Iodko, Romuald Romualdovich

Born November 20 ( December 3 ), 1894 in Slutsk, Minsk province ^[1] , in the Lithuanian-Polish family of evangelical reformers.

Adam Dick's maternal grandfather, Adam Dick, was an organist of the Evangelical Church in Slutsk, and his paternal grandfather, R.R. Iodko, was also an organist of the Moscow State Conservatory. P.I. Tchaikovsky and at the same time engaged in tuning the organs, both in the conservatory and in the churches of Moscow. He was also a member of the society "Musical and Theoretical Library" and one of the initiators and creators of the Scientific Musical Library named after S. I. Taneev Moscow Conservatory. P.I. Tchaikovsky.

In 1912, R. R. Iodko Jr. graduated from a gymnasium in Slutsk (the Maturity Certificate states that he studied Russian, Latin, Greek, French and German. In addition, he knew Polish, Lithuanian, Belarusian and Esperanto). In the same year, he came to Moscow and entered the Imperial Central Stroganov School, where sculptors Nikolai Andreevich Andreev and Sergei Semenovich Aleshin became his teachers. In 1918, R. R. Iodko graduated from college as a sculptor-scientist draftsman. Since 1915, while studying at the school, he worked in a hospital for seriously wounded soldiers, organizing a sanitary squad in the days of the Great October Revolution to provide first aid to the wounded among the population of Rauzhskaya embankment, 4, as the embankment and the buildings adjacent to it were fired on by junkers from the Kremlin .

Already in 1917-1918. R.R. Iodko is working on two sculptures of physical education students, which are installed in front of the Institute of Physical Culture on Bolshaya Gorokhovskaya Street (now Kozakova), 22. Moreover, R.R. Iodko was one of the initiators of the creation of this institute. The main initiator of the creation of the Institute of Physical Education was Anatoly Vasilievich Lunacharsky , whom R. R. Iodko met in 1918, as well as the People's Commissar of Health Nikolai Semashko .

In 1919 he volunteered for the Red Army; first an ordinary, then a cadet of the first district military-economic courses. With a group of cadets he serves in Rostov-on-Don, and then in Moscow at the Higher Rifle School of Combat.

In 1921 he was sent as a gifted artist to the Higher Artistic and Technical Workshops (VKHUTEMAS), where he studied until 1925. During this period, his teacher was the sculptor Boris Danilovich Korolev , who at one time, like N. A. Andreev , was a student of Sergei Mikhailovich Volnukhin . R.R. was carried away as a student: woodcarving, bone, horn, embossed on the skin, making stones and shells.

In 1922, R.R. Iodko became interested in the work of Isadora Duncan , who in 1921 was invited to Russia by the People's Commissar of Education of the RSFSR A.V. Lunacharsky , who officially proposed to her to open a dance school in Moscow. In October, Duncan met with the poet Sergei Yesenin , and in 1922 they officially formalized the marriage. R. R. Iodko draws Isadora dancing in watercolor in the style of the World of Art school. In 1924, at the request of A.V. Lunacharsky, R. R. creates her sculptural portrait from nature (she posed for him several times) and in 1925 shows this work at an exhibition of the Russian Telegraph Agency (ROSTA).

Since 1925, began a large creative, educational and social activities.

From 1925 to 1926 he worked at VKHUTEMAS as a senior assistant to the department of sculptors for scientific, methodological and pedagogical work, and from 1926 to 1930, after the reorganization of VKHUTEMAS into the Higher Artistic and Technical Institute (VKHUTEIN), he was an assistant professor of sculpture. In 1926 he creates a portrait (bust) of M. Gorky. After the reorganization of VKhUTEIN in 1930, he transferred to the Moscow Architectural Institute as an assistant professor, head of the sculpture department, where he worked until 1937.

In 1937 he moved from the Architectural Institute to the Moscow State Art Institute and worked there as the dean of the sculpture faculty until 1948, when the institute was named after the artist V.I. Surikov.

