed poems for children, made toys from clay, wood and paper that continued the artistic tradition of folk art, and worked in sculpture small forms. During the Great Patriotic War, Alexey Mikhailovich remained in Moscow and was a member of the graphic brigade of the Moscow Union of Artists, which published satirical lithographed posters “Windows of the Moscow Union of Artists” and propaganda leaflets. He collaborated with TASS Windows and the Art Publishing House, worked on posters, postcards, leaflets and created a series of front-line drawings (1942–1943).

Also A.M. Laptev illustrated works of Russian and Soviet classics: “Dead Souls” and “Evenings on a Farm near Dikanka” by N.V. Gogol, “Who Lives Well in Rus'” by N.A. Nekrasov, “Virgin Soil Upturned” by M.A. Sholokhova and others.

In the post-war years, Alexey Mikhailovich was one of the initiators of the movement for the preservation of ancient monuments; his sketches were published in the book “Monuments of Ancient Russian Architecture in the Drawings of A.M. Laptev". As an author and artist, Alexey Mikhailovich created books for children: “Gromophone”, “Funny Kids”, “Funny Pictures”, “How I Drew at the Zoo”, “Foot-Chickpeas”, “Funny Pictures”, “Forest Curiosities”, “Kids”, “One, two, three...”, etc., prepared tutorials “How to draw a horse” and “Pen drawing”.

Works by A.M. Laptev were exhibited at personal exhibitions in Moscow (1940, 1949). He took part in exhibitions of Soviet art in cities of the USSR and abroad: in the USA, India, and European countries. In 1966, a memorial exhibition of works by A.M. was organized in Moscow. Laptev.

The book “Alexey Mikhailovich Laptev” (series “Masters of Soviet Art”; 1951) is dedicated to the artist’s creative path, and in 1972 his memoirs “On the Way... Notes of the Artist” were published.

Laptev Alexey Mikhailovich (1905, Moscow - 1965, Moscow) - graphic artist, sculptor.

Studied in Moscow: at the school-studio of F. I. Rerberg (1923–1924); Testing and Preparatory Department of Vkhutemas (1924); Vkhutemas - Vkhutein (1924–1930), first at the textile department, then at the graphic department with D. A. Shcherbinovsky, P. I. Lvov (drawing) and N. N. Kupreyanov (lithography). In the 1920s - a member of the Vkhutemas volleyball team.

He was engaged in easel and book graphics. He had excellent command of the entire technical “arsenal” of drawing: he used pressed charcoal, sauce, sanguine, ink, watercolor, pastel, chalk and other materials.

Since 1925 he worked as an illustrator for magazines; drew for Pioneer magazine (1927–1929). In 1929 he began working in the field of book graphics (“The First Pasture” by G. Zamchalov). In the 1930s–60s, he collaborated with various publishing houses in Moscow: GIZ, Detgiz, Goslitizdat, “Young Guard,” “Soviet Graphic,” “Soviet Artist,” “Children’s Literature” and others. Illustrated textbooks commissioned by Uchpedgiz.

One of the first illustrators of A. L. Barto (“About the War,” 1930) and N. N. Nosov (“The Adventures of Dunno and His Friends,” 1956; “Dunno in the Sunny City,” 1959). Designed the books: “What is good and what is bad?” V. V. Mayakovsky (1930), “Fables” by I. A. Krylov (1944–1945), “Medvedko” by D. N. Mamin-Sibiryak (1951), “Dead Souls” (1953), “Evenings on a Farm Near Dikanki" (1960) by N.V. Gogol, "Lithuanian folk tales" (1954), "Giovannino and Pulcherosa" by D. Pirelli (1958), "Masha the Confused" by L.F. Voronkova (1960) and others.

He wrote and illustrated books for children: “Gramophone” (1947), “Funny Kids” (1948, 1949), “Funny Pictures” (1948), “How I Drew at the Zoo” (1950), “Wow, Wow! ", "Funny Pictures" (both 1958), "Forest Curiosities" (1959), "Kids" (1964), "One, Two, Three..." (1966) and others. Since 1956, artist for the magazine “Funny Pictures”.

In 1948–1954 he created an extensive series of illustrations for the novel by M. A. Sholokhov “Virgin Soil Upturned”, for which he made a trip to the Don (several publications, one of them: Sholokhov M. A. Collected Works. M.: Young Guard. 1956– 1960, vol. 6–7). At the end of his life he worked on a series of illustrations for N. A. Nekrasov’s poem “Who Lives Well in Rus'” (not completed, published - 1971).

He painted portraits, landscapes, still lifes, and genre compositions; created several autolithographs on historical and revolutionary themes. In 1935, on the instructions of the organizing committee of the All-Union Exhibition “Industry of Socialism”, he made a trip to the Urals; the result was the series of drawings “Factory of Krasnouralsk” (1936). In 1937–1939 and 1940 he went on creative trips to collective farm villages; created a series of drawings “Collective farms of Ukraine” and “Sala steppes”. In 1941 he was sent to the Caspian Sea, where he completed a series of sketches depicting fishing villages and steppe landscapes (“Caspian Suite”, “Near Astrakhan”).

