Life and work reflected in collectibles. School Encyclopedia

Ivan Dmitrievich Shadr (real name - Ivanov; January 30 (February 11), Taktashinsky, now Kurgan region - April 3, Moscow) - Russian Soviet artist, sculptor-monumentalist, representative of the “academic modern” direction.

Biography

Ivan Dmitrievich Ivanov was born on January 30 (February 11) in the village of Taktashinsky, Chelyabinsk district, Orenburg province (now the village of Taktashi, urban settlement, the working settlement of Mishkino, Mishkinsky district, Kurgan region). Father - Dmitry Evgrafovich Ivanov (May 1860 or June 17, 1862 - April 8, 1926), Mother - Maria Egorovna (nee Ovchinnikova, daughter of a peasant in the village of Ryapolovo, Kovrovsky district, Vladimir province (c. 1863 - November 23, 1935). The village of Taktashinsky is a place of seasonal work for carpenter Dmitry Evgrafovich Ivanov, a permanent place residence - the city of Shadrinsk, Shadrinsk district, Perm province (now in the Kurgan region). Ivan's great-grandfather painted the walls in the Transfiguration Cathedral, his father and uncles were also builders and bogomazs (church painters). But the main occupation of Dmitry Evgrafovich was a carpenter. Ivan Dmitrievich was the third son in a family of twelve children (three babies died).

Presumably, Ivan was baptized in the Holy Trinity Church from the Ostrovnoy Masleyskaya volost of the Chelyabinsk district (now in the Mishkinsky district of the Kurgan region).

Ivan Shadr created revolutionary-romantic, generalized symbolic images, for example, the high relief “Fighting the Earth” (), the sculpture “ Cobblestone is the weapon of the proletariat” (). The latter, in addition to Moscow, was installed in Chelyabinsk, Lvov, Shadrinsk, Mongolia and Romania.

In 1926, Shadr went abroad: he visited France and Italy. In Paris, he sculpts a bust of L.B. Krasin, who was then the plenipotentiary of the USSR, and then repeats the portrait in marble.

In 1931 Shadr created a tombstone for V. M. Friche.

In the late 1930s, Shadr worked on a project for a monument to A. S. Pushkin. In 1939 he created a sculpture of A. M. Gorky in the image of the Petrel (bronze, Tretyakov Gallery). In the same year, he prepared a more classical model of the Gorky monument. However, this monument was built at the Belorussky railway station in Moscow after the death of Ivan Dmitrievich by the sculptor V.I. Mukhina with the help of N.G. Zelenskaya and Z.G. Ivanova.

Most of the works of I. D. Shadr (in particular, "Storm of the Earth", "Cobblestone - a weapon of the proletariat" and others) are in the Museum of Contemporary History of Russia in Moscow.

Standard stamps of the RSFSR and the USSR, made according to the sculptures of I. D. Shadr

There are too many of us Ivanovs. You have to somehow distinguish yourself from other Ivanovs, so I took the pseudonym "Shadr" for myself - from the name hometown to glorify him.

These days, the sculptor I. D. Shadr often comes into the workshops of the plant. Now the casting in bronze of his sculpture, called "Cobblestone - the weapon of the proletariat", has been completed.

Prizes

Memory

In 2013 the house was burned down by vandals.

Museum collections

Works and sketches of Shadr are kept in the State Tretyakov Gallery, the State Central Museum of Contemporary History of Russia, the Yekaterinburg Museum of Fine Arts, and other museums.

Write a review on the article "Shadr, Ivan Dmitrievich"

Notes

Literature

Biryukov V. Portraits of Shadrinsk peasants on state signs of the USSR // Shadrinskoe scientific repository. - 1924. - No. 1. - S. 5-10.
Vidov M. Sculpture must live! // Philately of the USSR. - No. 10. - 1987. - S. 4-6.
// Zolotonosov M. Γλυπτοκρατος. A study of silent discourse. Annotated catalog of landscape gardening art of Stalin's time. - St. Petersburg, 1999. - S. 20-29.
Osintsev L. Unknown Shadr. - Shadrinsk, 1995.
Shadr I. D. literary heritage. Correspondence. Memories of a Sculptor. - M., 1978.