In June 1937 he became chairman of the sculpture section of MOSSX. And in the same year, R. R. Iodko meets Valentina Krylova, a 20-year-old vocal student at the Merzlyakovsky School, who becomes his muse until the end of her life. In a letter to her in 1938, he writes: “How sad my girls in sculpture will be, how pure and chaste they will be, each will have a particle from you. And if you see my works, you will understand that you are in them .. ”

From 1938 to 1939, R. R. Iodko was a member of the state procurement commission at the Tretyakov Gallery.

From 1939 to 1940 Member of the Board of MOSSHA (section of sculptors).

On April 19, 1941, by the decision of the Higher Attestation Commission, R. R. Iodko was awarded the title of Professor of the Sculpture Department.

The Great Patriotic War did not spare the Art Institute either. Many students went to the front, some were evacuated to Samarkand, but work continued in Moscow. The front was in urgent need of military-political posters, new forms, combat leaflets and letters. The brigades were headed by D. S. Moor , A. A. Deineka , R. R. Iodko. 18 professors remained in Moscow, among them also A.A. Osmerkin , V.V. Favorskaya, D.K. Mochalsky and others, as well as 47 students. During this period, Professor R. R. Iodko combined the work of a teacher at the Art Institute and at the Moscow Institute of Applied and Decorative Arts (near Aleshin). During the Great Patriotic War, R. Iodko was a consultant in the disguise of Moscow at the headquarters of P.V.O. and participated in the creation of a camouflage map of the city, which made it possible to preserve the historical center of the capital from destruction. For this, he was awarded the Medal "For the Defense of Moscow."

From 1945 to 1946 he was rector of the Moscow State Art Institute.

From 1940 to 1957, he conducted a large public work as a member, and then Chairman of the artistic councils at sculptural organizations, was a member of the political sculpture control commission under the Directorate of Arts of the RSFSR, a member of the Moscow City Executive Committee's monument construction commission.

In 1947-1948 He was a member of the expert commission of the Higher Certification Commission.

In May 1948, the second session of the USSR Academy of Arts was held, dedicated to the issues of art education. The most recognized masters of Soviet art, such as Alexander Gerasimov and Sergey Gerasimov, M. G. Manizer , B. V. Ioganson , M. Karyan and others, spoke about the great merits of the Russian pedagogical school. The whole session was based on the just adopted resolution of the Central Committee of the All-Union Communist Party of Bolsheviks on the opera The Great Friendship by V. I. Muradeli , who severely condemned the vicious, anti-people, formalistic direction in the preparation of composers and artists in the country. At the session, it was noted that "in many universities the best traditions of Russian art are poorly propagated, the necessary simplicity, clarity, clarity and accessibility of the drawing as the basis of art education are lacking." It was noted that “a number of teachers of art universities ignore the best examples of Soviet fine art created by the method of socialist realism, on the basis of deep ideology, nationality and high professional skill, that in Moscow art institutes inexperienced, insufficiently qualified teachers, people of a pronounced formalistic directions". Summarizing all the claims to the sculptors, we can say that they were accused of cosmopolitanism and, in this regard, unprofessionalism. Especially negative at the session was the sculptor and teacher A. T. Matveev , who for 30 years “has not released a single valuable master”. His teaching program is, in the words of the USSR People's Artist E.V. Vuchetich , “shamanism” and is replete with such concepts as “sculptural vision”, “the ability of volume-plastic vision”, etc. Based on criticism and decisions of the second session of the Academy The USSR Academy of Arts issued Order No. 45 of August 30, 1948, signed by Academician M. G. Manizer , according to which professors A. T. Matveev and A. A. Osmerkin as carriers of formalistic trends in creative and pedagogical practice ..., professors G. . T. Goroshchenko, I.I. Chekmazova, R.R. Iodko, associate professors V.V. Favorskaya, V.V. Pochitalov and several others were relieved of their jobs. As a result, 11 people were filmed at only one Moscow Art Institute, including 5 professors, 3 associate professors and 3 teachers. On the basis of order No. 95 of July 14, 1948 at the Moscow Institute of Applied and Decorative Arts, signed by Director of the Institute of People's Artist of the USSR A. A. Deinek R. R. Iodko, as part-time worker, was sent on indefinite leave and was completely left without work. Later, in his memoirs on the outcome of the decision of the second session of the USSR Academy of Arts in 1948, A. T. Matveev wrote: “the initiators of the next repressive ideological campaign, in this case such major sculptors as the national artist of the USSR E. V. Vuchetich and the national artist of the USSR Z. I. Azgur , liberated Soviet culture from “alien elements”, but essentially - isolated the most powerful competitors, along with their school, from large and well-paid orders - the one who unleashed this persecution knew well that the time was coming for big monuments and the section of profitable projects. As a result, dozens of respected and reputable sculptors were thrown out of the creative system and could not participate in competitions. ”

