The painting is located in Gresten Castle, Denmark.
There are a huge number of illustrations for fairy tales and other works by Andersen.
Vilhelm Pedersen 1820-1859
was the first illustrator of fairy tales and stories by Hans Christian Andersen. His illustrations are distinguished by smoothness, softness and roundness of shapes, and laconic execution. It is interesting to note that often the faces of children drawn by Pedersen have a completely unchildish expression, and at the same time adults look just like big children. The world of Pedersen's illustrations is a world of leisurely stories in which things and objects can suddenly begin to speak and behave like people, and children - the heroes of Andersen's fairy tales - find themselves in amazing and sometimes cruel world, where you have to pay for everything, and where both good and evil get what they deserve.
Lorentz Frolich 1820-1859
was the second illustrator of fairy tales and stories by Hans Christian Andersen. His illustrations are quite similar to the works of the first illustrator of Andersen's fairy tales, Vilhelm Pedersen. Perhaps that's why he was chosen.
Edmund Dulac
born 1882 in Toulouse, France. His artistic abilities were demonstrated in early age, there are sketches he made when he was a teenager. Many of them are done in watercolor, the style he favored throughout his life. He studied law for two years at the University of Toulouse while studying at the School of Fine Arts. Having received a prize at a competition there, he realized where to make his way. From now on, he studies only at the School. In 1901 and 1903 he received the Grand Prix for works sent to annual competitions. In 1904, under the patronage of a school friend, he studied for two weeks in Paris at the Academie Gillien and then went to London, where his dizzying career began. This was a period when color printing of illustrations had just become technologically accessible and widespread. The first book with pasted-in illustrations was published in 1905.
E. Dulac's first work was a series of 60 illustrations for a collection of works by the Bronte sisters. This was his evidence high level that he, a young 22-year-old foreigner with no big name, received an order for such work.
An interesting aspect of these early illustrations was that they did not have pencil lines as boundaries between different colors. This was made possible thanks to new printing technologies that made it possible to precisely align the boundaries different colors. For E. Dulac, who worked on paper in exactly this style, there was no need to return to the old-fashioned style of pencil lines hiding the inaccuracies of paint application.
Thanks to great success new type of illustrations, more and more publishers became interested in artists capable of drawing in a new style. Therefore, in 1907, E. Dulac received a new order for illustrations for One Thousand and One Nights. Then orders poured in one after another. "The Tempest" by W. Shakespeare 1908, "Rubayas" by Omar Khayyam 1909, "Sleeping Beauty and Other Tales" 1910, "Fairy Tales" by H. C. Andersen 1911, "Bells and Other Poems" by E. A By 1912, "Princess Badura" 1913,
An interesting thing happened in 1913: his palette became more vibrant, using a richer, more romantic blue color,... and more eastern, which later became constant in his approach. 1914 saw the publication of Sinbad the Sailor and Other Stories from the Arabian Nights and the outbreak of the First World War. The war immediately entered into his creativity. "King Albert's Book", "Princess Mary's Gift Book" and his own book"Book of paintings from the French Red Cross by E. Dulac" were designed by one single author. The book "Tales of E. Dulac" was published in 1916. When the war ended, the last of his luxurious editions, "Tales of the Tangelwood Forest", was published. At this point, at the age of 35, he found himself in a situation where his profession became unnecessary.
This would be true if only making illustrations for books was all he could do. Although the rest of his life was spent in poverty (he lived paycheck to paycheck, as we would say), he was able to earn money and became famous in many fields. He was an outstanding cartoonist and for a year and a half supplied cartoons to the weekly magazine The Outlook. He painted portraits. He illustrated The Kingdom of Pearls, a story set in the 1920s. He created costumes and sets for the theater. He was a designer of stamps and banknotes for Britain and then, during the Second World War, for the Free French. He designed playing cards, chocolate packaging, medals, graphics for the Mercury Theater, bookplates for books and much, much more.
In 1924, he began collaborating with The American Weekly, a Saturday supplement on the Hearst newspaper chain, where he produced a series of color drawings in advance. given topic. The first series, Biblical Scenes and Heroes, began in October 1924 and ran for 12 issues. Until 1949, he returned to this market again and again as a source of income.
In the fall of 1942, a series of his illustrations for The Canterbury Tales was published. He was not satisfied with the quality received. Cheap paper and folded illustrations did not satisfy his tendency towards prefectionism.
And the books! Among all the great illustrators of gift editions, E. Dulac remained the most active throughout his life. "Green Lacquer Pavilion" 1925, "Treasure Island" 1927, and his other works created until the beginning of the 50s surpassed everything created by his contemporaries.
Edmund Dulac died in 1953.
NOU secondary school "Rosinka"
“In Search of the Beautiful” (children's book illustrators)»information research project
Stepanova Polina, 7th grade
Head of work:
Manokhina Galina Konstantinovna
Introduction
A children's book is as much a monument of culture and time as any work of art.
V. Pivovarov
The coming 21st century has inherited one of the main patterns: at a time of extraordinary take-off technical progress special meaning acquire spiritual values associated with sensation inner harmony, awakening in us a love for beauty, for beauty, goodness and justice. Children's book, children's writers, children's fairy tales. How poor our life would be if, from the first years of our stay on earth, a child had not seen or held in his hands this miracle - the book of our childhood. She discovered something new, unknown and surprised by the fact that images, pictures, events were born from words. They came into our lives from childhood folk tales, fairy tales by A.S. Pushkin, the Brothers Grimm, C. Perrault and, of course, G. H. Andersen - the most published storyteller in the world. How many artists, graphic artists, and illustrators in all countries were inspired by the heroes of the great Dane. In my work I tried to touch the world high art through the creativity of the best Russian illustrators, who are recognized as such in the world. Their works develop the author’s concept, give it their own artistic interpretation, enhance the sharpness of aesthetic vision, and reveal the world, form Creative skills and, most importantly, they make us, the readers, witnesses to how a miracle is born from shades and halftones - a work of great art. Subject project work: "In search of beauty..."(Creativity of artists - illustrators of children's books) Relevance This work is determined by the need to find ways to study and analyze the book’s illustrations in order to comprehend the main idea of the work and understand the author’s intention, the creation own texts, in the opportunity to touch the world of high art through the work of the best illustrators of children's books. The project is being implemented as part of literature lessons. It can be classified as exploratory, individual, long-term. Object research is the creativity of illustrators Subject of study : illustrators of Hans Christian Andersen's fairy tales. Research hypothesis there was an assumption that studying the work of the best illustrators of children's books would be the key to understanding the author's intention and the opportunity to create your own descriptive texts as an opportunity to touch the great art of the book. Target of this work is the opportunity to touch the world of high art through studying the work of the best artists - illustrators of children's books and developing creative abilities. To achieve this goal, we have set the following tasks:
- Create a manual on speech development for 5th grade students “In Search of the Beautiful”; study literature on this topic; talk about the work of the most famous artists - illustrators of fairy tales by H. H. Andersen; conduct a survey of school students and teachers; conduct book exhibition"In search of beauty."
- Questionnaire Observation method Analysis and synthesis Method linguistic analysis Mental Simulation Method
- Word drawing method
Chapter 1. “What I portray, I always love...”