An excerpt characterizing Shadr, Ivan Dmitrievich

On August 24, the first partisan detachment of Davydov was established, and after his detachment others began to be established. The further the campaign progressed, the more the number of these detachments increased.
The partisans destroyed Grand Army in parts. They picked up those falling leaves that fell of themselves from a withered tree - the French army, and sometimes shook this tree. In October, while the French fled to Smolensk, there were hundreds of these parties of various sizes and characters. There were parties that adopted all the methods of the army, with infantry, artillery, headquarters, with the comforts of life; there were only Cossack, cavalry; there were small, prefabricated, foot and horse, there were peasants and landlords, unknown to anyone. There was a deacon head of the party, who took several hundred prisoners a month. There was an elder, Vasilisa, who beat hundreds of Frenchmen.
The last days of October were the time of the height of the guerrilla war. That first period of this war, during which the partisans, themselves surprised at their audacity, were afraid at any moment to be caught and surrounded by the French and, without unsaddling and almost dismounting their horses, hid through the forests, waiting for every minute of the chase, has already passed. Now this war had already taken shape, it became clear to everyone what could be done with the French and what could not be done. Now only those commanders of the detachments, who, according to the rules, went away from the French with headquarters, still considered many things impossible. The small partisans, who had long ago begun their work and were closely looking out for the French, considered possible what the leaders of large detachments did not even dare to think about. The Cossacks and the peasants, who climbed between the French, believed that now everything was possible.
On October 22, Denisov, who was one of the partisans, was with his party in the midst of partisan passion. In the morning he and his party were on the move. He spent the whole day through the forests adjacent to high road, followed a large French transport of cavalry items and Russian prisoners, separated from other troops and under strong cover, as it was known from scouts and prisoners, heading for Smolensk. This transport was known not only to Denisov and Dolokhov (also a partisan with a small party), who walked close to Denisov, but also to the heads of large detachments with headquarters: everyone knew about this transport and, as Denisov said, they sharpened their teeth on it. Two of these great detachment commanders - one Pole, the other German - almost at the same time sent an invitation to Denisov to join his detachment in order to attack the transport.
- No, bg "at, I myself have a mustache," said Denisov, after reading these papers, and wrote to the German that, despite the spiritual desire that he had to serve under the command of such a valiant and famous general, he should deprive himself of this happiness, because he had already entered under the command of a Pole general. He wrote the same thing to the Pole general, notifying him that he had already entered under the command of a German.
Having ordered in this way, Denisov intended, without reporting to the top commanders, together with Dolokhov, to attack and take this transport with his own small forces. The transport went on October 22 from the village of Mikulina to the village of Shamsheva. On the left side of the road from Mikulin to Shamshev there were large forests, in places approaching the road itself, in places moving away from the road by a verst or more. For a whole day through these forests, now going deep into the middle of them, then leaving for the edge, he rode with the party of Denisov, not losing sight of the moving French. In the morning, not far from Mikulin, where the forest came close to the road, Cossacks from Denisov's party captured two French wagons with cavalry saddles that had become muddy and took them into the forest. From then until evening, the party, without attacking, followed the movement of the French. It was necessary, without frightening them, to let them calmly reach Shamshev, and then, connecting with Dolokhov, who was supposed to arrive in the evening for a meeting at the guardhouse in the forest (a verst from Shamshev), at dawn fall from both sides like snow on his head and beat and take everyone at once.
Behind, two versts from Mikulin, where the forest approached the road itself, six Cossacks were left, who were supposed to report it immediately, as soon as new French columns appeared.
Ahead of Shamshev, in the same way, Dolokhov had to explore the road in order to know at what distance there were still other French troops. During transport, one thousand five hundred people were supposed. Denisov had two hundred men, Dolokhov could have as many. But the superiority of numbers did not stop Denisov. The only thing he still needed to know was what exactly these troops were; and for this purpose Denisov needed to take a tongue (that is, a man from an enemy column). In the morning attack on the wagons, things happened with such haste that the French who were with the wagons were all killed and only the drummer boy was captured alive, who was backward and could not say anything positively about what kind of troops were in the column.
Denisov considered it dangerous to attack another time, so as not to alarm the entire column, and therefore he sent the muzhik Tikhon Shcherbaty, who was with his party, forward to Shamshevo - to capture, if possible, at least one of the French advanced quartermasters who were there.

