Lapshin, Nikolai Fedorovich

Nikolai Fedorovich Lapshin was born in St. Petersburg . Cousin - Nikolai Petrovich Yankin (1887 - not earlier than the summer of 1942), Russian and Soviet artist. The artistic education of N.F. Lapshin was not systematic: he studied at the Baron Stieglitz elementary school at the Center for Contemporary Arts (1900), at the Polytechnic Institute (1909), at the drawing school of the Society for the Encouragement of Arts under I. Bilibin , A. Rylov , N. Khimona (1912 —1915), in private studios of J. Tsionglinsky (1911–1912) and M. Bernshtein (1913–1914). He participated in the First World War , was wounded.

In 1913, in Moscow, met M. Larionov and N. Goncharova , under their influence he turned to the study of Russian icon painting and folk art. Together with N. Goncharova, he is painting the scenery for staging the opera N. Rimsky-Korsakov 's The Golden Cockerel .

The first exhibition in which Lapshin took part was The Target (1913). At the exhibition “No. 4. Futurists, Radiators, Primitive” in 1913, Lapshin (under the name Lopatin) exhibited several paintings inspired by M. Larionov’s “ Luchism ”. He was a member of the Bloodless Murder group created in 1914 ^[4]

Member of the associations: “Union of Youth” (1917-1919), ONT - Association of the Newest Trends (1922-1923), Society of Individualist Artists (since 1922), “4 Arts” (since 1926).

In the 1920s acted as an art critic. In 1922 - an employee of the Decorative Institute. In 1920-1921 headed the section in the Department of Fine Arts of the People's Commissariat for Education .

The main stage of the artist’s work begins in the 1920s. In the years 1921-1923. Lapshin worked as an assistant director of the Museum of Art Culture ^[5] . Many positions in the collecting, exhibition and other practical activities of the MHC were developed jointly by N. N. Punin and N. F. Lapshin. On the basis of this museum in 1923-1926. GINHUK was created - the State Institute of Artistic Culture, led by K. S. Malevich . Rapprochement with avant-garde artists had a formative effect on Lapshin, giving his work a constant desire for a new one, an attraction to the enhanced expressiveness of artistic expression; these qualities define Lapshin as an artist.

He taught at the Art and Technical Workshops (1920-1922), at the Leningrad Construction College (1931-1933), at the Leningrad Institute of Public Utilities Engineers (1923), at the graphic (1929-1941) ^[6] and at the Faculty of Architecture of VKhUTEMAS - LIZHA VAH (since 1933).

From 1928 to 1935 he was the art editor of the Hedgehog magazine . He also worked in the magazines "Life of Art", "Robinson", etc. In the book graphics, N. F. Lapshin became one of the pioneers of illustrating "cognitive" (popular science) books for middle school age, proving with his work that the authors of the text and illustrations are two authors of one book. Lapshin in book graphics since the mid -1920s . ^[7] and illustrated books by various authors, including N. Zabolotsky (under the pseudonym J. Miller).

Most often, the name of Lapshin in a children's book is associated with the name of M. Ilyin . Some of their jointly made books (at least four) were published in the 1930s. in USA. In total, N. F. Lapshin illustrated over 50 books for children. ^[7]

Lapshin illustrated books with the help of tiny drawings-remarks, distinguished by laconicism and sharp expressiveness. ^[7] As a co-author, together with Osip Mandelstam, he worked on the book “Balls” (L: GIZ, 1926). The most famous book, illustrated by N. Lapshin and received the International Prize in the competition of artists of children's books in the United States: "Travel Marco Polo", New York, 1934.

In addition to book and easel graphics, Nikolai Lapshin was engaged in painting, applied art, designed performances in theaters . In the last years of his life, he worked on a series of views of Leningrad . Among them - “The First Snow” (1934, the State Russian Museum), “Crossing the Neva” (1935, the State Russian Museum) ^[8] . A series of watercolors made between 1936 and 1941 are considered the most significant period of Lapshin's work in easel graphics.

He was married to Vera Vasilyevna Spekhina (1894-24.1.1942, died in blockade). He lived in St. Petersburg, on Moika Embankment , 64, apt. 32.

