Nikolay andreev sculptor of work. Nikolai Andreevich Andreev. Great sculptors. Sculptor Andreev Nikolai Andreevich

N. Andreev. V. I. Lenin. Gypsum, varnished. Around 1929

Sculptor Andreev Nikolai Andreevich

The appearance of Vladimir Ilyich Lenin has long attracted the attention of artists. Many portraits of the leader of the Great Proletarian Revolution appeared in painting, sculpture, drawing and engraving. Many of these portraits are successful. However, in the first place, no doubt, everything that was done by the sculptor N. A. Andreev should be put here.
All these are the works of the sculptor N. A. Andreev. He was born in 1873, died in 1932. He was the son of a poor Moscow employee from serfs. As a child, he was in great need. Family was a lot? numerical, low income. With great difficulty, thanks to his will and talent, Andreev made his way to art, graduating from two higher art schools in Moscow. He advanced early and became in the front row of masters of Russian art even before the revolution.

From the very first days of the Great Proletarian Revolution, Andreev irrevocably took its side. Both his origins, and his great, serious mind, and sharp-sighted powers of observation helped him to correctly understand and appreciate the significance of October.
The personality of the leader of the revolution most attracted Andreev's attention. The artist persistently sought meetings with Vladimir Ilyich, invariably went wherever Lenin spoke publicly: at rallies, meetings, congresses, congresses? keen eye the artist sharply and attentively studied the appearance of the leader, the characteristic forms of his head, facial expression, hand movements, and the proportions of the figure at a distant and close distance. And the hand indefatigably sketched in large and small notebooks, on random scraps of paper, precious living impressions. She sketched quickly, often only in hints, understandable only to the author himself. The sketches are simple, businesslike. They always discover something important, essential in the guise of Lenin.
Here are sketches of the head in various positions, rotations. Here is Lenin's face with a screwed up eye, with speaking and closed lips. Dozens of unique facial expressions, almost imperceptible. Here - only a sketch of the lips. There is only one eye with amazing sharpness and power of sight. Here is Lenin on the podium - a solid figure, a half-figure. Alone and surrounded. Now he listens attentively and intensely, then he utters some bright, sharp word - one of those that conquered, ignited the audience.

How the sculptor N. A. Andreev worked on the image of V. I. Lenin
thorium, made her admire, resent, laugh, rallied the will of the masses to action, explained the situation with unusual clarity and simplicity.
Viewing these cursory (rough) Andreev's sketches leaves a striking mark. Before us suddenly grows real image, living Lenin, with extraordinary and irresistible power.
The artist continued his sketches. From these sketches he completed several remarkable portraits. Three of them are especially good. The first one was signed by Vladimir Ilyich himself. It perfectly conveys the Leninist expression of the eyes, the soft, slightly mocking smile of the lips. The tilt of the head emphasizes the colossal dome of Lenin's skull, the receptacle of his brilliant thought. The second drawing depicts Ilyich's head in three quarters, from behind. The same predominance of a powerful skull. The profile smile is found with a thrilling allure.

The skill of the artist here is full and convincing. But we know very well that this is the mature fruit of not only talent, but also a great, hard preliminary work of the artist on himself.
In the third portrait, Andreev shows the great leader of the proletarian revolution. Resolutely and powerfully the movement of the head raised upwards. Facial features are strict, severe. An authoritative gaze looks forward from under the shifted eyebrows, into the endless distances opened up by the revolution. Longitudinal deep folds lay over the bridge of the nose. The bulges of the high forehead are emphasized, as if reflecting the movement of thought. The closed lips are full of strength. They have an unshakable will. This is a heroic portrait. The idea of ​​the portrait was reflected in the manner of drawing - in its generalized and strict techniques.
Next to the sketches was the work of the sculptor. With a small piece of soft mastic, Andreev watched Ilyich at work, caught a plastic resemblance. That was hard. Vladimir Ilyich did not pose, absorbed in his enormous work. He was in constant motion! Many failures and Tteredelka for the artist were inevitable. They gave Andreev the opportunity to later present the figure of Lenin in any position. From this time, a small head made of mastic has been preserved in the Lenin Museum - the primary ovary, from which Andreev's entire sculptural poem about Lenin, his Leninian, later grew.