During the Great Patriotic War he remained in Moscow. Member of the graphic brigade of the Moscow Union of Artists, which published satirical lithographed posters “Windows of the Moscow Union of Artists” and propaganda leaflets. He collaborated with TASS Windows and the Art Publishing House, working on posters, postcards, and leaflets. Traveled to the Kalinin and Southwestern fronts; created a cycle of front-line drawings (1942–1943), for which in 1944 he was awarded a 1st degree diploma from the Committee for Arts under the Council of People's Commissars of the USSR.

In the post-war years, he was one of the initiators of the movement for the preservation of ancient monuments, marched over the Rodina youth club, which helped in the protection of cultural monuments. He sketched monuments of Old Russian architecture for the proposed exhibition “Masterpieces of Russian Architecture” (published in the album “Monuments of Old Russian Architecture in the Drawings of A. M. Laptev” M., 1969).

He created cycles of drawings “Uglich”, “Collective Farm Series” (1947), portraits of noble workers of Moscow factories (1958), travels through Czechoslovakia (1958) and Italy (1956–1962).

He worked in small sculpture. He made wooden toys (“Foal”, “Karand`Ash”, both - 1948). In the early 1950s, he became interested in root sculpture (“Sancho Panza and the Donkey,” “Don Quixote”).

Since 1926 - participant of exhibitions (1st exhibition of the Association of Graphic Artists in Moscow). Member of the Union of Artists of the USSR. Exhibited at exhibitions: exhibition-review of works by young artists (1936), works by Moscow artists (1939, 1942, 1947), drawings, illustrations and posters (1940), painting, graphics, sculpture (1941), “The Red Army in the fight against the Germans” -fascist invaders" (1943), "The heroic defense of Moscow in 1941–1942" (1944), All-Union art exhibition (1946), "30 years of the Soviet armed forces. 1918–1948" (1948), 1st All-Union Exhibition of Graphics and Posters (1950), Books and Book Graphics of Detgiz (1951), "N. V. Gogol in the works of Soviet artists" (1952) in Moscow; “Military valor of the Russian people” in Sverdlovsk (1943) and others. Exhibitor of numerous traveling exhibitions of Soviet art in the Union republics and cities of the RSFSR. Participant in a number of foreign exhibitions: the international exhibition “The Art of the Book” in Paris and Lyon (1931–1932), “Modern Art of the USSR” in San Francisco, Chicago, Philadelphia, New York (1933), “Soviet Graphics” in Bucharest, Helsinki , Prague, Budapest (1950), Soviet fine art in Delhi, Calcutta, Bombay (1952), “Soviet and classical Russian art” in Berlin, Dresden, Halle, Budapest (1953–1954), XXVIII International Biennale in Venice (1956) . Held personal exhibitions in Moscow (1940, 1949).

Corresponding member of the USSR Academy of Arts, Honored Artist of the RSFSR. The publication “Alexey Mikhailovich Laptev” (series “Masters of Soviet Art”; M., 1951) is dedicated to the artist’s work. Author of memoirs: “On the way...: notes of an artist” (M., 1972).

A memorial exhibition of Laptev's works was organized in 1966 in Moscow.

Creativity is presented in many museum collections, including the State Tretyakov Gallery, the Pushkin Museum. A. S. Pushkin, State Russian Museum and others.

Yasnov M. D. “Good morning!” ,
In the book “One-two-three...” there was.

1905 (Moscow) - 1965 (Moscow)

Graphic artist, sculptor

He graduated from high school in Moscow. Studied in Moscow: at the school-studio of F. I. Rerberg (1923–1924); Testing and Preparatory Department of Vkhutemas (1924); Vkhutemas - Vkhutein (1924–1930), first at the textile department, then at the graphic department with D. A. Shcherbinovsky, P. I. Lvov (drawing) and N. N. Kupreyanov (lithography). In the 1920s - a member of the Vkhutemas volleyball team.

Lived in Moscow. He was engaged in easel and book graphics. He had excellent command of the entire technical “arsenal” of drawing: he used pressed charcoal, sauce, sanguine, ink, watercolor, pastel, chalk and other materials.

Since 1925 he worked as an illustrator for magazines; drew for Pioneer magazine (1927–1929). In 1929 he began working in the field of book graphics (“The First Pasture” by G. Zamchalov). In the 1930s–60s, he collaborated with various publishing houses in Moscow: GIZ, Detgiz, Goslitizdat, “Young Guard,” “Soviet Graphic,” “Soviet Artist,” “Children’s Literature” and others. Illustrated textbooks commissioned by Uchpedgiz.

One of the first illustrators of A. L. Barto (“About the War,” 1930) and N. N. Nosov (“The Adventures of Dunno and His Friends,” 1956; “Dunno in the Sunny City,” 1959). Designed the books: “What is good and what is bad?” V. V. Mayakovsky (1930), “Fables” by I. A. Krylov (1944–1945), “Medvedko” by D. N. Mamin-Sibiryak (1951), “Dead Souls” (1953), “Evenings on a Farm Near Dikanki" (1960) by N.V. Gogol, "Lithuanian folk tales" (1954), "Giovannino and Pulcherosa" by D. Pirelli (1958), "Masha the Confused" by L.F. Voronkova (1960) and others.