Nikolai Fedorovich Lapshin died of starvation in besieged Leningrad , February 24, 1942. ^[7] In the last months of his life he wrote memoirs published in 2005. ^[9]

Lapshin is an artist of Petersburg-Petrograd-Leningrad, in this city he was born and lived his whole life. In urban landscapes of N.F. Lapshin, as is generally characteristic of St. Petersburg and Leningrad art, the rational — rigorous professional calculation and the artist’s inner self-discipline — always accompanies the emotional. ^[10] Lapshin’s picturesque system is based on the following principles: accurate constructive structure, rigorous selection of the components of the chosen motive, and laconicism of the color solution, which strikes the character of time and place with amazing accuracy. ^[11] The principle of his work with the landscape is the work of representation, which allows direct observations of nature to achieve the integrity of the work by the power of generalizing artistic thinking.

It was the generality of these principles, shared by Lapshin with artists close to him in spirit, that became the basis of such a phenomenon as the Leningrad school of painting, sometimes called the Leningrad school of landscape painting : “a kind of school of chamber landscape that emerged in Leningrad ... Numerous traditions ... influenced the formation of this school . " ^[12] Most of these artists their combined" plot orientation French painting ", preferably at A. Marquet , A. Matisse , R. Dyufi and other artists often mentions I trained by AE Karev and Kuzma Petrov-Vodkin , as well as training and work at VV Lebedev .

The Leningrad School of Painting unites a circle of artists whose work (according to the method of work and perception of the world) had a number of common features, all of which are sufficient to call them a school, and N. F. Lapshin is considered a key figure in it. In a sense, the Leningrad School of Painting was opposed to paintings by Moscow artists associated with the traditions of the Union of Russian Artists and Jack of Diamonds . G. G. Pospelov notes the “luminosity of color” common to Leningrad's painting schools. L.V. Mochalov notes in these artists colorist restraint and watercolor transparency of color, work with tone.

The general characteristics for N. F. Lapshin and other artists of many researchers are considered the characteristics of the Leningrad school: ease of execution; breadth of a picturesque reception; the principal use of "quick writing"; mandatory preservation of the plane of the picture; color limitation; the significance of the silhouette; the use of transparent, silver, and soft tonal scales and blurry contours of objects; the desire to work within certain boundaries or "canons"; accuracy of display of proportions of architecture; use of graphic elements in painting. ^[eleven]

The principle of the work of these artists in their chosen genre of landscape was determined by G. N. Traugot : "The landscape essentially includes the worldview of the era." ^{[13] The} landscape was usually created from memory, sometimes it was one and the same constantly repeating motive, often a view from the same window. N.F. Lapshin constantly painted landscapes from the window of his apartment on the Moika embankment; in the same way, for the most part, landscape painters of the Leningrad school constantly wrote a view from the window of their workshop - A. E. Karev , A. I. Rusakov , A. S. Vedernikov , and also V. V. Lebedev. ^[14]

L.V. Mochalov, who initially defined the Leningrad school of painting as predominantly landscape, repeatedly in his articles from 1976 to 2005, emphasizes that it is still incorrect to define the Leningrad school of painting as landscape because the artists of the school worked in various genres. The tradition of the Leningrad school since the late 1940s. artists A. D. Arefyev and Richard Vasmi , who were directly influenced by N. F. Lapshin, also supported.

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  Drawing plates "Red". OK. 1923

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  Illustration for the book "Japanese folk tales." 1936

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  Working. Woodcut. 1928

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  Neva. First snow. 1934

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  Crossing the Neva. 1935

• Landscape painting in the fine arts of Leningrad
• Leningrad markists
• Leningrad Landscape School 1930–1940s (book)

• Parygin, A. , Lapšin, Nikolaj Fedorovič // Allgemeines Künstlerlexikon Die Bildenden Künstler. - Walter de Gruyter . - Band 83 - 2014.P. - 190. ISBN 978-3-11-023188-5 , (in German).
• Suris, B. D. Nikolai Fedorovich Lapshin // Memorial pages: reference and memorial collection: artists of the Leningrad Union of Soviet Artists who died during the Great Patriotic War and the siege of Leningrad, 1941-1945 / Committee on Culture of St. Petersburg, St. Petersburg Union of Artists , Central Exhibition Hall in St. Petersburg ; compiled by: Yu. V. Basov , L. S. Konova , editor-in-chief, commentator L. S. Konova . - SPb. : Petropolis, 2010 .-- S. 136-139. - 340 p.