In 1948, after a forced departure from the Art Institute. V.I. Surikova, R.R. Iodko applies for a job at the Moscow Pedagogical Institute, but without response. He remains without the right to teach and participate in various competitions anywhere. And a helping hand in 1949 was given by his teacher at the Imperial Central Stroganov School S. S. Aleshin , director of the Moscow Institute of Applied and Decorative Arts. But in order for the Institute to be able to take it to work, the USSR Academy of Arts must remove its ban on teaching and creative work from R. R. Iodko. And here he needed to present some serious recommendations from the most iconic artists and sculptors of the country. We must be aware at what time and on what issue R. R. Iodko should have taken these recommendations from people who were ready to take responsibility for their words and his future, to show real courage and courage to decide on this. The first to make a recommendation was People's Artist of the USSR, full member of the Academy of Arts of the USSR, laureate of five Stalin Prizes V. I. Mukhin. She writes the following: “I know the teaching work of R. R. Iodko, I appreciate it and consider his invitation to the Stroganov School desirable.” Then, People's Artist of the USSR, Vice-President of the USSR Academy of Arts F.F. Fedorovsky, who, in his description of R. R. Iodko, writes: “I know the sculptors R. R. Iodko a long time ago when he studied at the former Stroganov School (1912-1918 ). He was always distinguished by good successes, an initiative in creativity and great industriousness ... I recommend comrade Iodko R. R. for admission to work at the Higher Art and Industrial School (former Stroganovskoye) as a professor with great experience and a former "Stroganov". There is also an authoritative opinion of the People Ozhnik RSFSR, academician I. E. Grabar : “I have known the sculptor R. R. Iodko for a long time ... and I welcome his invitation, I highly appreciate the knowledge, experience and pedagogical method of his work.” People's Artist of the USSR, Stalin Prize laureate, Academician S. D. Merkurov in his note writes: "I have known R. R. Iodko for 35 years. He is a man of rare soul and nobility, as a sculptor - one of our competent realist sculptors. He is a wonderful teacher and has produced a lot of talented young sculptors. My deepest confidence is that he has earned the country the most attentive and warm attitude to himself. ” As a result, Vice-President of the USSR Academy of Arts M.G. Manizer in his letter dated September 28, 1949 to the Director of the Moscow Institute of Applied and Decorative Arts S. S. Aleshin writes the following: “... The Presidium of the USSR Academy of Arts reports that at present He has no objection to your invitation to Professor R. R. Iodko for teaching sculpture at the Faculty of Ceramics. R. R. Iodko submitted to the Presidium a statement in which he acknowledged the fallacy of his speech at the second session of the USSR Academy of Arts and completely agreed, as it turned out in his personal negotiations, with the need to change the methodology of teaching sculpture in accordance with the decision of the second session of the Academy ” . On a copy of the letter by hand of R. R. Iodko it is written: “I did not submit an application to the Presidium. Personally, the letter was sent to Gerasimov’s house. ”(A. M. Gerasimov was chairman of the Union of Artists of the USSR during this period). Iodko continues: “I did not have a personal conversation with M. Manizer. All this is a lie. ” And adds: "Conscience finally spoke to Manizer."