Then came a long period of creative work on the image already in the studio.
For the first five years, Andreev was occupied with the image of Ilyich at work. Several small sculptures appeared, striking in resemblance. The most successful - 1920 - depicts Lenin for desk. He works, leaning over a manuscript at his desk. Right hand with a pen on paper, the left one touches the lips with the little finger. The artist himself, demanding of himself, appreciated this sculpture. Before us is a simple and warm story about the working days of a great man.
The artist also made a number of other options on the same topic. They are varied, and each is very good in its own way. They can be seen in the Lenin Museum and the Tretyakov Gallery.
The second period in the development of Andreev's Leniniana unfolds after the death of Vladimir Ilyich, from 1924.
The artist was commissioned a sculptural portrait for the hall of the Council of People's Commissars. He accepted the order, but insisted on complete freedom in time. He avoided haste. New job took five years - until 1929. The artist was also helped by the advice of people close to Vladimir Ilyich and who knew him well.
During this time, dozens of works have appeared with varying degrees of completeness, striking with a variety of ideas. A find in his studio after the death of the artist says a lot about the nature of Andreev's work. Thirty-seven versions of the sculptural portrait of the head of Vladimir Ilyich were discovered. Each with a special, unique expression. All this is a search for such a character of the image that could fully satisfy the artist. But he no longer trusted his own memory. He strove for a thorough check of his past impressions: he carefully and mathematically accurately measured the proportions of Lenin's figure; studied and sketched his suit, shoes, office chair. Measurements and drawings are visible in albums and on separate sheets.

N. Andreev. V. I. Lenin. Drawings from nature. Sanguine, pencil. 1920.

In 1929, Andreev presented to the commission of the Council of People's Commissars three options - two of them are large half-figures.
Thus ends the second period of Andreev's Leniniana.
In the third period, the artist is captured by the search for the image of the leader. He is a speaker on the world platform of October. These searches began already earlier, several years before. But now they have led to some new, big, wonderful works. They end with the execution of a large figure of Lenin at the very last time of the artist's life, in 1930-1932. In that wonderful work summarized all the strongest and best that the artist came to over the years of his searches.
The image of Lenin is simple. It is expressed by the artist in a stingy and strict language, deeply modest artistic techniques. The striking resemblance, the living, truthfully given features of Ilyich, the characteristic gesture - everything is real. Familiar features of Ilyich are now acquiring new meaning. We have already seen a hint of it in the "heroic" portrait-drawing.
A will of steel, a brilliant thought that clearly outlines the future paths of mankind - all this turns into a call from the leader from the world rostrum to the masses of mankind, not only in the present, but also in the future. The figure is full of great inner power. The head is especially expressive and good, raised high in a strong turn, with eyes turned forward.
Together with this work, the indefatigable master left several works in which he wanted to express the idea of ​​​​Lenin the leader even more generally. The best is a big head: Lenin in a hat and fur coat. It was intended to be made in granite.
Andreevskaya Leniniana was interrupted by the death of the artist. But even in this form it is an unprecedented phenomenon in world art. Leniniana Andreeva - the most valuable contribution to the cause of communism by means of visual arts.

Andreev Nikolai Andreevich, sculptor and graphic artist

Andreev Nikolai Andreevich(1873-1932), Soviet sculptor and graphic artist. Honored Artist of the RSFSR (1931). He studied at the Moscow Stroganov School (1885-91) and at MUZhVZ (1892-1901) under S. M. Volnukhin. In his early works, he first experienced the influence of the art of the Wanderers ("Reaper with a Child", plaster, 1899, State Tretyakov Gallery and the Kiev Museum of Russian Art), and then impressionism (portrait of Leo Tolstoy, bronze, 1905, State Tretyakov Gallery).
In the monument to N.V. Gogol in Moscow (bronze, granite, 1904-09), Andreev created a deeply individual, tragic image of the writer. In the early years Soviet power Andreev participated in the implementation of Lenin's plan monumental propaganda(monument to A. I. Herzen and N. P. Ogarev in Moscow - both cement with granite chips, 1918-22); author of the monument to A. N. Ostrovsky in Moscow (bronze, granite, opened in 1929).
Andreev's main contribution to history Soviet art became a series of sculptural (about 100) and graphic (about 200) portraits of V. I. Lenin - "Leninian" (1919-32, Central Museum of Musical History, State Tretyakov Gallery), recreating a lively and multifaceted image of the leader, full of deep humanity. The series, which arose on the basis of numerous sketches from nature, is characterized by the accuracy of realistic observations, clarity and conciseness. visual means. The main product of the series is the statue "Lenin the Leader" filled with heroic determination (gypsum, 1931-32, TsML; completed by V. A. Andreev). From 1913 Andreev worked as theater artist; in the 20s created a gallery graphic portraits party and statesmen, writers, artists, etc. Andreev's work played an important role in the development of art socialist realism.

