Voronov, Nikita Vasilievich

Voronov Nikita Vasilievich was born in Moscow, on August 1, 1924 . Member of the Great Patriotic War (1942-1943) ^[3] .

In 1970 he participated in a joint expedition of the Research Institute of Art. industry of the Ministry of Local Industry of the RSFSR and the Research Institute of Yalie under the Sov. Min Chuvash. ASSR in the territories of all ethnographic groups of the Chuvash Chuvash. ASSR in order to study art. crafts and the possibility of organizing the production of products people. art. He maintained contact with the artistic. and scientific. the public of Chuvashia, was a mentor of the Chuvash. art history. He thoroughly analyzed the works of the Chuvash. artists N. V. Ovchinnikov, R. F. Fedorov, A. I. Mittov and others in separate books ^[3] .

By order of the President of the Russian Federation Yeltsin B.N. N 545-rp dated August 2, 1993, Voronov Nikita Vasilievich was approved as a member of the Commission under the President of the Russian Federation for State Prizes of the Russian Federation in the field of literature and art.

The author of more than 40 books, monographs, brochures and albums, more than 300 articles in collections of works and magazines. Area of ​​interest - monumental art, sculpture, decorative-butt. art, design. Most of the works are dedicated to the contemporary. the art of Russia , including Chuvashia , Kalmykia and the former union republics - Georgia , Armenia , Azerbaijan . Led scientific. work in research institute Ross. Academy of Arts ^[3] .

Department "History and Theory of Decorative Art and Design"

Moscow State Art and Industry Academy named after S. G. Stroganova has a Department of History and Theory of Decorative Art and Design. This department trains historians and theorists of art, art critics, art managers, specialists in the field of gallery business and art tourism.

A Brief History of the Department

The Department of History and Theory of Decorative Art and Design, as a graduating department, was created in 1994. In her work, she draws on the latest achievements of domestic and foreign art history and on 140 years of experience in teaching art history at the Stroganov School, Institute, and University, where such outstanding scientists as N. N. conducted pedagogical activities at the Academic Department “History of Art”. Sobolev, S.V. Noakovsky, D.E. Arkin, M.A. Ilyin, K.A. Soloviev, I.E. Danilova, A.K. Chekalov, P.A. Teltevsky, and in the formation of the new department, preparing art historians, the largest Russian took an active part Twain historian and theorist of design, fine and decorative arts Nikita V. Voronov. ^[four]

Voronov Nikita Vasilievich taught in Moscow. art industry. University ^[3] .

• Honored Art Worker Chuvash. ASSR (1982) ^[5] ,
• Honored Artist of the RSFSR (1987) ^[5] .
• Awarded:
  • Order of Glory 3rd degree ^[5] ,
  • Order of the Patriotic War I degree ^[5] ,
  • Order of Honor (1999) ^[6] .
  • Gold medal on the 200th anniversary of A. S. Pushkin et al. ^[5] .
• For the monograph "Vera Mukhina" (M., 1989) awarded
  • Silver medal of the Academy of Arts of the USSR (1990) ^[5] .
• Laureate of the State Prize of the Russian Federation in the field of literature and art for 2003 for a series of books on the history of design “Russian Design”, “History of Design”, “Post-Soviet Design” ^[7] .

Below is a list of the main works of Nikita Voronov.