1.1 A galaxy of Russian fairy tale illustrators G.Kh. Andersen.
Children's books, children's writers, children's fairy tales... How poor our lives would be if, from the first years of their stay on earth, a child had not seen or held in his hands this miracle - the book of our childhood. She discovers something new, unknown and surprises that images, pictures and events are born from words.
Since childhood, folk tales and fairy tales by A.S. have entered our lives. Pushkin, the Brothers Grimm and, of course, Hans Christian Andersen, the most published storyteller in the world.
One can imagine how many book artists, graphic artists, and illustrators* in all countries were inspired by the heroes of the great Dane.
We will try to touch this world through the work of the best Russian illustrators, who are recognized as such in the world.
Andersen's illustrators are a galaxy of wonderful artists. It’s difficult to talk about everyone; let’s focus on the most significant names, the artists that children love.
ABOUT Dean is one of the oldest artists Vladimir Mikhailovich Konashevich 1 (1888 - 1963), who stood at the origins of children's books in Russia, more than once turned to Andersen's fairy tales. His designs are decorative, recognizable and vibrant.
The artist created an individual, recognizable style for the design of fairy tales, in which the brightness of the images, ornate patterns and vignettes are combined with the artist’s ironic view, the ability to captivate the child with playful, lively compositions, the poetry of fantasy and the colorful decorativeness of the drawing.
Talking about how he comes up with drawings, Konashevich admitted: “there are artists who invent and think with a pencil in their hand... I am an artist of a different kind. Before I pick up a pencil, I have to find out everything in advance, mentally imagine the finished drawing in all its details...” Konashevich’s work cultivates in children taste, a sense of beauty and harmony, the joy of being and kindness. Because, in addition to everything, His painting is kind, in every stroke, in every highlight one can always feel the talent of kindness - a huge heart, three girths, without which his valiant service to children would be in no way possible.
ABOUT Of particular note is the work of the illustrator Valery Sergeevich Alfeevsky– classics of European fairy tales: Hoffmann, Hauff, Carroll, Kolodi, and, of course, Andersen. His drawings are remarkable for their combination of fabulousness and mystery with reliable reality. Illustrations for Andersen's fairy tales are the most striking cycle of his works. In large multicolor editions and in small black and white line drawings, the artist managed to create a sparkling extravaganza, a magical celebration of drawing.
ValeryGrigorievich Traugot (1931) and Alexander Grigorievich Traugot (1936). The Traugott brothers have a special style: they don’t make sketches, but they do a lot various options illustrations. When there are a lot of drawings, they sit next to each other and, delicately listening to each other, select the best. They are among the best Andersen illustrators. When the brothers drew for books, they tried to make the illustrations sparkle white, as if they were made of porcelain.
Valery Traugot and Alexander Traugot are laureates of the All-Russian competitions “The Art of Books” in 1988, 1990, 1991, 1992. It is difficult to talk about all the works of the Traugot artists, and we have focused on the most significant, memorable and beloved by young readers.
Evgeniy Grigorievich Monin(1931 – 2002) – one of the recently departed illustrators, People’s Artist of Russia, corresponding member Russian Academy arts In total, he designed more than a hundred books, and 24 of them were awarded various awards, including international ones. Art critics note in Monin’s work a passion for all kinds of architectural structures and medieval castles. The characters of Andersen's fairy tales, drawn by the artist, differ from other characters. Almost everyone has special “outstanding” noses. If we look at the picture for the fairy tale “The Steadfast tin soldier", then we can easily see that the art critics are right. The entire page, the entire spread is houses, windows, doors, only at the very bottom is a barely noticeable soldier on a paper boat. The most strengths Monin’s creativity – color and impeccable taste. Everything with taste and charm
E another illustrator Anastasia Ivanovna Arkhipova Born in Moscow into a family of artists - her father and grandfather were book graphic artists. In 1978 she graduated from Moscow state institute named after V.I. Surikov. Already in 1980, the artist was working on the design of a volume of Russian fairy tales in the series "Library of World Children's Literature" for the publishing house "Children's Literature".
In the 80s and 90s, books of Andersen's fairy tales with illustrations by A.I. were published. Arkhipova’s “Wild Swans and Other Tales”, “The Snow Queen”, “The Steadfast Tin Soldier”, etc. You want to look at the tender, expressive pictures permeated with light and look at them. In 2003, the Egmont publishing house reissued the fairy tales of G.H. Andersen together with illustrations by A. Arkhipova.
Her works are known in Norway, Italy, Denmark, Sweden and Germany. In 2001, "The Little Match Girl" by Arkhipova was noted as best edition Andersen in the Scandinavian countries.
In 2003, Anastasia Arkhipova won the “Best Illustrator of the Year” award at the “Book of the Year” competition in Russia.
The book "H.H. Andersen. The Best Fairy Tales" is 200 pages of truly the best fairy tales. A best fairy tales, according to the publisher, those drawn by the artist Arkhipova. Here are "The Little Mermaid", and "The Little Match Girl", and " The Snow Queen".
The illustrations for "The Snow Queen" are different from any other drawings for this fairy tale. Gerda is not like any girl from other illustrations. This is the talent, skill, and the look of a true artist. His handwriting is individual. The most delicate colors, smoky landscapes, a lot white in illustrations.
Arkhipova chooses for her drawings key points fairy tales: Kai and Gerda among their flowers, Kai and the Snow Queen, Gerda in a boat sails to the house of an old witch, etc.
Perhaps adults will look at these pictures with even more interest than children. Adults have something to compare with; they can compare the artist’s creative handwriting, while for a child his book will be the best.
Andersen's fairy tales are fairy tales for any age. For adults it is a parable, for children it is magic.
In 2012, the publishing house Moscow Textbooks published a huge unique book - Hans Christian Andersen and his Russian illustrators over a century and a half.
The book is amazing - both in terms of the quality of the publication, and in the depth of its approach to the topic, and, of course, in the ILLUSTRATIONS that are presented in huge quantities in the book! An excellent publication that can be recommended as a gift to anyone interested in graphics, painting, book illustration, history, and fairy tales.
The book tells about the best Russian illustrators of Andersen's fairy tales over a century and a half. The book is very big Hard cover, format 220x290 mm, 352 pages (coated paper), the book weighs almost one and a half kilograms - you can’t hold it in your hands, we lay it out on the table.
The tales of the great Dane, with their mysterious romanticism, a unique combination of the everyday and the fantastic, all-redeeming kindness, deep philosophy and original symbolism, turned out to be close to Russian artists. And many of them responded with outstanding works of book graphics that received international recognition. The book presents works by different artists in different styles. 
The book also provides updated biographical information about Andersen's first translators and publishers in Russia. The deep connection between word and image is analyzed here.
The expanded and expanded edition no longer has the character of an encyclopedia album, as was the case in the previous edition by L. Zvonareva and L. Kudryavtseva “N.S. Andersen and Russian Illustrators” (M: Arbor.2005).
The publication is intended for everyone who is interested domestic art books, his past and present. This is a real encyclopedia of Andersen's illustrators.
You can open the book on any page and immerse yourself in Magic world, stunning, truly fabulous and amazing.
Below in the gallery are some pages from this wonderful book; We highly recommend it - a rare and unique edition, circulation of only 3000 copies.
Publisher: Moscow textbooks and Cartolithography.
More than 300 domestic artists created illustrations for fairy tales G-H Andersen. From the moment they were translated into Russian in 1834.