In the fall of 1949, R. R. Iodko was reinstated at the Moscow Institute of Applied and Decorative Arts as a professor in the sculpture department. At the end of this year, the sculptor participates in the All-Union Exhibition, where he shows a bust of "Stakhanovka" - a portrait of the working factory of Voikov Maria Ageeva. The work receives good press and approval of the USSR Academy of Arts.

In 1952 he was again invited by the Stroganov School as a professor and head of the department of architectural and decorative sculpture.

In 1954, in a congratulatory address on the occasion of the 60th anniversary of R. R. Iodko, the teachers of the sculpture department of the Moscow Institute of Applied and Decorative Arts said: “You, as a teacher, have brought up a number of generations of young sculptors, making this your biggest contribution to the development of Soviet sculptures. "

In 1957, the sculptor transferred from the department of architectural and decorative sculpture to the department of academic sculpture and became its many-year-old dean.

In 1962, being the greatest methodologist and thanks to the help of the administration of the Stroganov School, R. R. Iodko published his textbook on the course "Sculpture" "Building a relief on a plane." In it he writes: "The theory of spatial arts is comparable with the theory of music and literature and is very poorly developed." In this work, the author returns us to the ideals of ancient Greek and ancient Egyptian sculptures and explains the law of the "golden section".

On his 70th birthday, R. R. received a lot of congratulatory addresses from various institutes, including the Art Institute, Architectural, Physical Culture, Stroganovsky, the Union of Artists of the USSR and the RSFSR, and cultural figures who so noted his activities: “Your creativity is an example of the combination of talent and hard work. Being one of the glorious pets of the Stroganov School, you, beloved professor, are faithful to its traditions and pass them on to your students along with the wonderful technique of the sculptor. Your in-depth knowledge of a research scientist helps us to better understand the artistic heritage in the field of sculpture and other visual arts. ” Newspapers and magazines wrote a lot about the work of the talented sculptor. In connection with the seventieth birthday / 1964 / creative unions wrote: from the secretariat of the board of the Union of Artists of the USSR signed by People's Artists of the USSR E. F. Belashova , B. V. Ioganson , P. D. Korin , Yu. I. Pimenova , N.V. Tomskogo et al. “For his half-century fruitful activity, Iodko PP made a significant contribution to the formation and development of Soviet fine art. We appreciate him as the author of many sculptural works adorning the cities, parks and stadiums of our country, as the oldest teacher who raised several generations of Soviet sculptors and as an active public figure. ”From the Union of Artists of the RSFSR signed: V. A. Serov , A. P. Faydysh-Krandievsky , L. E. Kerbel , V. E. Tsigal and others. “The sculptor Iodko PP, for his half-century creative career, has made a great contribution to the development of the visual arts. Along with active creative activity, he devoted a lot of strength, energy and labor to the education of young creative personnel and, being an artist of a large, versatile culture, passed on his experience to the young generation of artists. ” From M O C S X and signed: A. P. Kibalnikov , I. I. Kozlovsky and others. “The works of R. Iodko, executed with great skill, were exhibited at many art exhibitions and installed in several cities of our country. ... He deeply and consistently develops in his creative and pedagogical activities the high principles of realistic art and the best traditions of the Russian art education system ... When we are proud of the achievements of our Soviet sculpture and rejoice in the creative successes of young artists, we know that then this is a large part of the soul’s work of Iodko PP. ”Many artists, such as: I. E. Grabar , V. I. Mukhina , S. V. Gerasimov , S. D. Merkurov , F. F. Fedorovsky and others in various The periods of life and work of Romuald Romualdovich Iodko marked his great merits to the Motherland, his dedicated service to his beloved art, his people, for whom he - a talented teacher - brought up tens and hundreds of young sculptors.