It was an autumn, warm, rainy day. Sky and horizon were the same color muddy water. Now it seemed to fall like a mist, then suddenly it allowed a slanting, heavy rain.
On a thoroughbred, thin horse with tucked-up sides, in a cloak and hat, from which water flowed, Denisov rode. He, like his horse, which squinted its head and pursed its ears, frowned at the slanting rain and peered anxiously ahead. His face, emaciated and overgrown with a thick, short, black beard, looked angry.
Next to Denisov, also in a cloak and hat, on a well-fed, large bottom rode a Cossack esaul - Denisov's employee.
Esaul Lovaisky, the third, also in a cloak and hat, was a long, flat, white-faced, fair-haired man, with narrow bright eyes and a calmly self-satisfied expression both in his face and in his seat. Although it was impossible to say what was the peculiarity of the horse and the rider, but at the first glance at the esaul and Denisov it was clear that Denisov was both wet and awkward - that Denisov was a man who mounted a horse; whereas, looking at the esaul, it was clear that he was just as comfortable and at ease as always, and that he was not a man who mounted a horse, but a man together with a horse, one being increased by double strength.
A little ahead of them walked a sodden peasant conductor, in a gray caftan and white cap.
A little behind, on a thin, thin Kyrgyz horse with a huge tail and mane and with bloody lips, rode a young officer in a blue French overcoat.
A hussar rode next to him, carrying a boy in a tattered French uniform and a blue cap behind him on the back of his horse. The boy held on to the hussar with his hands, red from the cold, moved, trying to warm them, his bare feet, and, raising his eyebrows, looked around him in surprise. It was the French drummer taken in the morning.
Behind, in threes, fours, along a narrow, limp and rutted forest road, hussars were drawn, then Cossacks, some in a cloak, some in a French overcoat, some in a blanket thrown over their heads. The horses, both red and bay, all looked black from the rain streaming from them. The necks of the horses seemed strangely thin from wet manes. Steam rose from the horses. And clothes, and saddles, and reins - everything was wet, slippery and slushy, just like the earth and the fallen leaves with which the road was laid. People sat ruffled, trying not to move in order to warm the water that had spilled to the body, and not to let in the new cold water that was leaking under the seats, knees and necks. In the middle of the stretched-out Cossacks, two wagons on French and saddled Cossack horses rumbled over the stumps and branches and grunted along the water-filled ruts of the road.
Denisov's horse, bypassing a puddle that was on the road, stretched to the side and pushed him with his knee against a tree.
Denisov shouted angrily and, baring his teeth, hit the horse three times with a whip, spattering himself and his comrades with mud. Denisov was out of sorts: both from the rain and from hunger (no one had eaten anything since morning), and most importantly because there had still been no news from Dolokhov and the one sent to take the tongue had not returned.
“It is unlikely that there will be another such case as today, to attack transport. It’s too risky to attack alone, and to postpone until another day - one of the big partisans will capture the booty from under their noses, ”thought Denisov, constantly looking ahead, thinking to see the expected messenger from Dolokhov.
Having reached a clearing, along which one could see far to the right, Denisov stopped.
“Someone is coming,” he said.
Esaul looked in the direction indicated by Denisov.
- Two people are coming - an officer and a Cossack. Only it is not supposed that there was a lieutenant colonel himself, ”said the esaul, who liked to use words unknown to the Cossacks.
The riders, having gone downhill, disappeared from view and reappeared a few minutes later. In front, at a weary gallop, urging on with a whip, rode an officer - disheveled, soaked through and with pantaloons fluffed up above the knees. Behind him, standing on stirrups, a Cossack trotted. This officer, a very young boy, with a broad ruddy face and quick, cheerful eyes, galloped up to Denisov and handed him a wet envelope.
“From the general,” the officer said, “sorry that it’s not quite dry ...
Denisov, frowning, took the envelope and began to open it.
“They said everything that is dangerous, dangerous,” the officer said, turning to the esaul, while Denisov read the envelope given to him. “However, Komarov and I,” he pointed to the Cossack, “got ready. We have two pistols each ... And what is this? he asked, seeing the French drummer, “a prisoner?” Have you already been in a fight? Can I talk to him?
- Rostov! Peter! Denisov shouted at that time, running through the envelope handed to him. “Why didn’t you say who you are?” - And Denisov, with a smile, turning around, held out his hand to the officer.
This officer was Petya Rostov.
All the way Petya was preparing himself for how, as a big and officer should, without hinting at his previous acquaintance, he would behave with Denisov. But as soon as Denisov smiled at him, Petya immediately beamed, blushed with joy and, forgetting the formality he had prepared, began to talk about how he drove past the French, and how glad he was that he had been given such an assignment, and that he was already in the battle near Vyazma, and that one hussar distinguished himself there.
“Well, I’m hell to see you,” Denisov interrupted him, and his face again took on a worried expression.
“Mikhail Feoklitich,” he turned to the esaul, “after all, this is again from a German. He is pg "and he is a member." And Denisov told the esaul that the content of the paper brought now consisted in a repeated demand from the German general to join in attacking the transport. "If we don't take it, they will come out from under our noses," he concluded.
While Denisov was talking to the esaul, Petya, embarrassed by Denisov's cold tone and assuming that the position of his pantaloons was the reason for this tone, so that no one would notice this, adjusted his fluffy pantaloons under his overcoat, trying to look as militant as possible.
“Will there be any order from your high nobility?” - he said to Denisov, putting his hand to his visor and again returning to the game of adjutant and general, for which he had prepared, - or should I remain with your honor?
“Orders?” Denisov said thoughtfully. - Can you stay until tomorrow?
- Oh, please ... Can I stay with you? Petya screamed.
- Yes, how exactly were you ordered from the geneg "ala - now to get out"? Denisov asked. Petya blushed.
Yes, he didn't say anything. I think it is possible? he said inquiringly.
“Well, all right,” said Denisov. And, turning to his subordinates, he ordered that the party go to the designated resting place near the guardhouse in the forest and that an officer on a Kyrgyz horse (this officer acted as adjutant) went to look for Dolokhov, find out where he is and whether he will come in the evening. Denisov himself, with the esaul and Petya, intended to drive up to the edge of the forest, overlooking Shamshev, in order to look at the location of the French, which was to be directed tomorrow's attack.
“Well, God’s ode,” he turned to the peasant conductor, “take me to Shamshev.
Denisov, Petya and the esaul, accompanied by several Cossacks and a hussar who was carrying a prisoner, drove to the left through the ravine, to the edge of the forest.