Turning to the analysis of illustrations as a way to comprehend the content of a literary text is due to the understanding of a children's illustrated book as phenomena of synthesis of arts (literature and visual arts). At the same time, our understanding of the synthesis of arts is consistent with the understanding proposed in the specialized dictionary "Plastic Arts": synthesis of arts - organic compound different arts or types of arts into an artistic whole. The synthesis of arts implies the creation of a qualitatively new artistic phenomenon, not reducible to a simple sum of its constituent components (51, p. 119). According to Yu.Ya. Gerchuk, a book is a construction that should be considered as a whole (23). The artistic concept of a children's illustrated book, based on the idea of a synthesis of arts, was developed by V.V. Lebedev and his students in the 20-30s of the twentieth century. In their opinion, the book, which arises as a result of dialogue - co-creation, has two authors - a writer and an artist. It follows that a children's illustrated book as a text is literally a dialogue.
As E.O. Orlova emphasizes, the synthesis of arts according to Lebedev’s concept should be embodied both in content and composition. In other words, the compositional merging of the book spread into a single whole should reflect the unity of semantic content, this is where the dialogue between the writer and the artist is embodied (48, p. 52).
The study of the book as a phenomenon of synthesis of arts continued in subsequent years. This topic was dealt with by: E.Z. Gankina, Yu.Ya. Gerchuk, L. Kudryavtseva, N.A. Kurochkina, E.O. Orlova et al. (22,23,33,36,48).
The results of communication between Russian artists and Andersen are extremely multifaceted and rich, just like the storyteller’s work itself. Let's name some of the artists who created images of Andersen's fairy tales: A. Arkhipova, V. Alfeevsky, N. Golts, B. Dekhterev, B. Diadorov, L. Zolotarev, A. Ilyin, A. Kokorin, V. Konashevich, N. Knyazkova , G. Makeeva, V. Panava, G.A.V. Traugott et al.
Each artist created the world of his own Andersen. B. Dekhterev, according to E. O. Orlova, used images of classical world art in creating illustrations (47, p. 212). The heroes of the fairy tale “Thumbelina” in the artist’s illustrations seem to have stepped from the paintings of great French artists (J.-B. Chardin, J.-B. Greuze, etc.) onto the pages of a children’s book. In the perception of images, it is important to follow the slowness of language French art with his attention to everyday situations, loving detailing, desire to capture joy human existence, which come to life in B. Dekhterev’s drawings. By placing images of Andersen's fairy tales in the world of classical art, the artist prepared children to meet examples of world culture.
In the illustrations of artists G.A.V. Traugott dominated by reflection romantic content fairy tales in warm colors. The illustrations are light, elegant, and full of mystery. Using color, artists very subtly convey the mood of the characters.
Among the richly illustrated world of fairy tales by the Danish writer, we chose the work of those artists who most fully correspond to the topic of our research: Niki Golts, Boris Diodorov, Anatoly Kokorin.
The famous Russian artist Anatoly Kokorin said that as a result of working on illustrations for the works of the Danish writer, he became a close friend of the artist. Kokorin, wanting to more fully comprehend creative world Andersen, not only traveled to the homeland of the storyteller, but also re-read all his fairy tales (more than 150), became acquainted with his poetry, novels, travel essays, epistolary heritage, memories of friends and an autobiographical story. This interest of the artist indicates that Andersen really became a friend to him. In his book “How I drew the fairy tales of H.-H. Andersen,” addressed to children, Kokorin wrote: “I wanted to show in illustrations what I love most about Andersen’s fairy tales, and to convey my love to the children” (35, p. 4 ). The artist not only made many beautiful drawings about Andersen’s life, but also a whole book about him in the form of travel notes and old letters, “In the Land of the Great Storyteller.” He completed this work at the age of 62. In this book, Kokorin admits that “Andersen became like an old friend to him” (34).
Kokorin illustrated many fairy tales, among them: “The Swineherd”, “Flint”, “How the Storm Outweighed the Signs”, “What Hubby Doesn’t Do, That’s Okay”, “Hans-Churban”, etc. Books with Kokorin’s illustrations were published and republished in 1969, 1976, 1988, 1992 (,9,10,11)
The very choice of fairy tales tells us about the artist’s need to illustrate, first of all, texts with comic content. It will be interesting to trace how the comedy created literary text, the artist conveyed, using the expressive means of fine art, thereby observing the idea of a synthesis of arts.
In the fairy tale “The Swineherd,” Kokorin, following the writer’s satirical attitude towards the arrogant and empty princess, showed the bad taste of the heroine, depicting her in a yellow dress with green roses and pink shoes. In such an outfit, the princess looks more like a cake than a girl with refined tastes, capable of distinguishing true beauty from fake. On another page there is a picture of the king, who at night himself went to open the door in a red cape with white flowers, in worn out darned slippers and with a small dog. This whole picture looks funny - is it possible with such a dog to open the door at night to an unknown person, and is this how a king should appear before an unknown visitor? Depicting a romantic kissing scene, the artist, revealing the comical nature of the situation proposed by Andersen (kiss on barnyard), surrounds the heroes with dirty, but very cute pigs.
Turning to the illustrations of the fairy tales “Flint” and “What the hubby doesn’t do is okay” presents us with an artist capable of expressing the comic not only in a satirical direction. The main characters of these fairy tales are depicted in a kindly, funny way, which is particularly facilitated by the use of bright and colorful colors.
One of Kokorin's funniest illustrations to Andersen's fairy tales is a picture depicting dressed-up grooms from the fairy tale "Hans the Block." The artist came up with his own funny image for each character: a dunce clad in armor up to his ears and dressed as if in a golden wig, a prince dried up from love, a pale melancholic fat glutton; besides, they are all numbered, which in itself makes it comical - would they really place the numbers of the princess’s suitors right on their backs?
So, in Kokorin’s drawings, a comic mood, perky and funny images predominate, therefore, we can say that Kokorin, with his creativity, reveals, first of all, the comical content of Andersen’s fairy tales.
Another artist who dedicated his work to creating Andersen’s special world is Boris Diodorov, who is currently the chairman Russian Fund G.-H. Andersen. This artist’s illustrations are also of interest because he received a prize for his illustrations of Andersen’s fairy tales in 2001 in the homeland of the writer himself in Danish city Odense and from the hands of Princess Alexandra. Boris Diodorov says this about his work: “I’ve been illustrating for a very long time, and I don’t want to part with every fairy tale... there’s such a world there that I want to live in it” (31, p. 16). According to E.O. Orlova the artist has unique quality. To denote this quality, the researcher uses the term common today - authentic, those. reliably reproducing the work, as close as possible to the author’s intention (48, p. 53).
Diodorov chose two fairy tales for his work - “The Snow Queen” and “The Little Mermaid”; he is currently illustrating “Thumbelina” (3,4). In the paragraph of our study proposed above, we classified these tales as belonging to the group of those that contain tragic features. At the same time, the tragedy in these tales is expressed: in the situation difficult choice which the hero must accomplish, in the loneliness of the hero and in the tragic development of the plot leading to the death of the hero, which leads to the spiritual triumph of the cause.