He wrote and illustrated books for children: “Gramophone” (1947), “Funny Kids” (1948, 1949), “Funny Pictures” (1948), “How I Drew at the Zoo” (1950), “Wow, Wow! ", "Funny Pictures" (both 1958), "Forest Curiosities" (1959), "Kids" (1964), "One, Two, Three..." (1966) and others. Since 1956, artist for the magazine “Funny Pictures”.

In 1948–1954 he created an extensive series of illustrations for the novel by M. A. Sholokhov “Virgin Soil Upturned”, for which he made a trip to the Don (several publications, one of them: Sholokhov M. A. Collected Works. M.: Young Guard. 1956– 1960, vol. 6–7). At the end of his life he worked on a series of illustrations for N. A. Nekrasov’s poem “Who Lives Well in Rus'” (not completed, published - 1971).

He painted portraits, landscapes, still lifes, and genre compositions; created several autolithographs on historical and revolutionary themes. In 1935, on the instructions of the organizing committee of the All-Union Exhibition “Industry of Socialism”, he made a trip to the Urals; the result was the series of drawings “Factory of Krasnouralsk” (1936). In 1937–1939 and 1940 he went on creative trips to collective farm villages; created a series of drawings “Collective farms of Ukraine” and “Sala steppes”. In 1941 he was sent to the Caspian Sea, where he completed a series of sketches depicting fishing villages and steppe landscapes (“Caspian Suite”, “Near Astrakhan”).

During the Great Patriotic War he remained in Moscow. Member of the graphic brigade of the Moscow Union of Artists, which published satirical lithographed posters “Windows of the Moscow Union of Artists” and propaganda leaflets. He collaborated with TASS Windows and the Art Publishing House, working on posters, postcards, and leaflets. Traveled to the Kalinin and Southwestern fronts; created a cycle of front-line drawings (1942–1943), for which in 1944 he was awarded a 1st degree diploma from the Committee for Arts under the Council of People's Commissars of the USSR.

In the post-war years, he was one of the initiators of the movement for the preservation of ancient monuments, marched over the Rodina youth club, which helped in the protection of cultural monuments. He sketched monuments of Old Russian architecture for the proposed exhibition “Masterpieces of Russian Architecture” (published in the album “Monuments of Old Russian Architecture in the Drawings of A. M. Laptev” M., 1969).

He created cycles of drawings “Uglich”, “Collective Farm Series” (1947), portraits of noble workers of Moscow factories (1958), travels through Czechoslovakia (1958) and Italy (1956–1962).

He worked in small sculpture. He made wooden toys (“Foal”, “Karand`Ash”, both - 1948). In the early 1950s, he became interested in root sculpture (“Sancho Panza and the Donkey,” “Don Quixote”).

Since 1926 - participant of exhibitions (1st exhibition of the Association of Graphic Artists in Moscow). Member of the Union of Artists of the USSR. Exhibited at exhibitions: exhibition-review of works by young artists (1936), works by Moscow artists (1939, 1942, 1947), drawings, illustrations and posters (1940), painting, graphics, sculpture (1941), “The Red Army in the fight against the Germans” -fascist invaders" (1943), "The heroic defense of Moscow in 1941–1942" (1944), All-Union art exhibition (1946), "30 years of the Soviet armed forces. 1918–1948" (1948), 1st All-Union Exhibition of Graphics and Posters (1950), Books and Book Graphics of Detgiz (1951), "N. V. Gogol in the works of Soviet artists" (1952) in Moscow; “Military valor of the Russian people” in Sverdlovsk (1943) and others. Exhibitor of numerous traveling exhibitions of Soviet art in the Union republics and cities of the RSFSR. Participant in a number of foreign exhibitions: the international exhibition “The Art of the Book” in Paris and Lyon (1931–1932), “Modern Art of the USSR” in San Francisco, Chicago, Philadelphia, New York (1933), “Soviet Graphics” in Bucharest, Helsinki , Prague, Budapest (1950), Soviet fine art in Delhi, Calcutta, Bombay (1952), “Soviet and classical Russian art” in Berlin, Dresden, Halle, Budapest (1953–1954), XXVIII International Biennale in Venice (1956) . Held personal exhibitions in Moscow (1940, 1949).

Corresponding member of the USSR Academy of Arts, Honored Artist of the RSFSR. The publication “Alexey Mikhailovich Laptev” (series “Masters of Soviet Art”; M., 1951) is dedicated to the artist’s work. Author of memoirs: “On the way...: notes of an artist” (M., 1972).

A memorial exhibition of Laptev's works was organized in 1966 in Moscow.

Creativity is presented in many museum collections, including the State Tretyakov Gallery, the Pushkin Museum. A. S. Pushkin, State Russian Museum and others.