• I. Galeev , A. Strukova , L. Mochalov , Yu. Rusakov . Nikolai Lapshin (1891-1942) / Comp. I. Galeev . - M .: "Scorpio", "Art Divazh", 2005. - 1000 copies.

• Suris, B.N. F. Lapshin: One Hundredth Birth Anniversary // Memorable Book Dates. 1988 . - M .: Book , 1988 .-- S. 263. - 288 p. - 50,000 copies.

• Lyubavina N. How Baba Yaga disappeared. PG: Today, 1918
• Zhitkov B. Balloon. M .; L .: State. publishing house, 1926
• Mandelstam O. Balls. L .: State. publishing house, 1926
• Polonskaya E. Clock. M .; L .: State. publishing house, 1927
• Ilyin M. (I. Ya. Marshak). What time is it now? (Stories about time). M .; L .: State. Publishing House, 1927. (Reprint: 1930, 1931, 1935)
• Ilyin M. (I. Ya. Marshak). The sun on the table: Tales of lighting. M.; L .: State. Publishing House, 1927. (Reprint: 1928, 1929, 1932, 1933, 1934, 1935)
• Ilyin M. (I. Ya. Marshak). What time is it now? (Stories about time). M .; L.: State. publishing house, type. Printing House in Lgr., 1927. (Reprint: 1930, 1931,

1933, 1934, 1935, 1936)

• Ilyin M. (I. Ya. Marshak). Black and White: (Book Stories). M.; L .: State. publishing house, type. Printing yard in Lgr., 1928. (Reprint: 1930,

1932, 1933, 1934, 1935; 1941)

• Beyul N. Letters from Africa / Obrab. N. Zabolotsky. M .; L .: State. publishing house, 1928
• Weissenberg L. The Adventures of Jack London. M .: State. publishing house, 1929
• Danko E. Ya . Chinese secret. M .; L.: State. Publishing House, 1929. (Reprint: 1931, 1933, 1935, 1941, 1946)
• Ilyin M. (I. Ya. Marshak). The case of embezzlement: (About losses from the irrational organization of production). M .; L .: State. publishing house, type. Printing yard in