The rain had passed, only fog and drops of water fell from the branches of trees. Denisov, the esaul, and Petya silently followed the peasant in the cap, who, lightly and soundlessly stepping with his feet turned out in bast shoes over the roots and wet leaves, led them to the edge of the forest.
Coming out to the izvolok, the peasant paused, looked around and headed towards the thinning wall of trees. At a large oak tree, which had not yet shed its leaves, he stopped and mysteriously beckoned to him with his hand.
Denisov and Petya drove up to him. From the place where the peasant stopped, the French were visible. Now a spring field was going down behind the forest like a semi-hillock. To the right, across a steep ravine, one could see a small village and a manor house with collapsed roofs. In this village, in the manor house, and along the whole hillock, in the garden, by the wells and the pond, and along the entire road uphill from the bridge to the village, no more than two hundred sazhens away, crowds of people could be seen in the wavering fog. Their non-Russian cries were clearly heard at the horses in the carts tearing up the mountain and calls to each other.
“Give the prisoner here,” Denisop said quietly, not taking his eyes off the French.
The Cossack dismounted from his horse, removed the boy, and together with him approached Denisov. Denisov, pointing to the French, asked what kind of troops they were. The boy, thrusting his chilled hands into his pockets and raising his eyebrows, looked frightened at Denisov and, despite his apparent desire to say everything he knew, got confused in his answers and only confirmed what Denisov was asking. Denisov, frowning, turned away from him and turned to the esaul, telling him his thoughts.
Petya, turning his head with quick movements, glanced first at the drummer, then at Denisov, then at the esaul, then at the French in the village and on the road, trying not to miss something important.
- Pg "is coming, not pg" is Dolokhov, you have to bg "at! .. Huh?" Denisov said, his eyes flashing merrily.
“The place is convenient,” said the esaul.
“We’ll send infantry from below—by swamps,” Denisov continued, “they’ll crawl up to the garden; you will call with the Cossacks from there, ”Denisov pointed to the forest outside the village,“ and I’m from here, with my gusags.
“It won’t be possible in a hollow - it’s a quagmire,” said the esaul. - You will bog down the horses, you have to go around to the left ...
While they were talking in an undertone in this way, below, in the hollow from the pond, one shot clicked, smoke began to turn white, another, and a friendly, as if cheerful, cry of hundreds of voices of the French who were on the half-mountain was heard. In the first minute, both Denisov and the esaul leaned back. They were so close that it seemed to them that they were the cause of these shots and screams. But the shots and screams did not belong to them. Below, through the swamps, a man in something red was running. Obviously, the French were shooting at him and shouting at him.
- After all, this is our Tikhon, - said the esaul.
- He! they are!
“Eka rogue,” said Denisov.
- Leave! - screwing up his eyes, said the esaul.
The man whom they called Tikhon, running up to the river, flopped into it so that the spray flew, and, hiding for a moment, all black from the water, got out on all fours and ran on. The French, who were running after him, stopped.
- Well, clever, - said the esaul.
- What a beast! Denisov said with the same expression of annoyance. And what has he done so far?
- Who is this? Petya asked.
- This is our plast. I sent him to pick up the language.
“Ah, yes,” said Petya from Denisov’s first word, nodding his head as if he understood everything, although he decidedly did not understand a single word.
Tikhon Shcherbaty was one of the most the right people in the party. He was a peasant from Pokrovsky near Gzhatya. When, at the beginning of his actions, Denisov came to Pokrovskoye and, as always, calling the headman, asked what they knew about the French, the headman answered, as all the headmen answered, as if defending themselves, that they know nothing, know nothing. But when Denisov explained to them that his goal was to beat the French, and when he asked if the French had wandered into them, the headman said that there had been marauders for sure, but that in their village only Tishka Shcherbaty was engaged in these matters. Denisov ordered Tikhon to be called to him and, praising him for his activities, said a few words in front of the headman about the loyalty to the tsar and the fatherland and hatred for the French, which the sons of the fatherland should observe.
“We do no harm to the French,” said Tikhon, apparently timid at these words of Denisov. - We only so, means, on hunting dabbled with the guys. It’s like two dozen Miroderov were beaten, otherwise we didn’t do anything bad ... - The next day, when Denisov, completely forgetting about this peasant, left Pokrovsky, he was informed that Tikhon had stuck to the party and asked to be left with it. Denisov ordered to leave him.
Tikhon, who at first corrected the menial work of laying fires, delivering water, skinning horses, etc., soon showed a great desire and ability for guerrilla warfare. He went out at night to plunder and each time brought with him a dress and French weapons, and when he was ordered, he brought prisoners. Denisov put Tikhon away from work, began to take him on trips with him and enrolled him in the Cossacks.
Tikhon did not like to ride and always walked, never falling behind the cavalry. His weapons were a blunderbuss, which he wore more for laughter, a lance and an ax, which he owned like a wolf owns teeth, equally easily picking fleas out of wool and biting thick bones with them. Tikhon equally faithfully, with all his might, split logs with an ax and, taking the ax by the butt, cut out thin pegs with it and cut out spoons. In the party of Denisov, Tikhon occupied his own special, exceptional place. When it was necessary to do something especially difficult and ugly - to turn a wagon in the mud with his shoulder, to pull a horse out of the swamp by the tail, skin it, climb into the very middle of the French, walk fifty miles a day - everyone pointed, chuckling, at Tikhon.
“What the hell is he doing, hefty merenina,” they said about him.
Once a Frenchman, whom Tikhon was taking, shot him with a pistol and hit him in the flesh of his back. This wound, from which Tikhon was treated only with vodka, internally and externally, was the subject of the most funny jokes in the whole detachment and jokes, which Tikhon willingly succumbed to.
"What, brother, won't you?" Ali cringed? the Cossacks laughed at him, and Tikhon, deliberately crouching and making faces, pretending to be angry, scolded the French with the most ridiculous curses. This incident had only the effect on Tikhon that, after his wound, he rarely brought prisoners.
Tikhon was the most helpful and brave man in the party. No one more than him discovered cases of attacks, no one else took him and beat the French; and as a result, he was the jester of all Cossacks, hussars, and he himself willingly succumbed to this rank. Now Tikhon was sent by Denisov, that night, to Shamshevo in order to take language. But, either because he was not satisfied with one Frenchman, or because he slept through the night, he climbed into the bushes during the day, into the very middle of the Frenchmen and, as he saw from Mount Denisov, was discovered by them.