In the year of the 75th birthday of the sculptor, the Board of the Moscow organization of the Union of Artists of the RSFSR signed by Chairman of the Board S. I. Dudnik and Chairman of the bureau of the sculpture section I. M. Rukavishnikov noted: “And you yourself - your whole life, your works, are for Your students are a wonderful example of how an artist should live and work, whose life is devoted to art. ”

Here is what sculptor M.V. Shandurenko writes in his memoirs, who back in 1974, being a 23-year-old youth, was the last assistant to R. R. Iodko:

“... It was then that I first met an extraordinary man. His classic-looking figure, slowly moving through the pseudo-classical spaces of the Stroganov School, was in harmony with this architecture as much as it was different from the rest of the inhabitants. A black three, a white shirt, a black tie, smoothly combed gray hair, a high forehead, from which attentive gray eyes looked out - all this seemed to indicate that a real professor should look like that, you could say an ideal professor, that was Romuald Romualdovich Iodko ...

... Romuald Romualdovich was a wonderful teacher, and his lessons had a deep content. In the lessons, he relied on extensive theoretical knowledge and the ability to show in practice how to model one form or another. Excellent mastery of styles (laid down in the years of Romuald Romualdovich’s studies at the imperial Stroganov School) helped students hone their good taste. All classes were accompanied by numerous examples, which were colorfully illustrated by a large number of photographs (stocks from imperial times). His teaching was simple, clear and intelligible. This attracted young artists to him and gave a good result in the work.

Separately, I want to say about his scientific research. First of all, about studies on the golden section, using which (according to the Iodko system) you can easily remember the proportions of the human body (very convenient for remembering), or understand the principle of building a bas-relief (perhaps the simplest, if not the only and most comprehensible tool for sculpting a bas-relief) . It also seems surprising that his explanation of the space around us through the “golden section”, where Romuald Romualdovich convincingly proves the harmonious structure of the environment and leads us to think about the createdness of the world.

And how did Romuald Romualdovich explain the basics of composition !? - The composition has the main and the secondary, where the secondary is subordinate to the main. In their interaction, harmony arises. But if all the elements are equal, then the composition is broken and “disintegrates” ... ”

In 1968, R.R. Iodko was awarded the title of Honored Artist of the RSFSR by the Presidium of the Supreme Council of the RSFSR.

Romuald Romualdovich Iodko died on November 13, 1974 in Moscow ^[1] . He was buried in Moscow at the Vvedensky cemetery ^[2] .

Romuald Romualdovich Iodko - master of monumental and decorative sculpture. He created a large number of works for the design of parks, stadiums, public buildings, which were installed in many cities and resorts of the USSR. As a sculptor, he began his work in 1915 (he participated in the exhibition of applied art in Kiev).

В 1994 году народный художник СССР Л. Е. Кербель был гостем в Строгановском институте на выставке, посвященной 100-летию со дня рождения Р. Р. Иодко, и оставил такие слова о своем педагоге: «Открывая эту книгу отзывов, я не могу не отметить одну важную мысль: не смотря на то, что выставка интимная, работы Р. Р. Иодко отражают время послереволюционного периода 30-37гг. Его Пловчиха имела большой успех и во многих местах была повторена. Женская пластика в искусстве РР особенно удачна. Мне пришлось учиться у РР и защищать диплом. Теплые воспоминания о нём, скромном и умном педагоге останутся у меня на долгие годы.»

В 2004 г. в день празднования 110-летия со дня рождения Р. Р. Иодко, проходившем в Государственном музее «Дом Бурганова», народный художник СССР, академик Академии художеств СССР В. Е. Цигаль тепло говорил о своём учителе и подчёркивал, как точно скульптор понимал пропорции своих произведений.

В декабре 2014 года в Москве, в рамках празднования 120-летия со дня рождения Р. Р. Иодко, в Библиотеке-культурном центре им. М. А. Волошина состоялась юбилейная выставка-ретроспектива работ Р. Р. Иодко , которая также включала в себя неизданные документы из семейного архива.

