Vasiliev, Genrikh Nikolaevich

Born March 14, 1931 in Murom . In 1950 he entered the Leningrad Higher Art and Industrial College named after V. I. Mukhina , graduated from the department of monumental painting in 1957 ^[1] . After graduation, he lived and worked in Leningrad. He participated in exhibitions since 1958 ^[2] . He took part in the design of the Soviet pavilion at the 1958 World Exhibition in Brussels . He participated in the development of a design solution for the Petrogradskaya station of the Leningrad Metro - a decorative panel. In 1963, he painted for the White Nights cafe in Leningrad ^[1] . G.N. Vasiliev also created drawings for fabrics, sketches for painting ceramics. He worked in industrial graphics. For the company “Melody” he completed the design of envelopes and boxes for records with operas: D. Rossini “ Italian in Algeria ”, S. Monyushko “Pebbles”, P. I. Tchaikovsky “ Enchantress ” ^[3] , “ Orleans maiden ” ^{[4 ]} and others. Member of the Leningrad branch of the Union of Artists of the RSFSR .

He died on July 1, 1970 in Leningrad.

Industrial Graphics

The art critic A.P. Pavlinskaya describes the artist’s creative manner in reading the images of musical works that he designed for the publications of the Leningrad plant of the record company “Melody”. It should be recalled that this is noted by A.P. Pavlinskaya in her work, - at that time she presented with great courage a free, non-figurative solution to the topic, - a measure of conventionality and subjective vision of the author, - after more than three decades of ideological qualification. Heinrich Vasiliev was among the first who in works, even seemingly secondary to the main line of development of fine art, his easel genres - in industrial and book - applied graphics, in his works was guided by the principles of freedom of expression, content, its best traditions, but referring to the means of a new artistic language ^[5] .

As you know, the packaging of vinyl disks , due to its large format ( LP ), at that time was an excellent field of activity for those involved in applied graphics: thematic diversity, the chamberness of accessible and appropriate techniques, at the same time, the need to make envelopes and boxes spectacular, attractive to the buyer - The advertising side of this form of graphic art. At the same time, this form made it possible to combine the features of book and easel graphics. The properties of the first (literary component) and the need to express the whole variety of musical works of various directions and genres, Russian and European classical operas, jazz, the ability to appeal to theatrical themes, the permissibility of using meaningful multifaceted material - from engraving to including the reproduction of monumental works. This new line of development of graphic art allowed the artist, through the manner characteristic of his personality, to express the characteristic figurative specificity of opera works, the tone of the worldview, stylistic and conceptual creative orientation of composers and musical genres. Initially, faceless standard envelopes were issued for phonograph records ... The arrival of young Leningrad artists radically changed the situation in this area of ​​industrial graphics; it provided them, as already mentioned above, with the opportunity to reveal their own potential, but also the field for serious creative research, experiment. One of the leaders in this endeavor was Heinrich Vasiliev. Good mastery of many techniques, a brilliant knowledge of the history of art and literature found a very successful application here, affected his works. ^[5]

In one case, the artist forms the composition, complementing the image of the protagonist with the characteristic plot details of the opera, relevant associative symbols: the rectangle of the actor’s photo portrait in the role of Susanin is strictly and seamlessly inscribed in the plane of the envelope, covered with a laconic, thin pattern of interwoven birch trunks. The mood and the main substantial tendency of the opera, its emotional structure are symbolized by white - the snowy expanse and the trembling purplish-purple - dawn, additional - photographs. At the same time, the critic notes: “The envelope carries good advertising, but the theme itself in its graphic solution is too modern, and this reduces the significance of the image.” ^[5]

The composition of the box, designed to illustrate the opera "Prince Igor" only formally repeats the principle considered - "the protagonist and the details." The combination of the prince’s canonically iconic face, organically connected with the gamma of crimson light of a solar eclipse and accessories of packaging turnaround - armor against a fiery background: solemnly formidable glare on alarmingly swaying muted tones of peaks, swords, protazans, drawings of shield ornaments - all this is expressive, but little very accurately translates the spirit of the era, and the epic mood of the work of Borodin. ^[5]

In designing the box for the opera by N. A. Rimsky-Korsakov, “The Snow Maiden,” G. N. Vasiliev does not change his style — laconic symbols, capacious images that are well suited to the theme of the musical work. “A light transparent curtain woven with white snowflakes reminds the viewer of the stage and the winter motifs of the opera tale. It was as if he had moved apart, taking away the winter with him, and behind him a bright, colorful spring opened. Fairytale Berendeevka, like a small island, floats in the blue spring expanse. And on the other side of the box - god Yarilo, upset by the fate of the Snow Maiden, illuminates the blooming land. Such a free interpretation of the content requires the conventions of an art form that transforms real things into symbols and allows a small, concise picture to convey the opera’s deep design within accessible advertising limits. ” ^[5]

The composition for D. Rossini's opera Italian in Algeria was decided in a completely different way. Here, the artist seems to have the viewer in the theater hall immediately at the time of listening to the opera. Bright, disturbing watercolor background of the Mediterranean sky, an African pier flooded by the African sun, decorated with carvings of the stern and side of the brigantine, ornament of the forged flagpole, dynamic contours of sails, shadows, stern structures echoing and organizing the space, a bold, unexpected turn and location of the odalisque, whose elegant figure , along with no less elegant - Isabella and the lonely figure of the fooled Mustafa, is very theatrical. These components give rise to a fresh and hot atmosphere filled with air, which is well suited to the spirit of opera, masterfully, but by modern means immersed in the charm of a romantic plot. Instead of a signature in the lower right corner, Henry put a self-portrait in the image of Lindor. ^[5]

Death

Henry Vasiliev passed away in the prime of his life. He was full of strength and intentions, but this bright, searching artist was forced to balance the needs of his talent with the ideologically correct “guides” that could only offer him a “taming” compromise as a guarantor of mastery, success, some relief in his appreciation identity.

Kim Slavin , a talented painter of his inner circle, writes in his diary, shocked by the death of Henry Vasiliev - July 1, 1970: “Gifted, physically powerful ^[6] , beautiful. Wise and directly simple-minded. 39 years old ... The heart refused to support his shy and reckless soul ... Smart and cautious opportunists will not understand his tragedy. The tragedies of talent, from all over the swipe ... of a terrible indestructible wall of scoundrels united and pressed into a monolith. ” ^[7]

On July 4, 1970, Henry Vasiliev was buried in the Prince Vladimir Cathedral . He was buried at the Pargalovsky cemetery . ^[7]

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  The interior of the metro station "Petrogradskaya" . 1962.

• Autumn exhibition of works by Leningrad artists of 1958. Catalog - L: Artist of the RSFSR, 1959. P.42.
• Exhibition of works by Leningrad artists of 1960. Catalog . - L: Artist of the RSFSR, 1963. P.37.
• Decorative art of the USSR. 1961, No. 6, C.8.
• A.P. Pavlinskaya. Graphics around us . - L., 1962. P.37.
• Slavin K. , Slavina N. We were young. - St. Petersburg: RID, 2000 ISBN 978-5-89132-016-1 , ISBN 5-89132-016-9 , ISBN 58913201690 (wrong)
• Leningrad. Zone exhibition . - L: Artist of the RSFSR, 1965. - p.231.
• Decorative art of the USSR. 1967, No. 3, P.45.
• Artists of the peoples of the USSR. Biographical Dictionary. Volume Two. - M: Art, 1972. P.183.

• Leningrad Union of Artists