In 2012 celebrate 125th anniversary of the sculptor's birth.

The childhood of the future Soviet sculptor was spent in the village of Taktashinskoye, Shadrinsk district, Perm province. The son of a hereditary carpenter, he went to work from childhood - the family was large, and his father, although he had golden hands, could not give his son an education. For five years, from eleven to sixteen, Ivan passed his "universities" at the factory of the Panfilov merchants. He stoked stoves, ran for goods, traveled with carts, guarded, received kicks, beaters, cracks ... The gifted boy was fond of reading and drawing. But only occasionally did he manage to draw, only in fits and starts to take up a book. And yet, studying at night, he managed to prepare and enter the Yekaterinburg Industrial and Art School (class of T.E. Zalkaln and M.F. Kamensky).

When Shadr was 19 years old, he ended up in St. Petersburg. He was not admitted to the Academy of Arts. “I had to starve, get cold and sleep on the streets. Spending the night on the banks of the Neva, under an old barge, surrounded by homeless vagrants, wrote Shadr, I met an organ grinder. Half-starving, with a monkey on our shoulders, half-dead from exhaustion, the carrier of someone else's happiness in a cage, we walked along the roads of the capital, and I sang to the Golden Mountains. However, in 1907 - 1908 Shadr was still studying in St. Petersburg at the Drawing School of the Society for the Encouragement of Arts. Once, at performances, Shadr was met by the artist M. E. Darsky, who helped him enter the Higher Theater Courses. Shadr successfully completed them and was even accepted by K.S. Stanislavsky to the troupe Art Theater. Isn't it from here that the sculptor has such knowledge of plasticity and anatomy human body? But most of all, Shadr was attracted by sculpture. He studied sculpture for several years in Moscow. And with the help of the artists Repin and Roerich, he was able to go abroad to continue studying the art of sculpture, where he studied in Paris with O. Rodin and E. A. Bourdelle (1910), in Rome and at the English Academy.

People and their life, their work - that's what interested Shadr. He dreamed of creating monumental images, of significant art, of art that would serve the cause of progress. The sculptor was not interested in art detached from the people, but in art associated with modern life reflecting, as Shadr wrote, contemporary social complexity. A member of the combat squad during the revolution of 1905, an artist who appeared with sharp political cartoons in the satirical magazine Gnome published in 1906-1907 and closed by the government, Shadr puts his art at the service October revolution. “Understand how much beauty,” he said, “when people throw off their shackles, when dungeons open and the gates of the fortress fall down” ...

The cutter of Ivan Dmitrievich Shadr owns the bas-reliefs of Karl Marx, Karl Liebknecht, Rosa Luxemburg, he creates a number of monument projects Soviet Russia, Paris Commune, October revolution. He takes on the embodiment of realistic and at the same time symbolically generalized images of people. new era in such sculptures as "Worker", "Peasant", "Red Army", "Sower". He was especially successful "Sower". A free peasant on free land, slightly turning his shoulders, leaning back a little, goes, throwing seeds into the plowed land, as if sowing the seeds of a new life. These sculptures of Shadr were reproduced on money, postage stamps, bonds. The sculptor created a number of monuments to V. I. Lenin in the cities of the country, of which he is best known at the ZAGES in Georgia.

The most notable work Shadra - "Cobblestone is the weapon of the proletariat", created in 1925 - 1927, completed for the All-Russian exhibition dedicated to the tenth anniversary of the October Revolution. This is one of the best Soviet sculptural works devoted to the historical and revolutionary theme. The statue of Shadr should be regarded as a continuation of the traditions of plot, characteristic of Russian sculpture of the late 1111-19th centuries (for example, the work of Kozlovsky and Martos). Creating this work, Shadr, of course, also repelled the traditions of C. Meunier, an outstanding master of Western European sculpture of modern times, who showed in his works the image of a proletarian, the greatness and beauty of his character. First of all, Shadr saw a rebel proletarian, a revolutionary proletarian who, in his struggle for liberation, for the elimination of all oppression and exploitation, went through two revolutions.

From here deep national character the image of the worker created by Shadr, and hence the natural, organic bond this image with the image of a man of labor in the art of Russian artists - realists of the 19th century. This was done because the master refused to create an abstract figure personifying the working class. He portrayed as if real existing personality that carries everything typical features characteristic of Russian workers during the years of the rise revolutionary movement. Such a decision artistic task provided creative success Shadra. The half-bent figure of a worker, breaking a cobblestone out of the pavement, is ready to quickly straighten up and turn around, like a tightly compressed spring. The tense knotted muscles of his arms, the tense play of the muscles of the torso create a full of anxiety and sharp contrasts, a struggle of highlights of light and shadow, which is distinguished by tremendous dynamics and emotional expressiveness.