Nikolai Andreevich Andreev - Russian sculptor and graphic artist. Nikolai Andreevich Andreev was born on October 26, 1873 in Moscow. He studied at the Moscow Stroganov School (1885-1891) and at the MUZhVZ (1892-1901) under S. M. Volnukhin. In his early works, he first experienced the influence of the art of the Wanderers ("Reaper with a Child", plaster, 1899, State Tretyakov Gallery and the Kiev Museum of Russian Art), and then impressionism (portrait of Leo Tolstoy, bronze, 1905, State Tretyakov Gallery). In the monument to N. V. Gogol in Moscow (bronze, granite, 1904-1909), Andreev created a deeply individual, tragic image of the writer. In the first years of Soviet power, Andreev participated in the implementation of Lenin's plan for monumental propaganda (a monument to A. I. Herzen and N. P. Ogaryov in Moscow - both cement with granite chips, 1918-1922); author of the monument to A. N. Ostrovsky in Moscow (bronze, granite, opened in 1929). Andreev's main contribution to the history of Soviet art was a series of sculptural (about 100) and graphic (about 200) portraits of V.I. . The series, which arose on the basis of numerous sketches from nature, is characterized by the accuracy of realistic observations, clarity and conciseness of pictorial means. The main product of the series is the statue "Lenin the Leader" filled with heroic determination (gypsum, 1931-1932, TsML; completed by V. A. Andreev). Since 1913 Andreev worked as a theater artist; in the 20s created a gallery of graphic portraits of party and state leaders, writers, artists, etc. Andreev's work played an important role in the development of the art of socialist realism. Nikolai Andreevich Andreev died on December 24, 1932.

Monument to N.V. Gogol in Moscow, 1904-1909

Monument to A. I. Herzen in Moscow, 1918-1922

Bacchante, 1911-1912

Obelisk in honor of the first Soviet Constitution in Moscow, 1918-1919

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Nikolai Andreevich Andreev was born on October 14 (26), 1873 in Moscow. Until the age of twenty-six, his father was a serf of one of the landowners of the Ryazan province, he left early for the city, worked hard and hard. The artist's childhood passed in difficult living conditions.

From the age of eight, the boy began to attend the city school. Already here his artistic inclinations and talent were manifested. Young Andreev began to draw and paint. A twelve-year-old boy, having overcome his studies at a city school, enters the Stroganov School. Nikolai graduates from it in five years. This art school then, in essence, she trained not artists, but artisans-draughtsmen for cotton-printing factories.

After graduating from the Stroganov School, seventeen-year-old Nikolai finally enters the Serpukhov print factory of Tsindel as a draftsman. Earnings were desperately needed for young artist, and to support native family. After a year of work, he was called to Moscow by the director of the Stroganov School F.F. Lvov and took the place of a drawing teacher there. Andreev's many years of teaching experience continued at this school - after its transformation into high school- until 1918.

Along with artistic and production tasks, Andreev is also concerned about monumental ideas. With great courage for a student, he takes part in the competition for the monument to Glinka in St. Petersburg. The Andreevsky project received the first prize, but they did not dare to hand over the execution of the monument to a young, unknown master who had not even graduated from a higher art school.

In 1900, Andreev completed a course at the School of Painting, Sculpture and Architecture. In the same year, after graduating from college, Nikolai managed to go abroad for the first time - to Paris for the World Exhibition. Here Andreev met last word European art. Rodin and his school allowed him to finally understand the essence of sculptural impressionism. But the artist's passion for Art Nouveau also intensified there.

Upon returning to Moscow, Nikolai continued teaching drawing and sculpture at the Stroganov School. Andreev teaches to work seriously and strictly from nature, to compose a sculptural sketch well and smoothly. It fosters the freedom of direct perception and understanding of nature, generalization or detailing of the image, widely allows any manner of surface treatment, but at the same time insistently and severely requires accuracy of form, clarity of attitude to the main tasks of sculptural construction. He already had his own system. Andreev was loved and appreciated by his students.

The earliest known and surviving work from the first period is the "Girl in a Shirt" figure. It is dated 1900. The young, thin body of a teenage girl is especially well felt under the heavy folds of a shirt.