The artist expresses these tragic features in his illustrations in his own way. He, for example, conveys the tragic content in “The Little Mermaid” with color: at the moment of the shipwreck, when the main character dies, the dark color dominates Blue colour with a touch of black. The color immediately encourages the reader to experience tragic feelings. Diodorov portrays the heroine in underwater world- alone, she is always away from her sisters. The fairy tale ends with the death of the little mermaid, but moral ideal sacrificial love. The artist achieves this by using this technique: he twice depicts the little mermaid soaring upward after her death. Thus, he helps the reader to experience not the feeling of despair or despondency caused by the death of the heroine, but a feeling of faith in the triumph of good - after all, the little mermaid is depicted in the image of a beautiful airy fairy.
One of the themes of Andersen's fairy tale "The Snow Queen" is the theme of love as overcoming the heroine's loneliness.
Many compositions of Diodorov’s illustrations for this Andersen fairy tale are aimed at revealing the confrontation between the little heroine and big world, seeking to absorb her and thereby lead her astray from her chosen path. In depicting the moment when Gerda was sailing along the river in a boat, the artist uses the technique color composition: the whole world around the heroine is made in cold tones, and the color scheme is dominated by grey colour, against which the girl stands out as a spot of color. So the artist showed that the heroine is alone in this world.
The composition representing a girl in front of the palace reflects the moment of trial by grief, when one must overcome one’s own despair, fatigue, and a feeling of loneliness. Once again the artist repeats the technique of contrasting Gerda and the world around her - a little girl and a huge world alien to her. Such an impact on the consciousness of the reader and viewer is achieved through the conscious construction of the composition, in which a view from below is chosen and, accordingly, the completion of the palace fence is not shown, they do not fit on the page, thereby offering us the opportunity to continue this lattice to the limits of our imagination, feeling the tinyness of what was thrown here heroines. The feeling that the heroine is cold and lonely is instantly transmitted to the viewer.
Diodorov also portrayed another hero of the fairy tale - Kai. The Snow Queen took Kai to her castle, her world was alien to him, so it is depicted in color, but the queen’s world is black and white and the hero does not want to go there. The black background on which the queen is depicted indicates to the viewer the inevitability of the death of this evil. In our opinion, the artist thus expressed Kai’s feeling of loneliness.
So, Boris Diodorov, as an artist, reveals, first of all, the tragic features of Andersen’s images.
The artist Nika Goltz has been working on illustrations for the works of G.-H. for many years. Andersen for the publishing house "Eksmo". In one of the interviews, the artist replied that she understands Andersen and puts a lot of “heartfelt feeling” into her works. The artist’s friends say that “Goltz’s illustrations have a special romantic intonation” (32, p. 41).
In the fairy tale “The Princess and the Pea,” the artist depicted a “real princess,” exactly the kind the prince wanted to find in this fairy tale. The princess is presented as a sleepy village girl, which emphasizes the humorous basis for choosing a princess.
In the fairy tale “The Hill of Forest Spirits,” Goltz painted a “select society” that came to the wedding of the old Troll’s sons, but in the end the old Troll himself got married, and the sons were left alone again. The artist became a co-author with the writer, depicting the sons as stupid heroes, seating them at the table next to the pig. "They put their feet up on the table, thinking they were making it look cute." The facial expressions of the characters and their poses, shown by the artist very accurately, convey the comic nature of the work. In this fairy tale, Goltz portrayed the characters comically, thereby emphasizing the humorous mood of the fairy tale.
In the fairy tale "The King's New Clothes" the king is described as stupid and primitive. The artist emphasizes these qualities with the help of his headdress - a hat with feathers like a parrot; a motley combination of colors - blue, lush green, bright pink and red. In it, the king is depicted from the first page of the fairy tale to the last. In our opinion, this is a special move by Goltz - the king wears a parrot-colored hat all the time. Thus, the artist helps the reader to see the stupid and funny nature of the king, expressed in his love for clothes as the main content of his life.
Thus, Goltz reveals herself as an artist of a comic direction, while she is not alien to the tragic images of Andersen’s fairy tales.
Andersen's fairy tale "The Little Match Girl" about a poor girl who is in the cold winter New Year's Eve no one helped. And trying to warm herself, the poor thing burned matches and looked out the windows as others were having fun. The heroine was lonely, and the artist depicted this image of a lonely hero. Goltz showed in her illustration that the girl is separated from the world by putting the heroine in the foreground, and faceless people in the background. The artist used another technique for depicting the hero’s loneliness - the poor girl stands with her back to people. Tragedy is expressed not only in loneliness, but also in the death of the hero, which leads to the triumph of love, on last page it is said that “on the morning of the first day of the new year” they found a completely cold body, “the face turned pale, but the lips froze happy smile"(6, p.136). The girl entered better world"higher and higher - towards the sky, fortunately." Andersen ends the tale with the frozen body of a girl, and the artist depicts the moment of triumph of love.
Nika Goltz, explaining her love for fairy tales, says: “There are many sad and even tragic fairy tales (like Andersen’s “The Little Mermaid”). There are also cruel fairy tales, but in them goodness, intelligence, nobility, courage always triumph...” (59, p.17). The illustrator’s words reflect the idea of the possible tragic development of the plot of Andersen’s fairy tales, leading to the death of the hero, which leads to the spiritual triumph of good.
So, Nika Goltz, in the illustrations we have chosen, reveals both tragic and comic features in fairy tales, as well as both in combination. L. Kudryavtseva, characterizing Goltz’s works on Andersen’s fairy tales, notes that the artist was able to “penetrate the secrets of his poetic world...”, at the same time, “there is so much charming humor and even satire in her drawings” (26, p. 42) .
Interesting to spend comparative analysis illustrations by artists for the same fairy tales (Table “Comparison of the artists’ choice of fairy tales by H.-H. Andersen” in Appendix 2). The fairy tale whose heroes were portrayed by all three artists is “The Snow Queen.”
Thus, A. Kokorin portrayed the main characters Kai and Gerda as toy dolls who live in their toy town. The Snow Queen appears on the first page, but not in cool colors, but in cheerful bright blue tones. Even Kokorin’s robbers are funny, kind, and in mischievous poses. The artist illustrated only funny and good moments fairy tales, thereby confirming that he reveals the comic nature of the fairy tale.
B. Diodorov’s illustrations are very realistic, so Kai and Gerda are depicted as a real girl and boy. The image of the snow queen gives the illustrations a fabulous feel. Thus, the robbers are depicted as scary and embittered, which gives the fairy-tale situation a tragic character. The artist, using cold black color, conveyed all the tragedy of the fairy tale even in bright moments. The main character, feelings of sadness and loneliness do not leave. So, Diodorov wrote illustrations for a fairy tale with tragic content.
Nika Goltz depicted both illustrations with tragic and comic content. The animals are drawn as comical, or rather amusing, - a crow in a cap, dogs, deer. They look so mischievous, the robbers do not frighten either Gerda or the reader, but evoke a feeling of good irony.
The artist illustrated Gerda walking toward “a whole regiment of snow flakes,” as if she were confronting circumstances. Diagonal tension conveys confidence that the girl will get there and not break. (5, p.62)
The following illustration depicts the Snow Queen and Kai. The curve of the child's back follows the curve of the queen. The dominant figure of the sorceress seemed to absorb the image of the boy. Thus, with the help of lines and the construction of the composition, Goltz expressed submission to the will of Kai evil force queens. In our opinion, these illustrations have tragic content. (5, p. 64)
Thus, the work of Hans Christian Andersen is presented in the artists’ illustrations both from the comic, and from the tragic, and from the tragicomic side, which opens up the possibility for pedagogical understanding of these illustrations and their use in working with younger schoolchildren.