The very characteristic of the proportions of the human body is devoid of any ideal abstraction. The face of the worker is striking, where from under the matted hair, hanging in disorder over a frowning, wrinkled forehead, from under the shifted eyebrows, deep-seated and widely spaced eyes full of concentrated hatred look. The individual, almost portrait expression of the worker's face is combined with a sharp social characteristic his. Magnificent mastery of the silhouette gives even greater vitality and monumentality to the image. The figure is expressive from any point of view, so the viewer, bypassing the statue, connecting individual points of view with each other, gets the opportunity to see all the richness of the life of the image.

Many representatives of the older generation of Russian realist artists highly appreciated the work of Shadr. The attitude of the remarkable Russian artist M. V. Nesterov towards this work is extremely characteristic. In a letter to Shadr, Nesterov wrote: “Recently I was in Tretyakov Gallery, I saw F.I. Chaliapin, a sculpture I had never seen before. A worker, a young worker, in a fit of struggle that has seized him for a cause dear to him, the cause of the revolution, picks up stones from the pavement with which to break the skull of a hated enemy. In this magnificent sculpture, the talent of the master so closely connects the beauty of the spirit with eternal beauty forms, - everything that the great masters lived, what Michelangelo, Donatello breathed, and we have “old people”. I stand enchanted, go around - great! I ask: whose? They say - Ivan Mitrich ... ".

I.D. The tombstones of N.S. Alliluyeva in 1933, E.N. Nemirovich-Danchenko in 1939, V.L. Durov in 1940. In 1952, he became a laureate of the State Prize, posthumously. Yekaterinburg art school, since 1987, bears the name of I. D. Shadr. The works of Ivan Dmitrievich are in the Tretyakov Gallery and other museums in Russia.

Material taken from books:
1. "Ural historical encyclopedia”, Ur. Dep. Institute of History and Archeology, Yekaterinburg Publishing House, Yekaterinburg, 1998
2.B. Brodsky, A. Warsaw "Centuries. Sculptures. Monuments. ”, Moscow, Publishing House “Soviet Artist”, 1962.
3. "From bronze and marble", Leningrad, Publishing House "Artist of the RSFSR", 1965.

Illustration:
"Sower",
"The cobblestone is the weapon of the proletariat."

The fate of I. D. Shadr in many respects resembles the fate of his older contemporary A. M. Gorky. Coming from the poorest environment (fourteen children grew up in the family), given eleven years "to the people", to the factory, he was only miraculously able to enroll in the Yekaterinburg School of Industrial Art (1902-07). His teacher, the sculptor T. E. Zalkaln, insisted that the student continue his studies in St. Petersburg. Without entering the Academy of Arts, Shadr attended the Drawing School at the OPH (1907-08), while studying at the Higher Courses of the Theater School and the Music and Drama School and, thus, choosing between the profession of an artist and a vocal and stage career. The craving for sculpture won, and in 1910-12, thanks to financial assistance I. E. Repin and other figures of Russian culture, Shadr managed to complete his education in Paris (at the Grande Chaumière Academy, at higher municipal courses sculpture and drawing, using the advice of A. Bourdelle and O. Rodin) and in Rome (at the Institute of Fine Arts).

One of his first independent work was the project of the "Monument to World Suffering" (1915), later transformed into the project of an even more grandiose "Monument to Humanity". Allegoricalness, gravitation towards the large-scale monumental and romantically sublime distinguishes both projects (the names of the sculptural groups are characteristic - "Gate of Eternity", "Lake of Tears", "Man in the Face of Eternal Mystery"). Later, Shadr will get rid of excessive eloquence, but will forever retain the desire for a typical generalization of images, combined with some plastic narrative.

In the 1920s according to the plan of monumental propaganda, he creates reliefs depicting K. Marx, K. Liebknecht, R. Luxembourg, and also fulfills a large order for a series of round sculptures for Goznak - "Worker", "Sower", "Red Army Man" (all 1922; they were supposed to be images on banknotes, stamps and bonds). Realistic authenticity and generalized poster expressiveness of these figures corresponded to the emerging principles Soviet aesthetics. Then comes a long period of work on the Leninist theme, which began with the natural sculpture "Lenin in a coffin" (1924) and continued with monuments to Lenin - at the Zemo-Avchal hydroelectric power station in Georgia (1925-26), at the Izhora plant in Leningrad (1932), in Gorki near Moscow (1934). The best works turn of the 1920s and 1930s - "Cobblestone - the weapon of the proletariat" (1927), "Seasonal worker" (1929) - not only give an idea of the individual style of the artist, but also clearly express the plastic tendencies characteristic of those years, the meaning of which is to convey the symbolism of the revolutionary impulse, the pathos of social transformations.

In the 1930s Shadr works in a wide variety of genres - he performs portraits ("Maxim Gorky", 1939, etc.), tombstones, landscape gardening and urban sculptures. Prefers bronze - this material is most consistent with the romantic elation of his images. For all the artistic ambiguity of his creations, the organic breadth of breathing keeps all these works from being ordinary.