Lg., 1929

• Ilyin M. (I. Ya. Marshak). Yellow cross. M .; L .: State. publishing house, type. Printing yard in Lgr., 1929
• Ilyin M. (I. Ya. Marshak). One hundred thousand why. M .; L .: State. publishing house, type. Printing yard in Lgr., 1929. (Reprint: 1930, 1933, 1934, 1935, 1936)
• Flammarion K. Star Book / Rev. J.I. Perelman. M .: State. publishing house, 1929
• Godin K. Pitt Burn / Per. with him. A.I. Magerovsky; The master. A. Chumachenko. M .; L .: State. publishing house, 1930
• Ilyin M. (I. Ya. Marshak). How a car learned to walk. M .; L .: State publishing house, type. Printing yard in Lgr., 1930. (Region; Reprint: 1931)
• Ilyin M. (I. Ya. Marshak). When things come to life / Obl. S. Bigos. M .; L .: Young Guard, 1930
• Ilyin M. (I. Ya. Marshak). Factory of the Future / Region S. Bigos. M .; L. Young Guard, 1930
• Schwartz E. Adventure Map. M .; L .: State. publishing house, 1930
• Bogdanovich T. Sol Vychegodskaya: (Stroganovs). M .; L .: Young Guard, 1931
• Danko E. Wooden actors: A Tale. M .; L .: Ogiz; The Young Guard, 1931
• Miller Y. (N. Zabolotsky). The mysterious city. M .; L .: GIZ, 1931
• Skaldin A. Sorcerer and scientist. M .; L .: Young Guard, 1931
• Schwartz E. Adventures of V.I. Medved. M .; L .: Young Guard, 1932
• Ilin M., Lapshin N. What time is it? The story of clocks. London: George Routledge and sons, 1932
• Ilin M., Lapshin N. Black on White. London: George Routledge and sons, 1932
• Ilin M., Lapshin N. 100,000 Whys. London: George Routledge and sons, 1932
• Konstantinov N. The book tells. L .: Detgiz, 1934. (Reprint: 1936)
• Travel Marco Polo. New-York: The Limited Ed. Club, 1934
• Ilyin M. (I. Ya. Marshak). Mountains and people: Tales of the restructuring of nature. M .; L .: Detgiz, 1934. (Reprint: 1935, 1936, 1937)
• Byrd R. Again in the Antarctic: (Second Antarctic Expedition) / Transl. From English; Ed. V. Yu. L .: Publishing house of the Glavsevmorputi, 1935. (Reprint: 1937)
• Bronstein M. Solar matter. L .: Det. publishing house of the Komsomol Central Committee, 1936. Ilyin M. (I. Ya. Marshak). Stories about things. M .; L .: Det. Publishing House of the Komsomol Central Committee, 1936. (Reprint: 1940, 1946, 1968)
• Konstantinov N. Map tells. M .; L .: Det. publishing house of the Central Committee of the Komsomol, 1936
• Ilyin M. (I. Ya. Marshak). Stories about things. M .; L .: Det. Publishing House of the Komsomol Central Committee, 1936. (Reprint: 1940, 1946, 1968)
• Japanese folk tales / Transl. and processing. N. Feldman; Under the total. ed. S. Marshak. M .; L .: Detgiz, 1936. (Reprint: 1965)
• Sveshnikov M. Secrets of glass. L .: Lenizdat, 1940
• Ilyin M. (I. Ya. Marshak). One hundred thousand why. Traveling around the room. What time is it now? Stories about time. In black and white. Stories about books. L .: Det. lit., Leningrad. Department, 1989

• N. F. Lapshin. Autobiography. Records made November 1-21, 1941. See Nikolai Lapshin (1891-1942) . M .: Scorpio. 2005. S. 168- 222.
• Transcript of the meeting of artists. 1930s OR timing. Section of manuscripts. F. 150, unit 37, l ten)
• N. F. Lapshin. Manuscript about Alexei Alexandrovich Uspensky . November 1941. The State Russian Museum, F. 177, unit 1, l 28.
• Fine art of Leningrad. Exhibition catalog. - L: Artist of the RSFSR, 1976.- p.21.
• Mochalov L.V. Harmonic unity with the world // Creativity. 1979. No. 9.
• Mochalov L.V. Some problems of the development of Leningrad art // Visual Art of Leningrad. Exhibition of works by Leningrad artists. Moscow. November 1976-January 1977.L., 1981.
• Lapshin N. F. “To be sensitive to color, form, to the perception of the whole that the artist gives ..” // “Artists of a children's book about themselves and their art: Articles, stories, notes, speeches” / Comp., Record, comment . V. Glotzer . - M.: “Book”, 1987. C. 121-130
• Painting of the 20-30s . SPb, Artist of the RSFSR. 1991.S. 123.
• Museum in the museum. Russian avant-garde from the collection of the Museum of Artistic Culture in the collection of the State Russian Museum. SPb, 1998.S. 134-135, and by decree.
• Nikolai Lapshin (1891-1942) . Texts: L. Mochalov, A. Strukova, Yu. Rusakov. M .: Scorpio. 2005.
• Shishmareva T. V. "... I wrote about my friends." Publication, foreword and notes by Z. Kurbatova. Our Heritage Magazine, No. 92. M .: 2009. S. 106-121.
• Suris B.D. Nikolai Fedorovich Lapshin // Pages of memory. Memorial reference book. Artists of the Leningrad Union of Soviet Artists who died during the Great Patriotic War and the blockade of Leningrad . St. Petersburg, 2010.S. 136-139.
• A.I. Strukova. Leningrad landscape school. 1930s-first half of 1940s. M .: "Galart", 2011.

• Lapshin Nikolay Fedorovich (neopr.) . RGALI . Date of treatment June 14, 2015.