Study of the aesthetic categories of the tragic and comic in the context different sciences in relation to the work of G.-H. Andersen allows us to draw the following conclusions:
the tragic in literary criticism is understood as the product of a conflict, the tragic essence of which is manifested in the hopelessness of the contradiction, the complexity of choice, the loneliness of the hero and his death. Let us note that the death of a hero leads to the spiritual triumph of the cause. The content of the tragic work is intended to evoke compassion for the heroes, which will contribute to purification human feelings or catharsis, and awaken sublime feelings;
aesthetics, in addition to the already mentioned features of the tragic, highlights such important characteristics as the significance of the hero’s world in generating a sense of the tragic; considers the ideal as the source of aesthetic experiences of both the hero and the viewer (reader);
comedy in literary criticism is characterized by ridiculing vices negative characters and affirmation of positive actions and behavior, unexpected exposure of the internal inferiority of the heroes, such a construction that leads to funny situations.
Reflection and relationship between the tragic and the comic in the works of G.-H. Andersen can be considered as a special direction in the study of his fairy tales. The correlation of the content of the writer’s works with the designated characteristics of the tragic and comic makes it possible to determine the following features of the tragic in his fairy tales: the situation of a difficult choice that the hero must make; the loneliness of the hero; tragic development of the plot leading to the death of the hero, which asserts a high ideal. The comedy in these fairy tales, in our opinion, is expressed in: funny situations, actions, words of the characters; stupidity and arrogance generated by conceit, which lead the heroes to a situation of ridicule of them; a person's good-natured, indulgent and cheerful attitude towards other people.
In our opinion, in this unique combination of tragic and comic fairy tale world Andersen is the peculiarity of his work as a writer. On the one hand, the tragic and the comic are opposite aesthetic categories, which determines the complexity of their interaction. On the other hand, this is exactly what aesthetic content and reflects the fullness of human existence. It is no coincidence that the tragic and the comic belong to paired categories of aesthetics, when the existence of one is impossible without the other. The result of their interaction in Andersen’s work is the emergence of a new aesthetic category - tragicomicness .
The younger schoolchild, as a reader, often interacts with an illustrated book. A children's illustrated book is a phenomenon of synthesis of arts, which is based on a dialogue between a writer and an artist. The synthesis of arts opens up the possibility of understanding the intent of a work through analysis, considering how an image created by means of one type of art is embodied in the language of another type. Therefore, we believe that the use of illustrations for fairy tales by G.-H. Andersen can help to reveal to a younger student the features of the writer’s work. Among the richly illustrated world of fairy tales of the great Dane, we chose the work of those artists who most fully correspond to the topic of our research: Niki Golts, Boris Diodorov, Anatoly Kokorin.
Kokorin’s drawings are dominated by a comic mood, perky and funny images; the artist, through his creativity, reveals, first of all, the comical content of Andersen’s fairy tales. Boris Diodorov prefers to present to the reader the tragic features of Andersen's images. Nika Goltz, in the illustrations we have chosen, reveals both tragic and comic features in fairy tales, as well as their combination.
So, the work of G.-H. Andersen, presented by Russian artists in the diversity of his tragicomic content, opens up rich opportunities for pedagogical organization understanding by younger schoolchildren of the features of the writer’s work.
NOU secondary school "Rosinka"
“In Search of the Beautiful” (children’s book illustrators)”
information research project
Moscow
2010
Table of contents
Introduction
A children's book is as much a monument of culture and time as any work of art.V. Pivovarov
The coming 21st century has inherited one of the main patterns: at a time of extraordinary growth in technological progress, spiritual values associated with a sense of inner harmony, awakening in us a love for beauty, for beauty, goodness and justice, acquire special significance.
Children's book, children's writers, children's fairy tales. How poor our life would be if, from the first years of our stay on earth, a child had not seen or held in his hands this miracle - the book of our childhood. She discovered something new, unknown and surprised by the fact that images, pictures, events were born from words.
Since childhood, folk tales, tales of A.S. Pushkin, the Brothers Grimm, C. Perrault and, of course, G. H. Andersen, the most published storyteller in the world, have entered our lives. How many artists, graphic artists, and illustrators in all countries were inspired by the heroes of the great Dane.
In my work, I tried to touch the world of high art through the work of the best Russian illustrators, who are recognized as such in the world. Their works develop the author's idea, give it their own artistic interpretation, enhance the sharpness of aesthetic vision, reveal the world around us, form creative abilities and, most importantly, make us, the readers, witnesses to how a miracle is born from shades and halftones - a work of great art.
Theme of the project work: “In search of the beautiful...” (Creativity of artists - illustrators of children's books)
The relevance of this work is determined by the need to find ways to study and analyze the book’s illustrations in order to comprehend the main idea of the work and understand the author’s intention, to create one’s own texts, and to be able to touch the world of high art through the work of the best illustrators of children’s books.
The project is being implemented as part of literature lessons. It can be classified as exploratory, individual, long-term.
The object of the study is the creativity of illustrators
Subject of research: illustrators of Hans Christian Andersen's fairy tales.
The hypothesis of the study was the assumption that studying the work of the best illustrators of children's books will be the key to understanding the author's intention and the opportunity to create your own descriptive texts as an opportunity to touch the great art of the book.
The purpose of this work is the opportunity to touch the world of high art through studying the work of the best artists - illustrators of children's books and the development of creative abilities.
To achieve this goal, we set the following tasks:
- Create a manual on speech development for 5th grade students “In Search of the Beautiful”;
study literature on this topic;
talk about the work of the most famous artists - illustrators of fairy tales by H. H. Andersen;
conduct a survey of school students and teachers;
hold a book exhibition “In Search of the Beautiful”.
- Questionnaire
Observation method
Analysis and synthesis
Method of linguistic analysis
Mental Simulation Method
Word drawing method
Chapter 1. “What I portray, I always love...”
1.1 A galaxy of Russian fairy tale illustrators G.Kh. Andersen.
Children's books, children's writers, children's fairy tales... How poor our lives would be if, from the first years of their stay on earth, a child had not seen or held in his hands this miracle - the book of our childhood. She discovers something new, unknown and surprises that images, pictures and events are born from words.Since childhood, folk tales and fairy tales by A.S. have entered our lives. Pushkin, the Brothers Grimm and, of course, Hans Christian Andersen, the most published storyteller in the world.
One can imagine how many book artists, graphic artists, and illustrators* in all countries were inspired by the heroes of the great Dane.
We will try to touch this world through the work of the best Russian illustrators, who are recognized as such in the world.
Andersen's illustrators are a galaxy of wonderful artists. It’s difficult to talk about everyone; let’s focus on the most significant names, the artists that children love.
One of the oldest artists, Vladimir Mikhailovich Konashevich 1 (1888 - 1963), who stood at the origins of children's books in Russia, more than once turned to Andersen's fairy tales. His designs are decorative, recognizable and vibrant.
The artist created an individual, recognizable style for the design of fairy tales, in which the brightness of the images, ornate patterns and vignettes are combined with the artist’s ironic view, the ability to captivate the child with playful, lively compositions, the poetry of fantasy and the colorful decorativeness of the drawing.