• Voronov, Nikita Vasilievich. Yuri Chernov. Leningrad: Artist of the RSFSR, 1981.
• Voronov, Nikita Vasilievich. Essays on the history of domestic design. Research institute of theory and history Arts Ros. Acad. Arts, Mosk. state artist-prom un-t them. S. G. Stroganova. Part 1, Ch. 1-2. 1997
• Voronov, Nikita Vasilievich. Aesthetics of technology [Text]: Essays on history and theory / N.V. Voronov, Ya. E. Shestopal. Moscow: Sov. Russia, 1972.
• Voronov, Nikita Vasilievich. Ernst Unknown. M.: Knowledge, 1991.
• Voronov, Nikita Vasilievich. Eleanor Zharenova, Vladimir Vasiltsov [Text] / [Voronov N.V.]. St. Petersburg: Artist of Russia, 1993.
• Voronov, Nikita Vasilievich. Elguja Amashukeli [Text]. [Moscow]: [Sov. artist], [1971]
• Voronov, Nikita Vasilievich. What is design? [Text]. Moscow: Knowledge, 1969.
• Voronov, Nikita Vasilievich. Artists of things [Text]: [Collection of articles] / N. Voronov, L. Kramarenko, I. Suslov. Moscow: Sov. artist, [1966].
• Voronov, Nikita Vasilievich. Free Har [Text]: Album. Moscow: Council. artist, 1975.
• Voronov, Nikita Vasilievich. Russian design: Essays on the history of our countries. design / N. Voronov; Research Institute of Ros. Acad. of art. T. 2. 2001.
• Voronov, Nikita Vasilievich Russian Design: Essays on the History of the Fatherland. design / N. Voronov; Research Institute of Ros. Acad. of art. T. 1. 2001.
• Voronov, Nikita Vasilievich Formation and development of the Georgian school of monumental sculpture in the post-war period (1940-80): IV Intern. symposium by cargo. art / Nikita Voronov. Tbilisi: Metzniereba, 1983.
• Voronov, Nikita Vasilievich (1924-) Contemporary Georgian monumental art [Text]. Tbilisi: Metzniereba, 1977.
• Voronov, Nikita Vasilievich Soviet art glass / N.V. Voronov. M.: Knowledge, 1984.
• Batanova, Ekaterina Ivanovna. Soviet art glass [Text] / E. I. Batanova, N. V. Voronov. [Moscow]: [Art], [1964].
• Voronov, Nikita Vasilievich Soviet glass [Text]: Album / N.V. Voronov, E. G. Rachuk; Photo M. Fine. Leningrad: Aurora, 1973.
• Voronov, Nikita Vasilievich (1924-) Soviet monumental sculpture of the 1960-70s [Text]: (Toward the evolution of the ideological layer of the concept of a mountain monument): Author. dis. for a job. scientist Degree of Doctor of Art Criticism: (17.00.04) / Acad. Arts of the USSR. Moscow: [b. and.], 1978.
• Voronov, Nikita Vasilievich (1924-2002) Soviet monumental sculpture, 1960-1980 [Text] / N.V. Voronov; Research Institute of Theory and History of Fine Arts Acad. Arts of the USSR. Moscow: Art, 1984.
• Voronov, Nikita Vasilievich (1924-) Soviet monumental sculpture [Text] / N.V. Voronov. Moscow: Knowledge, 1976.
• Voronov, Nikita Vasilievich. Sculptor L. Golovnitsky [Text]. Leningrad: Artist of the RSFSR, 1965.
• Voronov, Nikita Vasilievich. Sculptor Dmitry Ryabichev: [Album] / Nikita Voronov. M.: Sov. artist, 1984.
• Voronov, Nikita Vasilievich. Svetlana Beskinskaya [Text]: [Album]. Leningrad: Artist of the RSFSR, 1974.
• Voronov, Nikita Vasilievich. S. Eikelman: [Text]: Album / Gzhel. an experiment. keram. Plant MOKhF RSFSR. Moscow: Soviet artist, 1992.
• Voronov, Nikita Vasilievich. Russian design: Essays on the history of our countries. design / N. Voronov; Research Institute of Ros. Acad. of art. M.: Union of Designers of Russia, 2001-.
• Voronov, Nikita Vasilievich. The story of the great sculptor: V. I. Mukhina: [For Wednesdays. and Art. school age] / Nikita Voronov. M.: Det. lit., 1991.
• Voronov, Nikita Vasilievich. "Worker and collective farmer." Sculptor V. Mukhina [Text]. Leningrad: Artist of the RSFSR, 1962.