В декабре 2015 г. и в декабре 2016 г. в Москве в Библиотеке искусств им. А. П. Боголюбова и Библиотеке-читальне им. И. С. Тургенева прошла выставка «Жизнь и творчество Заслуженного художника РСФСР Ромуальда Ромуальдовича Иодко (1894—1974)» , в рамках которой состоялась творческая встреча с сыном скульптора, заслуженным работником культуры РФ Р. Р. Крыловым-Иодко . Тема встречи: «Советская скульптура и её апологеты XX века».

Большое место в трудах Ромуальда Ромуальдовича занимали теоретические исследования, например, о пропорциях в скульптуре, рельефе, о построении рельефа.

Являясь крупнейшим педагогом, Иодко Р. Р. создал школу пластического строя художественной формы скульптуры, обосновав её в научных трудах. Им написано большое количество учебных программ, методических пособий — «Новые задачи изобразительного искусства», "О мерах улучшения учебно-методической работы кафедры «Академической скульптуры», «О ритме», «Композиции», «Архитектурно-декоративной скульптуре» и др. Учебные пособия по курсу скульптуры: «Теория теней» (1920 г.), «Построение рельефа на плоскости» (1962 г.), «Гармоническая соразмерность тела человека» с перечнем таблиц, рисунков (1974 г.)

Так кто эти ученики, ради которых Ромуальд Ромуальдович отказался от своего желания создавать новые и новые образы, и полностью ушел в педагогическую деятельность, находя в ней свое особое предназначение? Конечно, это сотни тогда молодых скульпторов и архитекторов, получивших мастерство у Р. Р. Иодко. И самые известные среди них — это Л. Е. Кербель , В. Е. Цигаль , А. П. Файдыш-Крандиевский , А. А. Бичуков ., С. Шапошников, Н. Кашин, В. Милашникова, И. Козловский, Л. Мильбергер, Посядо, Колесников, Домбровская, которые впоследствии получили общественное признание, как высоко профессиональные художники-скульпторы, стоящие на реалистических позициях в советском изобразительном искусстве.

Отдавая много времени и сил педагогической деятельности, Р. Р. все годы творчески работал в области станковой монументально-декоративной скульптуры.

Более 20 лет ассистентом Р. Р. Иодко был молодой скульптор, а теперь народный художник РСФСР, член президиума Российской академии художеств , профессор Московской Государственной художественно-промышленной академии имени С. Г. Строганова А. Н. Бурганов .

Творчество Р. Р. Иодко и его педагогическую деятельность высоко ценили: И. Грабарь , В. Мухина , С. Герасимов, С. Меркуров , Ф. Федоровский , В. А. Фаворский .

• Медаль за доблестный труд в Великой Отечественной войне 1941—1945 г.г.
• Медаль за оборону Москвы
• Медаль в память 800-летия города Москвы II47-I947 г.г.
• За стахановскую работу значок «Ударника М. В.С.» /Строительство канала Москва — Волга/ 1937 г.
• Звание «Ударник коммунистического труда» — 1965 г.
• Почётное звание Заслуженный художник РСФСР ( 1968 ) ^{[1] [3]}
• Юбилейная медаль «За доблестный труд в ознаменование 100-летия со дня рождения В. И. Ленина»

За многолетнюю плодотворную деятельность по воспитанию молодых художников-скульпторов, развитию художественного образования в стране и большие творческие, научно-педагогические успехи Ромуальд Ромуальдович Иодко получал множество благодарностей от Министерства культуры РСФСР, СССР, Высшего и среднего специального образования, ВУЗов, а также почётные грамоты.

С 1963 г. по решению МВХПУ удостоен быть на доске почёта.