Talking about how he comes up with drawings, Konashevich admitted: “there are artists who invent and think with a pencil in their hand... I am an artist of a different kind. Before I pick up a pencil, I have to find out everything in advance, mentally imagine the finished drawing in all its details...” Konashevich’s work cultivates in children taste, a sense of beauty and harmony, the joy of being and kindness. Because, in addition to everything, His painting is kind, in every stroke, in every highlight one can always feel the talent of kindness - a huge heart, three girths, without which his valiant service to children would be in no way possible.
Of particular note are the works of illustrator Valery Sergeevich Alfeevsky - a classic of European fairy tales: Hoffmann, Hauff, Carroll, Kolodi, and, of course, Andersen. His drawings are remarkable for their combination of fabulousness and mystery with reliable reality. Illustrations for Andersen's fairy tales are the most striking cycle of his works. In large multicolor editions and in small black and white line drawings, the artist managed to create a sparkling extravaganza, a magical celebration of drawing.
Valery Grigorievich Traugot (1931) and Alexander Grigorievich Traugot (1936). The Traugott brothers have a special style: they do not make sketches, but they do many different versions of illustrations. When there are a lot of drawings, they sit next to each other and, delicately listening to each other, select the best. They are among the best Andersen illustrators. When the brothers drew for books, they tried to make the illustrations sparkle white, as if they were made of porcelain.
Valery Traugot and Alexander Traugot are laureates of the All-Russian competitions “The Art of Books” in 1988, 1990, 1991, 1992. It is difficult to talk about all the works of the Traugot artists, and we have focused on the most significant, memorable and beloved by young readers.
Evgeny Grigorievich Monin (1931 - 2002) - one of the recently departed illustrators, People's Artist of Russia, corresponding member of the Russian Academy of Arts. In total, he designed more than a hundred books, and 24 of them were awarded various awards, including international ones. Art critics note in Monin’s work a passion for all kinds of architectural structures and medieval castles. The characters of Andersen's fairy tales, drawn by the artist, differ from other characters. Almost everyone has special “outstanding” noses. If we look at the picture for the fairy tale “The Steadfast Tin Soldier,” we can easily see that the art critics are right. The entire page, the entire spread is houses, windows, doors, only at the very bottom is a barely noticeable soldier on a paper boat. The strongest aspects of Monin’s work are color and impeccable taste. Everything with taste and charm
Another illustrator, Anastasia Ivanovna Arkhipova, was born in Moscow into a family of artists - her father and grandfather were book graphic artists. In 1978 she graduated from the Moscow State Institute named after V.I. Surikov. Already in 1980, the artist was working on the design of a volume of Russian fairy tales in the series "Library of World Children's Literature" for the publishing house "Children's Literature".
In the 80s and 90s, books of Andersen's fairy tales with illustrations by A.I. were published. Arkhipova’s “Wild Swans and Other Tales”, “The Snow Queen”, “The Steadfast Tin Soldier”, etc. You want to look at the tender, expressive pictures permeated with light and look at them. In 2003, the Egmont publishing house reissued the fairy tales of G.H. Andersen together with illustrations by A. Arkhipova.
Her works are known in Norway, Italy, Denmark, Sweden and Germany. In 2001, “The Little Match Girl” by Arkhipova was noted as the best Andersen publication in the Scandinavian countries.
In 2003, Anastasia Arkhipova won the “Best Illustrator of the Year” award at the “Book of the Year” competition in Russia.
The book "H.H. Andersen. The Best Fairy Tales" is 200 pages of truly the best fairy tales. And the best fairy tales, according to the publisher, are those drawn by the artist Arkhipova. Here are “The Little Mermaid”, “The Little Match Girl”, and “The Snow Queen”.
The illustrations for "The Snow Queen" are different from any other drawings for this fairy tale. Gerda is not like any girl from other illustrations. This is the talent, skill, and the look of a true artist. His handwriting is individual. The most delicate colors, smoky landscapes, a lot of white in the illustrations.
Arkhipova selects key moments of the fairy tale for her drawings: Kai and Gerda among their flowers, Kai and the Snow Queen, Gerda in a boat sailing to the house of an old witch, etc.
Perhaps adults will look at these pictures with even more interest than children. Adults have something to compare with; they can compare the artist’s creative handwriting, while for a child his book will be the best.
Andersen's fairy tales are fairy tales for any age. For adults it is a parable, for children it is magic.
1.2 “Fairy of pencil and brush” (art by artist Nika Golts).
Nika Georgievna Golts 2 was born in 1925 in Moscow into the family of an architect. In 1943 - 1950 she was a student at the Moscow State Institute named after V.I. Surikov. Since 1953, Nika Georgievna has been working in book and easel graphics in the publishing houses "Children's Literature", "Fiction", "EXMO - Press" and others.Throughout his long life, N. Goltz drew fairy tales. The artist Leonid Vladimirsky called her “the fairy of the pencil and brush.” Illustrated by the artist E.A. Hoffman, C. Perrault, the Brothers Grimm, S. Lagerlöf.
Simultaneously with her work in book graphics, N. Golts released a series of paintings depicting Egypt, Russia, and Scotland. She painted the foyer of the Musical Theater for Children by Natalya Sats, including two panels based on sketches by academician of architecture G.P. Golts, the artist’s father.
Fig.1 Fig.2 Fig.3
Portrait of Nika Goltz. Illustrations by Nika Golts for the fairy tales of G.Kh. Andersen
In 1988, Nika Georgievna became a laureate All-Russian competition"The Art of the Book" for illustrations to A. Pogorelsky's fairy tale "The Black Hen, or Underground Inhabitants."
Goltz's drawings are full of nobility and refined taste. They are friendly and kind. This is visible both in the strokes and in the plasticity of the compositions. She treats the little reader with respect and carefully guides him through adventures to the happy ending of the fairy tale. She is a good sorceress.
The artist also illustrates Andersen's fairy tales. Several generations of children have already read his fairy tales - “Thumbelina”, “Ole-Lukoye”, “Flint”, etc. In 2002, the EKSMO publishing house delighted young readers with the book “The Snow Queen” with new illustrations by the artist. This book immediately attracted the attention of fellow graphic artists. It was called the book of the year by the famous artist Leonid Vladimirsky, artist Mitrofanov and others.
In March 2002, an exhibition of Nika Golts took place at the Russian State Children's Library, where numerous illustrations to Andersen's fairy tales and landscapes of Denmark were exhibited, which the artist walked around with an easel and paints.
Her illustrations are permeated with iridescent light, and with amazing skill they depict the subtlety, transparency and fragility of fairy-tale magic.
Many works by Nika Georgievna Golts are in Russian museums, including Tretyakov Gallery, and private collections in Russia and abroad - in Denmark, Sweden, Germany, Italy, USA.
Since 1953, N.G. Golts has been participating in Moscow, Russian, all-Union and international exhibitions.
Exhibitions took place in many countries: Canada, India, Denmark (1964); Yugoslavia (1968); Berlin (1985).
The artist’s friends say that when Nika Georgievna paints still lifes - bouquets of flowers, little people always sit in the flowers: nymphs, elves. Moreover, adults do not immediately notice them, but children look at the flowers and, above all, see these fairy-tale people.