• Voronov, Nikita Vasilievich. “Worker and Collective Farm Girl”: [Sculpture. group V.I. Mukhina] / N.V. Voronov. M.: Mosk. Worker, 1990.
• Voronov, Nikita Vasilievich (1924-) Feat of the people [Text]. Moscow: Knowledge, 1978.
• Voronov, Nikita Vasilievich. Essays on the history of domestic design / N.V. Voronov; Research institute of theory and history Arts Ros. Acad. Arts, Mosk. state artist-prom un-t them. S. G. Stroganova. M., 1997 -____.
• Voronov, Nikita Vasilievich. Omar Eldarov: [Album] / N.V. Voronov. M.: Sov. artist, 1990.
• Voronov, Nikita Vasilievich. Oleg Konstantinovich Komov / N.V. Voronov. L.: Artist of the RSFSR, 1982.
• Voronov, Nikita Vasilievich. Nikolai Vasilievich Ovchinnikov: Life and work / N.V. Voronov, S. M. Chervonnaya. Cheboksary: ​​Chuvash. Prince Publishing House, 1981.
• Voronov, Nikita Vasilievich. Nevsky crystal [Text]: essays on the main stages of development / N.V. Voronov, M. M. Dubova. Leningrad: Artist of the RSFSR, 1984.
• N.V. Ovchinnikov [Text]: [Album of reproductions] / Entry. article by N.V. Voronov. Leningrad: Artist of the RSFSR, 1979.
• Voronov, Nikita Vasilievich Moscow brick factories in the XVIII century [Text]: Abstract of thesis. for the degree of candidate of historical sciences / Institute of History, Acad. sciences of the USSR. Moscow: [b. and.], 1957.
• Korolev, Yuri Konstantinovich Monumental works, painting, graphics [Text]: Painting. Graphic arts. Album. Moscow: Sov. artist, 1976.
• Voronov, Nikita Vasilievich. Monumental art yesterday and today / N.V. Voronov. M.: Knowledge, 1988.
• Voronov, Nikita Vasilievich. Mikhail Mikhailovich Taraev / N.V. Voronov. L.: Artist of the RSFSR, 1983.
• Voronov, Nikita Vasilievich. People, events, monuments: (Stories about monuments and memorials). Prince for students of art. class Nikita Voronov. M.: Enlightenment, 1984.
• Voronov, Nikita Vasilievich. The art born of fire [Text]. [Moscow]: Sov. artist, [1970].
• Voronov, Nikita Vasilievich. The Art of the Object World [Text]. Leningrad: Artist of the RSFSR, 1975.
• Voronov, Nikita Vasilievich. Art and urban environment / N.V. Voronov. M.: Knowledge, 1982.
• Voronov, Nikita Vasilievich. The life and fate of the sculptor Mukhina / Nikita Voronov, Elena Korotkaya. M.: Knowledge, 1989.
• Evgenia Gorelikova, 1924-1999: Monument. art. Painting / [Entry. Art. N. Voronov, N. Tarakanova]. M.: Our Isograph, 2000.
• Voronov, Nikita Vasilievich. Design: Russian version / N.V. Voronov; Scientific research Institute of Art Studies Ros. Acad. Arts, Mosk. state artist-prom un-t them. S. G. Stroganova. Tyumen: Institute of Design, 2005.
• Voronov, Nikita Vasilievich. Vladimir Konstantinovich Zamkov / N.V. Voronov. L.: Artist of the RSFSR, 1983.
• Voronov, Nikita Vasilievich. Vera Mukhina : Monograph / N.V. Voronov. M.: Fine Arts, 1989.
• Karbel, Lev Efimovich Kerbel . Album [Text] / [Entry. article] N.V. Voronova. Moscow: Fig. art, 1977.
• Voronov, Nikita Vasilievich Diamond Face [Text]: The Story of the Neva Crystal / N. V. Voronov, M. M. Dubova. Leningrad: Lenizdat, 1974.
• N.V. Voronov. People, events, monuments. Moscow, 1984.
• N.V. Voronov. Soviet monumental sculpture. 1960-1980. Research Institute of Theory and History will depict. Arts Acad. Arts of the USSR. Publishing house "Art", Moscow, 1984. - 224 p. : 86 l silt ; 22 cm. - 30,000 copies. - (Per.): 3.20 p. ^[9]
• N.V. Voronov. Monuments to V.I. Lenin . / magazine "Art", 1987, No. 7.
• N.V. Voronov. Fine art of Soviet Chuvashia. M., 1980 (et al.); N.V. Ovchinnikov. Ch., 1981 (et al.); Revel Fedorov. L., 1989.
• Way and destiny (Toward the evolution of A. Mittov’s work) // Mittov (1932-1971). Ch., 1990.