In the period from 1900 to 1910 Andreev worked intensively. The range of his work was very wide: easel and decorative sculpture, plastic of small forms. A lot of effort and time was devoted to the development and implementation monumental works. Andreev participated in competitions for monuments to the pioneer printer Ivan Fedorov, T. G. Shevchenko, Hermogenes and Dionysius, K. D. Ushinsky. In many competitions, he was the winner. Twice Andreev won two competitions for monuments to Hermogenes and Dionysius, intended for installation on Red Square near the Kremlin wall. Andreev created tombstones K. A. Yasyuninsky, N. L. Tarasov, F. P. Gaaz.

What slipped through in individual portraits of the beginning of the century - the growing skill of the artist-psychologist - was revealed with particular fullness and force in the work on the embodiment of the image of Gogol. Andreev prepared especially carefully for the competition for the monument to Gogol. Back in the summer of 1904, while living in Ukraine, he made a lot of sketches. In 1906 he again went there. I traveled to Mirgorod, Yanovshchina, visited Gogol's sister, took out many new and unexpected impressions, sketched strings of types. He was fascinated by Ukrainian peasant life, psychology, but was struck by the chauvinism of the nationalist-minded part of the Ukrainian intelligentsia and its denial of Gogol's significance for Ukrainian culture. Before the artist stood the image of the "outcast" Gogol, his emotional drama, perhaps, sharpening his sarcasm and bitterness of perception of the world.

This idea of ​​the writer played a big role in shaping the image of Gogol in Andreev. The artist carefully studies not only the psychology of Gogol's work, but also the psychopathic aspects of his mental life: reads special literature, carefully talks with psychiatrist Bazhenov. During this time he read and re-read Gogol a lot. The artist was engaged in the iconography of the writer, trying to imagine his authentic appearance. They made drawings with lifetime portraits Gogol by Alexander Ivanov and F. A. Moller. A drawing made by E. A. Dmitriev-Mamontov gave a lot to recreate the living features of Gogol.

Nikolai Andreevich was helped in recreating the image of Gogol by a direct life impression. He posed for the image of the writer brother- Vyacheslav. It was the bent figure of his brother, wearily slumped on a bench, chilly wrapping himself in a wide cloak, with a bowed head and an absent-minded gaze directed downward, that helped the sculptor to see "his" Gogol. This is the image of a person immersed in heavy thoughts, exhausted by an internal struggle.

Of course, the monument did not become only an enlarged sketch from nature. When moving from the model to the monument itself, the image undergoes great changes. The sculptor seeks to enhance the drama of the image. The form is even more boldly generalized, conveyed by wide planes, their sharp fractures, there is a tension in the contrasts of light and dark. In the final version, the tragedy of the fate and creativity of the brilliant writer is more clearly revealed.

As L.P. Trifonova writes in a book dedicated to Andreev:

The interaction of this plastic solution with typical phenomena in the sculpture of the era is completely different than in many works of pre-revolutionary Andreev's work. If in them this interaction was largely determined by the development of specially taken techniques of one or another stylistic direction, then in this case it arises completely involuntarily, spontaneously. In independent creative solution the images themselves have features typical of the sculpture of this era. It manifests itself in the concrete, individually unique general pattern. One can find in the monument the predominance of plastic mass over a clear, complete volume, characteristic of impressionism, the complexity of the light and shade construction, in which individual forms merge and sink. One can find closeness to expressionistic solutions with their sharpness and tension of form. But there is neither fragmentation in the monument - a lack so often noted in the sculpture of impressionism, nor self-will, nervousness of expressionism. Gogol's image is truthful and expressive without exaggeration or deformation. Posture, movement, facial expressions are simple and natural. The form in which the image is embodied is monolithic, its silhouette is expressive.

The idea of ​​the whole construction is beautiful and poetic. A high granite pedestal with a lone figure of the writer surrounds on all four sides a continuous bronze relief depicting characters from The Inspector General.

The liberal strata of the merchant class and the intelligentsia, led by Ostroukhov, and the liberal press were in favor of Andreev. For this side, both the monument and its author were a symbol of protest against the reaction that reigned after 1905. Reactionary circles for the same reasons were against this monument. They perfectly felt that the sharp gaze of Andreevsky Gogol was turned not only to the past, but also to the present, to that madness of the reactionary bacchanalia that followed the suppression of the 1905 revolution.