When you look at the works of Nika Golts, it seems that the world of the fairy tale is real and exists somewhere in a corner of the planet known to the artist. Perhaps this place is Nika Georgievna’s beloved Denmark: “This is a small country, but it is colossal. Because it contains such a variety of different landscapes: there is a dense forest, and of amazing beauty; There are such amazing oak trees there - they grow a little differently than our oaks. They branch from the root - these are the famous oaks of Umols. I am so lucky that for almost 20 years I have had very close friends there, and we have traveled all over this amazing country. There I saw churches from the 11th century with paintings that also didn’t look like anything else. This is already Christianity, but the Vikings painted them. This is something particularly Danish. Denmark is also my favorite artist Hanashoe, whom I sometimes call “Danish Serov”. Thanks Denmark. For her beauty, for her kindness, for her amazing charm.”
In recent years, Nika Georgievna has been working on illustrations for the works of H. C. Andersen for the EKSMO publishing house.
Rice. 4 Fig.5 (Illustrations by Niki Golts)
1.3 “The endless joy of discovery” (meeting with the work of Boris Arkadyevich Diodorov)
Fig.6 Fig.7 Fig.8Portrait of B.A. Diodorov Illustrations for fairy tales by G.Kh. Andersen
B. Diodorov - People's Artist of Russia, winner of the Ivan Fedorov diploma, silver medal International exhibition books in Leipzig (1982), silver medal of the Russian Academy of Arts (1996), nominee for gold medal (1998, 2000).
Art education began in 1945 at the Moscow Art School on Chudovka, then from 1952 to 1954. - Moscow average art school(in Lavrushinsky district) at the Moscow State Art Institute named after V.I. Surikov. Among the teachers and artists whose influence was the most significant were: K.K. Zefirov, M.T. Khazanov, K. G. Dorokhov, A. A. Meleshkin, K. M. Molchanov, N. I. Andriyaka, V. Babitsyn, A. P. Gorsky, P. Radimov, R. R. Falk, N. P. Krymov, S. A. Chuikov, E. A. Maleina, M. I. Kurilko and many, many others.
Recognition came to the artist in 1979 after the publication of the fairy tale by Swedish writer and Nobel Prize winner Selma Lagerlöf, “The Wonderful Journey of Nils with the Wild Geese.” The book was illustrated with exquisite colored etchings with aquatint and watercolor. She received the highest diplomas of the “Art of the Book” competitions, including the “Diploma named after. Ivan Fedorov (1980), “Golden Apple” BIB-81 in Bratislava, “Silver Medal” IBA-82 in Leipzig.
Boris Diodorov made more than 400 books. He is the author of illustrations for “Winnie the Pooh”, fairy tales by L. N. Tolstoy, “The Scarlet Flower” by S. T. Aksakov, “The Snow Queen”, “The Little Mermaid” and “Thumbelina” by H. C. Andersen, “Song of the Soul” and S. Turgenev, “Sivka-Burka”, “Malachite Box” by P. Bazhov and many others.
People's Artist of Russia Boris Arkadyevich Diodorov is so in love with the work of Hans-Christian Andersen that, it seems, the storyteller himself sent the painter to Russia. However, we have always loved the main writer of Denmark. But what happens two years later will become, perhaps, the main event in the posthumous – and eternal – life of Andersen and his heroes in the Russian expanses. “First of all, this will be the opening of a monument to the writer - the first in Moscow, and, it seems, in Russia,” says Boris Diodorov, president of the H.C. Andersen Foundation. “In addition, a whole series of anniversary events, the center of which will be April 2, 2005 – the storyteller’s birthday.”
Boris Diodorov claims that Andersen became on a par with Pushkin in “raising high moral and aesthetic ideals generations of Russians."
Two years ago, Mr. Diodorov received from the hands of the Danish Princess Alexandra the Main Prize of the International Andersen Competition in Odense. The prize has been awarded once a year since 1996.
When you pick up books with illustrations by Diodorov, you are haunted by a feeling of wonder and magic.
“The Snow Queen” with drawings by the artist Diodorov is fascinating. I want to look at each picture again and again.
Conclusions: With Andersen through the centuries
1) Hans Christian Andersen once called mighty Russia “the pearl of all European states.” This was the great Danish writer’s tribute to Russian literature, which he knew, as he admitted, “from Karamzin to Pushkin,” and to some extent, gratitude for the incredible love that Russian readers immediately showed for his translated fairy tales.
2) Andersen became on a par with Pushkin in raising high moral and aesthetic ideals of generations of Russians.
3) Almost all the best artists in Russia illustrated Andersen.
4) The works of talented illustrators of Andersen’s fairy tales highlighted the unique facets of the great storyteller.
5) The artist’s skill, his understanding of the text and time itself live in illustration. As the authors write, “Andersen’s work, with its mysterious romanticism, a unique combination of the everyday and the fantastic, with its all-redeeming Christian kindness, deep philosophy and original symbolism, turned out to be in tune with the soul of the Russian artist.”
6) The talented works of the best illustrators were used by Russian publishers a century ago and continue to be published to this day.
7) Their creativity brings to everyone - both children and adults - the Miracle of the Book, awakens the desire to read, know, understand, love the world, and believe in the mission of the Printed Word.
Chapter 2. Study of “magical transformations” (through the picture to understand the author’s intention and artistic interpretation)
2.1 Organization and description of research methods “Everything their brush touched became magical” (author’s reading of Andersen by various artists - illustrators)
This project set the following research objectives:-study literature on this topic
-tell about the work of the most famous artists - illustrators of fairy tales by H. H. Andersen
-conducting interviews in information center schools.
-conduct a survey of school students and teachers
- create an album “The World of Magical Transformations” about the work of artists - illustrators of Andersen’s fairy tales.
-create a manual on speech development for 5th grade students “In Search of the Beautiful”
The basis for conducting the survey are 5th grade students at the Rosinka school.
To achieve the goal of the project and solve the assigned research problems, a set of methods and techniques was used:
Empirical methods:
-Free survey of 5th grade students to identify reading competence.
-Sign modeling of your own texts (descriptions of illustrations for fairy tales) to create a manual for speech development
Theoretical methods:
-Analysis and synthesis of the artistic originality of Andersen’s fairy tales
-Method of linguistic analysis
- Generalization of artistic means used by illustrators.
-Method of mental modeling.
-Method of verbal creativity.
Also, a sequence of actions was determined for the benefit of our project:
1. Creating a questionnaire.
2. Questioning of 5th grade students.
3. Summing up the results of the survey.
4. Modeling texts - descriptions.
5. Analysis of texts – descriptions of illustrations of Andersen’s fairy tales.
6. Writing primary conclusions.
7. Testing of results (confirmation or refutation of the hypothesis) - checking recommendations based on research
8. Summing up the final results.
The record forms for our project are:
For interviews: a description of the interview and the results of this experiment.
For the survey: description of the results of the survey.
Primary processing, analysis and presentation of research results means entering the research results into the appropriate record forms; schematic, graphical, illustrative presentation of results (preparation of applications); writing conclusions.
Testing and confirmation of the hypothesis is the analysis of the reader’s emotional state based on materials from studying the work of illustrators.
Of course, every illustrator saw the fairy tales of Hans Christian Andersen with his own eyes - and captured his vision in the illustration. These are Arkhipova, Monin, Alfeevsky, Golts and many others. The Traugott brothers presented Andersen's fairy tales in the brightest colors, and Konashevich painted history in cold colors.