Diamond Edge

The book “The Diamond Edge” by Nikita Voronov (Muse Dubova, Year of publication: 1974 Publisher: Lenizdat) talks about the art of art glass, which in the middle of the XVIII century began to be made in St. Petersburg. Here, talented glassmakers created unsurpassed works of art from glass and crystal. And although they worked under the difficult conditions of an autocratic serfdom state, their products were distinguished by their beauty and perfection, they still amaze with the virtuosity of decoration, brilliance and completeness of form. After the Great October Socialist Revolution, a new qualitative stage began in the development of art of art glass, the revival of which was associated with the names of the largest Soviet sculptor Vera Ignatyevna Mukhina and the remarkable Soviet scientist Nikolai Nikolaevich Kachalov. The masterpieces of glass and crystal created by V.I. Mukhina reveal the enormous artistic possibilities of glass. The traditions in glassmaking laid by it, in our time, are developing by the talented team of the Leningrad art glass factory, whose works adequately represented our city at all-Union and international exhibitions. The authors of the book, candidate of historical sciences N.V. Voronov and an employee of the art glass factory, art critic M.Dubova, based on interesting documentary materials, talk about the history of the emergence and development of the enterprise, talk about its present day, about its best people who make up the factory’s fame and pride . ^[10]

"Sculptor Dmitry Borisovich Ryabichev"

