"Рисунок наглядно представит мне то, что в книге изложено на целых десяти страницах"
Иван Тургенев,"Отцы и дети"

March 7, 2019

Художники "Мира приключений" | Иван Владимиров | 1927-1929


Б.Никонов, "Шум на Красной площади". "Мир приключений" №12, 1927


В иллюстрации художник Иван Алексеевич Владимиров остаётся, как и в журналистике, внимательным очеркистом изломов времени и судеб; его интерферентные, характерологичные, часто диссонансно-обнажённые в своей жёсткой драматургии картины подчас не конца прочитываются нашим современником.


По регистрации №473, "Аким и Мишка". "Мир приключений" №9, 1927


По регистрации №19, "Золото". "Мир приключений" №10, 1927


В.Попков, "Встреча". "Мир приключений" №11, 1927


В.Валентинов, "Белое золото". "Мир приключений" №5, 1928


Рассказ-задача №9, "Слепцы у омута". "Мир приключений" №8, 1928


П.Гаврилов, "Крепкие нервы". "Мир приключений" №5, 1929


Ivan Alekseevich Vladimirov (1869-1947)—painter, battle painter, and reporter of the Russian Empire and the USSR. He received his art education at the Vilnius Drawing School; from 1891 to 1893 he studied at the Higher Art School of the Imperial Academy of Arts. During the Russo-Japanese (1904-1905), Balkan (1912-1913), and First World Wars, he worked as an art correspondent. Vladimirov's work during the First World War has come down to us in the form of watercolor sketches of military operations, published in the magazines Niva, Ogonyok, and Lukomorye. The artist's reports for the London weekly The Graphic, reflecting military operations on the Eastern Front and the subsequent revolutionary events in Russia, were signed with the pseudonym "John Wladimiroff." In 1917-1918, Vladimirov worked in the Petrograd police and was a member of the Association of Artists of Revolutionary Russia; from 1932, he was a member of the Leningrad Union of Soviet Artists; he painted pictures on revolutionary and battle themes.
In illustration, the artist Ivan Alekseevich Vladimirov remains, as in journalism, an attentive observer of the twists and turns of time and fate; his interfering, character-laden pictures, often dissonantly naked in their harsh dramaturgy, are sometimes not fully read by our contemporary.