2.2 Description and analysis of research results
“Painting is poetry that is seen” (Texts – descriptions of illustrations to Andersen’s fairy tales – an attempt to join the world of verbal art)
Analysis of the results of the survey1. To the question “Do you like fairy tales?” all respondents answered “Yes.” Almost all respondents like author's fairy tales most; some like them about animals, and very few like fairy tales.
2. Students surveyed to the question “Do you pay attention to how this book is illustrated?” They answered in the affirmative, because everyone sometimes has to find illustrations that amaze the imagination.
3. To the third question: “Do you think the creativity of illustrators influences the perception of the author’s intention?” the respondents answered “Yes”. Some students added to their answer by saying that the illustration helps them visualize the story.
4. To the next question, “How do you think the work of illustrators differs from the work of artists?” the majority answered that the illustrator draws according to the author’s plans, and the artist draws according to free topic. Some answered that the illustrator rather does not draw, but writes, colors the imaginary picture of history created by the author.
5. 62% of respondents could not give examples of illustrators by H.H. Andersen. 38% answered affirmatively to the question “Do you know the illustrators of Andersen’s fairy tales?” and cited as an example the most famous assistants in understanding the author’s intention, such as Diodorov, Arkhipova, Golts.
6. 88% of respondents to the question “Do you have Andersen’s fairy tales in your home library, illustrations for which were made by contemporary artists?” They answered “Yes.” The remaining 12% of students answered “I don’t know.”
7. To the seventh question, “Have you ever wanted to illustrate your favorite fairy tale?” Almost all students answered in the affirmative. One respondent answered negatively.
8. To the last question, “What images does your imagination generate when you look at two illustrations made by different artists for the fairy tale “The Snow Queen”?” The respondents answered differently. The most common phrases that appeared were “The Snow Queen looks very cold and evil” - for the first picture, “The village is reminiscent of the pre-Christmas mood and looks very warm” - for the second picture.
Based on the analysis of the questionnaire, we can conclude that the majority of readers of Andersen’s fairy tales understand the importance of the work of the illustrator, its high role in understanding the author’s intention, and this helps to form a reading culture, and, most importantly, makes them witnesses of how with the help of a brush and paints a miracle is born - a work of high art - an illustration for a Fairy Tale.
Results of the experiment (research)
We conducted our experiment among 5th grade students. This is appropriate because in literature lessons, fifth-graders are introduced in detail to Andersen's fairy tales. But, unfortunately, the school literature curriculum does not include lessons about the work of illustrators. Therefore, in one of the literature lessons, we tried to talk in detail about the galaxy of the best illustrators of Andersen’s fairy tales, who with their creativity open the world of fairy tales to the reader, complement and enrich the reader’s “vision” of heroes and events. After all, an illustrator is a thoughtful reader of a book, and the main task of book illustration is to recreate what is written in a literary work using the means of fine art.
We invited 5th grade students to describe illustrations by different artists for Andersen’s fairy tale “The Snow Queen” (B. Diodorov, V. Konashevich, A. Arkhipova, N. Golts) and create their own descriptive texts based on what they saw. The work was carried out according to the following plan:
1. First impression of the picture
2. What moment of the fabulous action unfolds before your eyes.
3. Think about what the artist admires, how his skill is demonstrated (composition and color).
4. What details did the artist add to the fairy-tale text (portraits, plan of the painting and “talking” details).
5. How does an illustration help you understand that the artist is, first of all, a thoughtful reader of the book (the author’s idea and your impressions).
We invite you to the “gallery”, where, in our opinion, we present best descriptions to the fairy tale "The Snow Queen".
I would like to introduce you to the descriptive essays of fifth graders. This is how Nika Golts describes the illustration for the fairy tale “The Snow Queen” by Liza Golukhova: “This illustration could be entitled: “Gerda in captivity of an old woman - a witch.” This picture is permeated with rainbow light, the old woman’s smile creates a good-natured mood, and Gerda’s clouded gaze is a little alarming. The artist depicts the subtlety and fragility of glass vessels with amazing skill. Nika Goltz uses different colors in her drawing. Basically, these are light yellow and light beige. They depict the walls of the room, Gerda’s blouse and apron. The whole drawing is light and rainbow-colored, and the artist follows the text of the fairy tale, which describes the scene where Gerda feasted on ripe cherries, and the old woman combed her hair. I really liked this drawing for its light and kindness.”
From the work of Zhenya Labzina: “In Nika Golts’s painting, I saw the Snow Queen taking Kai away. The boy does not sense trouble yet, he is having fun with the Snow Queen. But the color of the picture is like a warning: something will happen! The drawing is written in dark colors. I saw despair and felt fear for Kai. With the help of the artist, I clearly imagined this strange city, where ships sail through the streets, and the fact that Kai was being taken away from his homeland for a long time. In the picture, a horse harnessed to the Snow Queen’s sleigh begins to take off into the dark gloomy sky, illuminated only by a lonely thin moon.”
“The picture is absolutely amazing! Look how the artist Arkhipova depicted the heroes! What special colors! And the carriage?! It seems that she is flying, spinning in a snowy whirlwind. The artist sadly draws the figure of Kai against the backdrop of a snow-covered city, but something disturbs the viewer’s heart. The artist explains the author’s intention with composition and coloring,” Polina Podshivalova describes an amazing illustration by Anastasia Arkhipova.
Myagotin Denis wrote down his thoughts about the painting by B. Diodorov: “My first impression of this painting: amazing beauty! What I misunderstood in this episode fell into place. This is one of my favorite episodes. I felt Gerda's love for her friend Reindeer and understood how much she misses Kai. In the background I see a snow-covered forest. Perhaps barefoot Gerda in her blue dress will have to make her way through this silent thicket. I was also struck by the coloring of the picture: shimmering light colors and snow, white - very white.”
This is what Melamud Dasha writes in his essay based on the illustration by B. Diodorov: “Before us is an episode of Gerda’s meeting with the wise Raven. Against the backdrop of a beautiful but cold castle with pointed spiers (I think this is the artist’s style of writing), behind a cast-iron fence covered with snow, poor barefoot Gerda sits on a cold stone. She lowered her head and lost all hope of finding Kai. The raven, craning his neck, tries to look into the face of an unfamiliar girl. Maybe he asks her: “Why are you sitting here alone in the cold, how can I help you?” Faded gray colors and only Gerda’s red dress among all this darkness seem to give hope for the salvation of her beloved brother. The artist, with the help of paints and a brush, helped to imagine the plight in which Gerda found herself...”
“Before me is a magical illustration by A. Arkhipova for the fairy tale “The Snow Queen.” In the foreground, Kai and the Snow Queen stand on the clouds. She leads the boy to her icy kingdom. I always thought: what is she like, the Snow Queen? The artist helped me “see” her: with a cold gaze, a stern face, in a snow-white fur coat strewn with snow, beautiful, but ruthless and lonely. The coloring of the picture is gloomy: gray tones are mixed with the cold shine of white, and only the lonely figure of Kai is given in color,” from the work of Azim Saida.
And here is an excerpt from an essay by Masha Ross for another illustration by the artist A. Arkhipova: “On the balcony of a tall house with a red tiled roof, entwined with blooming roses, sit Kai and Ger
etc.................