Book of Nikita Voronov “Sculptor Dmitry Borisovich Ryabichev” (SOVIET ARTIST Publishing House, 1985). “Monumental attitude” to the portrait, the ability to focus on the main thing, consciously restricting oneself to the details - all this seriously helps the sculptor when working on portraits, monuments and tombstones. A certain tradition of portrait gravestone has long been established, tacitly recognized by all, albeit controversial. Apparently, its composition was helped to some extent by the custom of removing the plaster mask from the great deceased. These masks often later serve as the basis for tombstones, in which sculptors usually reinforce the features of significance and grandeur, a kind of stagnation, a noble hill. Thus one way of portrait generalization is born. But death, as you know, “smoothes” a person, makes him calmly calm. It seems that all earthly worries and anxieties finally left the person, and his appearance acquires significance, detachment from the hectic everyday life, “otherworldly”. The portrait created on the basis of the mask does not turn into a collective type, it retains its individuality. A person acquires a certain measured regularity, a kind of “fossil”, usually, only any one character trait is revealed more when working on a portrait, it is emphasized, it becomes dominant. Different types of portrait generalizations are very well traced in the works of Ryabichev. The portrait of "Baba Nastya" (1964) is a portrait type. When you look at him, you might even say that you once saw this woman in your life. Indeed, those far from wonderful features that impose on the faces of the elderly inexorable years, worries, illnesses - all of them were published here. It seems that there is not a single sharp or grotesque feature, but nevertheless, the portrait seems almost grotesque. Despite the seemingly soft, smooth lines of the cheekbones and cheeks, the forehead is convex, there is something uncompromisingly square in the face, and the pointed nose and chin together with the piercing gaze of sunken eyes give out some stubborn will, which is not at all conducive to pleasant communication ... ... "Prometheus" - a generalized, symbolized image of the head of Karl Marx, which became the basis of the monument in Tashkent. Here, facial features are almost hidden by powerful masses of beards, mustaches, flowing hair, creating the impression of wind, whirlwind, tongues of flame. This is a generalized monumental portrait, and the sculptor here does not at all strive for the viewer to analyze character traits by facial features. Another thing is important to him: so that we immediately see exactly Marx and read the sculptor’s thought correctly, perceiving the work allegorically, as the image of Prometheus, as the image of the one who brings fire, and therefore, the light to people. In this relation to the portrait there are features of just monumental portrait-monuments. In fact, they turn into an idea, into a symbol, into an allegory. Only the fundamental principle of the work, that is, from the portrait itself, in fact, only one thing is required here: quick instant recognition. The rest is an expression of the sculptor's idea and creative will. The personality of the author, his ideological positions, his socio-moral ideals play a decisive role here. The idea of ​​Marx-Prometheus, which, as you know, found its expression in literature, was embodied by Ryabichev in monumental plastic. In his portrait work of the second half of the 1960s-1970s, Ryabichev more and more clearly appears as a monumentalist. But still, some changes in his work are taking place, or rather, not so much even changes, but rather a shift in emphasis. So, from the late 1960s to almost the second half of the 1970s, he paid almost no attention to collective type portraits. he is more occupied with portraits-monuments, that is, the kind of portraits that is close to tombstones. Perhaps this is due to purely random circumstances, for example, in the early 1970s he had to perform three tombstones: in addition to the familiar Anastasia Andreevna Borunova (“Baba Nastya”), these were tombstones of the Uzbek poet Muso Aybek and physician S. Atakhanov (both 1971) And the last two clearly trace the features of portraits and monuments. An individual characteristic is preserved in them, but it is made generally, as it were, with “large strokes”, with clear volumes and masses. The real features of each are only slightly indicated. This is exactly how “marked”, for example, is the mass of hair in the portraits of M. Aybek and S. Atakhanov, as if by “strokes”, eyebrows were put on top, lips were sharply outlined. Faces are given in a symmetrical fossil, especially in S. Atakhanov, a calm composition is used in his bust, which does not distract attention from the face with its traditional statics. In the tombstone of Muso Aybek there is a more developed and unusual movement - a bowed head - which helps the perception of a poetic image. The selected material - polished granite - not only contributes, but as it were, requires just such handling of masses and details to express its specificity .... ". A powerful cubic granite block, black as the earth itself, promptly split a through crack into two ... This is a symbol of the opened abyss - a key figurative element of the sculptural and architectural memorial" Courage "dedicated to the restoration of Tashkent and the aftermath of the earthquake of 1966. It was opened a decade later, in 1976, when the memorial itself was already surrounded by new handsome houses, greens were rustling and silent jets of fountains sparkled in the sun. The author of this work was sculptor Dmitry Borisovich Ryabichev. Yes, almost immediately after the tragic events, and together with the architect S. Adamov, he began to lead the creative team of the creators of the memorial. “... Keeping his generalized, low-detailed style of plastic, Ryabichev, however, decided in a completely different way the monument to Sh. M. Shamakhmudov and his fifteen children, established in Tashkent.The family of the blacksmith Shamakhmudov during the years of World War II adopted and raised fifteen orphans of different nationalities, babies whose parents died in battles for their homeland. It was a feat of a simple man and his wife, who took on great care of step-children and responsibility for their life and fate. By a decision of the government of the Uzbek SSR in Tashkent in 1982, the feat of the Shamakhmudov family was immortalized in bronze. It is symbolic that the monument was erected near the Palace of Friendship of Peoples named after V. I. Lenin (architect E. G. Rozanov, S. R. Adylov), because it also personifies this indestructible friendship, which was especially clearly manifested in the difficult year for the Motherland. ” ^{[11] [12]}

• "Worker and collective farmer." Voronov Nikita Vasilievich. Category: media, book publishing. [4] * NIKITA VORONOV: "Sculptor Dmitry Borisovich Ryabichev." 1985 [5]
• Boris Alexandrovich Smirnov and Nikita Voronov. Victor Gan.
• NIKITA VORONOV: Soviet monumental sculpture, 1960-1980. Bibliographic information. QR code for Soviet monumental sculpture, 1960-1980. Title: Soviet monumental sculpture, 1960-1980. Author: Nikita Vasilievich Voronov. Publisher: Art, 1984. Original from the University of Michigan. Digitized: Dec 27, 2006. Length: 221 pages. [6]