1. Исаев П. Н. Иодко Ромуальд Ромуальдович // Строгановка. Императорское Центральное Строгановское художественно-промышленное училище, 1825—1918 : биографический словарь. — М.: Лабиринт, 2007. — Т. 2. — С. 170.
2. Московская консерватория. От истоков до наших дней. 1866—2006. // Московская государственная консерватория им. П. И. Чайковского, Биографический энциклопедический словарь, М.: Научно-издательский центр «Московская консерватория», 2007. — с. 275
3. Мастер и педагог. Рубрика «Поздравляем!». Статья к 70-летию Р. Р. Иодко, с. 2//«Московский художник», газета правления и партийной группы МОСХ, № 6 (125), 04.12.1964 г.
4. Некролог на смерть Р. Р. Иодко, с. 4//«Московский художник», газета партийного бюро и правления московской организации союза художников РСФСР, № 46 (625), 28.11.1974 г.
5. Почётные звания: сообщение об Указе Президиума Верховного Совета РСФСР о присвоении почётного звания заслуженного художника РСФСР Иодко Р. Р.//«Советская культура», газета министерства культуры СССР и ЦК профсоюза работников культуры, № 31 (2301), 14 марта 1968 г. — с. one
6. РГАЛИ (Российский государственный архив литературы и искусства). Ф. 677; оп. one; ед.хр.3697. Императорское Центральное Художественно-промышленное училище. Личное дело Иодко PP 1915 г. 17 листов;
7. РГАЛИ (Российский государственный архив литературы и искусства). Ф. 2326; оп. one; ед.хр. 173. Записка В. И. Мухиной//подпись Иодко PP 2 л.;
8. РГАЛИ (Российский государственный архив литературы и искусства). Ф.2343; оп. 1 ед. hr 309. В.А. Шестаков, Р. Р. Иодко, М.П. Бобышов, Г. Т. Горощенко и др. Учебные программы для художественных училищ. Выпуск II., 1948 г., 22 л.
9. РГАЛИ (Российский государственный архив литературы и искусства). Ф. 2943; оп. four; ед.хр.274. Личное дело Иодко P. Р., члена МОСХ РСФСР 20 декабря 1941-24 октября 1967 г. 44 листа. //списки работ, фотография Иодко PP, автобиография. ;
10. РГАЛИ (Российский государственный архив литературы и искусства). Ф. 2942; оп. one; ед.хр.98; лл. 52, 52 об., 53 Протоколы заседаний Президиума Московского областного союза советских художников-скульпторов. 1934 г.//Заявление ИодкоР. Р. в Президиум МОССХ с просьбой объяснить причины невключения в списки рекомендованных МОССХ для связи с архитекторами, посланным в Моссовет ;
11. РГАЛИ (Российский государственный архив литературы и искусства). Ф. 2942; оп. one; ед.хр. 107; лл.1-17 об. Стенограмма заседания правления скульпторов 25.06.1937 — Обсуждение кандидатуры председателя Правления МОССХС: Мухиной и Иодко PP; l 20 //Протокол заседания Правления МОССХС от 28.06.1937 г. — об избрании Председателем Правления МОССХС Иодко PP;
12. РГАЛИ (Российский государственный архив литературы и искусства). Ф. 2942; оп. one; ед.хр. 113; лл. 24-49 Стенограмма отчетно-выборного собрания Союза скульпторов. 13 декабря 1938 г.// Выступление Иодко PP на собрании;
13. РГАЛИ (Российский государственный архив литературы и искусства). Ф. 2942; оп. one; ед.хр. 114; 53 листа. Московский Союз советских художников-скульпторов. Стенограмма отчетно-выборного собрания МОССХ. 14 декабря 1938 г. //Р. Р. Иодко отвечает на вопросы присутствующих на собрании после своего доклада;
14. РГАЛИ (Российский государственный архив литературы и искусства). Ф.3154; оп. 3 ед. hr 231. Иодко Ромуальд Ромуальдович, 24 мая 194, 10 л.

• Девушки с веслами и другими предметами в руках скульптора Ромуальда Иодко