Petrel (M. Gorky). Head of the monument project for the city of Gorky. 1939. Bronze

The cobblestone is the weapon of the proletariat. 1927. Ebb 1947. Bronze

Worker. Low tide after a plaster original 1922 Bronze

Sower. Low tide after a plaster original 1922 Bronze

Forms for<<Предыдущая страница Оглавление книги Следующая страница>>

The work of the remarkable Soviet sculptor Ivan Dmitrievich Shadr (1887-1941) is well known in our country and abroad. But not everyone knows that the sonorous name, standing under the amazingly expressive power of the works, is a pseudonym, which was made by the artist from the name of his native city.

Ivan Dmitrievich's father was a carpenter, who enjoyed a good reputation not only in Shadrinsk, but also in the surrounding villages. He cut down many houses in his native places. From nature talented person, Dmitry Ivanov himself drew well, was known as a good storyteller. In big large family Ivan for the first time, thanks to his father, comprehended the beauty of the world around him. When the boy grew up, it was time to earn a living himself.

He was given into the service of a Yekaterinburg merchant. But the love of drawing, and especially modeling, paved the way for the teenager to an art and industrial school. Here the future sculptor not only got acquainted with fundamentals of art, but also for the first time received civilian hardening. Together with the students of the school, he participated in political demonstrations on the streets of Yekaterinburg during the days of the 1905 revolution. In the democratic journal "Gnome" his cartoons appeared, exposing tsarism.

I. D. Shadr, an outstanding Soviet sculptor

In 1906, after graduating from school, Ivan Ivanov, together with his friend Derbyshev, set off on a trip to Russia. After walking thousands of miles, Shadr visited the Caucasus, reached St. Petersburg, where he wanted to enter the Academy of Arts. However, before learning what he loved, he had to endure many life tests, in particular, to be a street singer. Once his voice was heard by the director of the Alexandria Theater M. E. Darsky, who accepted active participation in the fate of a gifted young man.

He helps him enter the Higher Drama Courses of the Moscow Theater School. At the school, Ivan continued to draw, stubbornly engaged in sculpture. His drawings came to the famous Russian artist I. E. Repin. Ilya Efimovich gave them a high appraisal. This largely determined further way young man. At the request of the St. Petersburg connoisseurs of Ivan Dmitrievich's talent, the Shadrinsk city government assigns him a scholarship.

For about two years, the sculptor has been improving his skills in Paris and Italy, studying with the famous French sculptor Bourdelle, and getting acquainted with outstanding examples of world art.

Returning to Russia in 1913, Shadr is full of creative ideas. He creates a project for a monument to world suffering, performs a number of works marked with the seal of symbolism. But Ivan Dmitrievich's strong connection with the people still helps him to define himself as a mature realist.

The Great October Socialist Revolution became a turning point in the artistic destiny of Shadr. He gives his talent and life to the service of the people who have thrown off the yoke of the exploiters. End civil war finds the Red Army soldier Ivanov in Omsk. Here the sculptor creates the first portraits of Karl Marx and Karl Liebknecht.

The designs for monuments to the Paris Commune and the October Revolution show that Shadr is thinking about a new monumental art. In 1922-1923, commissioned by Goznak, he creates wonderful sculptural images of a peasant, a Red Army soldier, and a worker. These works, reproduced on money, stamps and bonds of the Soviet state, became known to millions of people and received their recognition. It is interesting that the sculptor found the prototypes of his peasant heroes in his native places - in the village of Prygovaya, Shadrinsk district.

The artist dedicates a wonderful book to the working class monumental sculpture"The cobblestone is the weapon of the proletariat."

Shadr dreamed of capturing the image of Vladimir Ilyich Lenin. But he started his "Leniniana" only on the mournful day of the people's farewell to their beloved leader. He was instructed to perform a posthumous portrait of Ilyich. The sculptor recalled: "I forgot everything in the world, everything except the great man lying before me."

The work in the Hall of Columns marked the beginning of Shadr's cycle of works dedicated to Lenin. The cycle ended in 1927 with a monument that was intended for Moscow, but was installed in ZAGES. “For the first time,” A. M. Gorky wrote about this work, “a man in a jacket, cast in bronze, is really monumental ... The artist very successfully reproduced the familiar imperious gesture of Ilyich’s hand, the gesture with which he, Lenin, indicates the frenzied strength of the Kura current.”

In 1929, Ivan Dmitrievich creates the sculpture "Seasonal Worker". Bright image the worker is at the same time a portrait of his father, a talented craftsman.

In the late 1930s, Shadr was working on a project for a monument to A. S. Pushkin, and began writing works dedicated to A. M. Gorky. In 1940, a model of a monument to the great proletarian writer for Moscow was already ready. But the work on the sculpture, now standing on the square of the Belorussky railway station, was completed by a team led by V.I. Mukhina.

For this monument, Shadr was posthumously awarded the State Prize. Ivan Dmitrievich left behind a remarkable creative legacy. A passionate muralist, he was also a penetrating portrait painter. His works are distinguished by the depth of psychological insight into inner world person.