The famous Russian artist Ilya Efimovich Repin welcomed the creation of the monument with the following words: "Touching, deep and unusually elegant and simple ... How much suffering in this martyr for the sins of Russia."

The second trip abroad in 1909 later played a big role in his creative way. In the monumental experiments of Rodin, Andreev finds a response to the same expressionist aspirations that determined the character of his Gogol. At the same time, he admires the Carnot groups on the Opera House and Bartholdi's Lion of Belford, typical examples of Second Empire neoacademism. The sculptor appreciates, however, the art of a completely different system. Great was his passion for Gothic and Romanesque art, the unforgettable power of "chimeras" at Notre Dame Cathedral.

Upon returning to Moscow, Andreev set to work with a new enthusiasm. creative work. Impressions abroad did not immediately create a big roll in any new direction. The same impressionism, the same accuracy of resemblance to nature and the sharpness of the author's eye, but also the same somewhat external characteristic. This is how the busts of V. E. Makovsky, I. E. Repin, A. I. Yuzhin, F. O. Shekhtel and others were made. However, the artist changes a lot in the methods of his work.

In 1910, a monument to Dr. Gaaz appeared - a public gift of the artist to Moscow. The new monument-bust speaks of the emerging shifts. Nikolai Andreevich is looking for here an even stronger sculptural form, realism in an image devoid of the randomness of a sketchy impression. Yes, and by its very nature, this task should have pushed the artist to generalizations based not at all on nature. The image of Haas is a synthetic portrait of a remarkable humanist doctor of the cruel epoch of Nicholas. And at the same time, the beautifully executed head of the doctor lives a tense and genuine life.

After the monuments to Gogol and Haaz, there comes a period of some creative lull.

With the revolution, Andreev gave birth to new sculptural ideas of a monumental order. On the first anniversary of the great proletarian revolution, he builds a colossal head of Danton to decorate the Revolution Square. In this powerful lion's head, the author, with unprecedented strength, embodied the pathos and temperament of the French bourgeois revolution, its romance. Andreevsky "Danton" - a revived antique mask, a tragic expression of the great social contradictions and political clashes of that era.

The winter of 1918 was spent on new urgent work - on the colossal Statue of Liberty for the square in front of the Moscow City Council building. Andreev finally breaks with the language of impressionistic pictorial inconsistency, with the expressionistic, restless gesture of the era of the Gogol monument. The master is looking for support in the combination of the real and the ideal, unsurpassed for centuries, as it was found by the culture of ancient Greece.

The style of the Statue of Liberty is a monumental completion of the artistic line that was gradually outlined and strengthened in the artist's work after 1910.

The second line is planned from the beginning of the revolution. It is a reaction to the dominance of the "leftist" movements of the era of war communism. Nikolai Andreevich, attentive to all the phenomena of artistic life, sought to understand the foundations of this artistic direction. Andreev recognized and used their constructive, architectonic tendencies, but resolutely opposed everything destructive, violating the integrity of the pictorial design.

From this point of view, one should consider the features artistic techniques during the execution of Andreev monuments to Herzen and Ogaryov in front of the building of Moscow University. Compact, confluent mass, processed with wide, chopped planes; shape close to the diagram. The synthetic beginning is subordinated to the analytic beginning.

The monument to A. N. Ostrovsky in Moscow occupied a central position in the work of the master in the twenties. A very wide competition was announced for the construction of a monument to the playwright in front of the Maly Theater. But in the end, no one had any doubts that best project- Andreevsky.

The sculptor worked on the monument from 1923-1924 to 1928. Its opening took place in May 1929. The monument to Ostrovsky was an experience of a strictly realistic solution - in the style that was demanded not only by the image of the writer, but also inner path the sculptor himself. This style is becoming more and more stable, revealing the foundations of the master's creativity, his general line. The form in the monument becomes strikingly clear, precise, but free. The technique is virtuoso, but it is so determined by the unity of content and form that it does not catch the eye, does not bother, but is taken for granted. The very image is calm, a little cold and deeply, cleverly thought out.

The artist at this time takes part in other competitive competitions. The large bust of L. N. Tolstoy for the Tolstoy exhibition of 1928 dates back to the same time.

In the variety of creative tasks there was one artistic theme, which captured Andreeva on long years- Leniniana. Work on the image of Lenin went on for many years and became the main creative goal of everything last period artist's life. Andreev created about a hundred sculptural portraits of the leader.