Perennial creative activity Ivan Dmitrievich Shadr (Ivanov) put him among the most outstanding Soviet sculptors. His works "Cobblestone - the weapon of the proletariat", "The Sower", monuments to V. I. Lenin and A. M. Gorky are examples of the realistic method in plastic, and the heroic pathos inherent in them reflects the best, main, features of their time. Shadr has been compared to Gorky more than once. Like Gorky, future artist came from a poor environment: his father was a carpenter, fourteen children grew up in the family. At the age of eleven, he was given "to the people" - to a factory in Yekaterinburg, and he knew all the hardships and hardships. Only an instinctive love of art, a vague sense of the other, beautiful world helped him change the fate predetermined by external circumstances. In 1902, Shadr managed to enter the Yekaterinburg School of Industrial Art; here his sculpture teacher turned out to be famous artist T. E. Zalkaln - it was he who advised the novice sculptor to continue his studies at the St. Petersburg Academy of Arts.

Shadr's attempt to enter the Academy (and for this he came to St. Petersburg on foot) was not successful - and here his biography made another, quite fictional, turn. Left in the capital without means and livelihood, spending the night on a dilapidated barge, Shadr hired himself as an assistant to an organ grinder - to sing in the yards. In one of the performances, his voice attracted the attention of the director imperial theaters M. E. Darsky. Darsky took part in the fate of a talented young man, identifying him without exams in theater school, in the class of artist V. N. Davydov. Before Shadr opened a career as a professional singer.

However, the skills in sculpture obtained at the Yekaterinburg school have borne fruit - art attracted Shadr more than vocals, although here the debut was successful. In 1910, thanks to the financial assistance of I. E. Repin, V. N. Davydov and others (and many figures of Russian culture played a role in the formation of Shadr), he was able to go to Italy and Paris - for direct acquaintance with European art. The artist never received an academic education, and work in the Louvre and the Vatican Museum, copying the frescoes of Raphael, essentially became his only school (except for the lessons of Zalkaln and Yekaterinburg). And in 1915, returning to Moscow, Shadr begins an independent professional activity.

One of his first works was the project "Monument to World Suffering" (1915), adopted by the Duma and earned Gorky's approval. The project arose from a competition task - to create a monument to those who died on the hospital ship Portugal sunk by the Germans, but Shadr went beyond the task. Subsequently, on the basis of this idea, the project of an even more grandiose "Monument to Humanity" was born. These early and unrealized works already give an idea of creative face sculptor - about his penchant for literary symbolism and allegorism (the images and plastic groups of the "Monument to World Suffering" have meaningful names - "Gate of Eternity", "Lake of Tears", "Man in the Face of Eternal Mystery"), about the scale and temperamental scope of ideas, about the attraction to the monumental and romantically sublime.

But the final creative individuality of the artist took shape after the revolution. Lenin's plan for monumental propaganda opened before Russian sculptors an extensive perspective of activity, applications creative forces. In the Urals, Shadr created a monument to Karl Marx, reliefs depicting Marx, Karl Liebknecht and Rosa Luxemburg, and upon his return to Moscow (1921) he executed a large order for a series of round sculptures for Goznak - "Worker", "Red Army Man", "Sower", they were to be depicted on banknotes, stamps, bonds, etc. Realistic authenticity and a generalized poster The expressiveness of these figures corresponded to the emerging principles of the new Soviet aesthetics.

This is followed by a long period of work on the Leninist theme. The first touch to it was the sculpture "Lenin in the coffin" (1924): for 46 hours in the Hall of Columns, while the farewell ceremony was going on, Shadr sculpted from nature. From this modest, only for the memorial value of the work calculated - the way to generalized solutions to the image in numerous monuments to Lenin - at the ZAGES (1925 - 1926), in Dnepropetrovsk (1930-1931, he remained in the projects), at the Izhora plant (1932), in Gorki (1934). The most significant is "Lenin at ZAGES". Successful combination sculptural figure with a landscape became a model for Soviet sculptors for more than a decade.

1930s - the heyday of Shadr's creativity. He works in a variety of genres: he performs psychologically sharp portraits ("Portrait of the Artist N. A. Kasatkin", 1930), tries his hand at memorial sculpture (tombstones of E. N. Nemirovich Danchenko, 1939; V. L. Durova, 1940), in the creation of landscape gardening ("Girl with an oar", 1936) and urban sculptures (projects of monuments to A. S. Pushkin and A. M. Gorky y). His best works of the turn of the 1920-1930s are "Cobblestone - the weapon of the proletariat" (1927). "Season Worker" (1929), an expressive sketch of the "Worker and Collective Farm Girl" group (as you know, the project of V. I. Mukhina won the competition and her sculpture was erected over the Soviet pavilion at the Paris Exhibition of 1937) - give an idea not only of the individual style of the artist, but also clearly represent the characteristic tendencies of plastic art of these years. They show, by virtue of what features of talent Shadr could become one of prominent sculptors of his time.

The artist's desire for the typical and generalized was in tune with the aspirations of the era. Shadr's temperament, the romantic elation inherent in his images, and the truly monumental scope corresponded to the time, which requires, first of all, scale and generalized heroics. However, Shadr is also paradoxically characterized by some plastic narrative: the detail of modeling, the uniformity of textures.

There is a taste of artistic ambiguity in his plasticity. But the breadth of breath inherent in him (perhaps, constituting the essence of individuality) saved the sculptor from being ordinary, and his works from losing the specifics of plastic representation.

Creativity Shadr not only belongs to its time - like any major phenomenon, it simultaneously expresses and defines this time.

G. Elshevskaya

One hundred anniversaries. Art calendar for 1987. Moscow: Soviet artist, 1986.