His works are a logical continuation of the old ceramics, plastics and develop consumer rationality of traditional forms. These traits are the basis of its garomnichnoy modern decorative pieces in which all due to the logic of practical things and the beauty of the clay sculpture.

Pottery Alexander Popov is perfect for the execution, always unique. It runs only a potter's way. Combining traditional and modern in its products is not only the continuity of art, but also makes them relevant to modern living environment. They fit perfectly in ethnographic and minimalist interior.

Popov designed tiles for stoves and fireplaces in Technology obvarki. Their priobretaeyut those who appreciate natural materials, looking for things in the world today marks its own national culture.
Alexander Popov graduated from Ryazan Art School, participated in many exhibitions. Has several personal.
Publications:
Popov. Exhibition Catalog-M., 1993
Frumkin. Pottery-maker. Alexander Popov //industrialists and entrepreneurs. 1994. August
Popov. Ceramics. Album-monografiya.-M., 2002
http://www.vr-goda.ru/_index.php?pag...b=8&gallery=64

In 1954 the gang "Artistic Ceramics" came a young painter LP Azarov. At the new specialist high expectations. One of the first works were for Gzhel sculpture "The Tinder Box", "Prince Ivan," calf "," Girl with chickens "and others, in which the dominant visual and narrative.

In 1950 Azarov created a series of vessels, sculptures: jar-sheep, goat-vessel, vessel-camel and several others. Most organic vessels were in the form of female figures, coming from the Russian clay toy. The first major successes of the author observed in pottery forms - Jug "Gzhel", circle-crackers, Kvasnikov Souvenir "Rooster", where the artist uses bold and fresh tradition of folk art. Genre style in the work of LP Azarova played a prominent role in the development of Soviet art Gzhel. Figures "Twins", "reading a book," "samovar" and many others deliver the aesthetic pleasure of a detailed review of them.
In the 1960's hard and fruitfully LP Azarov continued to work to create sculpture and pottery forms. Working in traditional fishing is equally easy and difficult. It is easy because the artist has the opportunity to continually enhance their creative ideas, based on a thorough examination, rethinking of popular traditions, methods and techniques of old masters. It is difficult because the terms of traditional ideas partly restricts the creativity of the artist.

In the years 1960-1972 L. Azarov created a large number of works. Her interests are diverse. It is with the same skill makes the "production items" intended for mass production, and exhibition work, showing great creativity. A series of small skulpturok: "A horse with a colt," "A pig with piglets," Jerzy ", etc. replaced vulgar naturalistic puppet heads, wide-production time. The monumental work "The Pig", to express the idea of labor and peace on earth, with demonstrated success at many exhibitions.

 Unique Products LP Azarova define "person" Gzhel, were the main stimulus to creative work of masters of fishing.

The time of flowering of creative artists Gzhel was the second half of the 18 th century. It began to make smart majolica Kumgang, jugs, Kvasnikov, dishes typical of this type of pottery painting in light icing in three or four colors, with a predominance of green, yellow, purple-brown. The painting of this period is different artistic proficiency in brush, beautiful songs, entertaining storyline. Expression was achieved not only by decorative color and motif patterns, but also through a variety of sculptural forms., Unprecedented creative ansablya, understanding of the sculptor and painter.
First, the 19 th century gzheskaya mayolka replaced polufayansom and fayanosom and later porcelain. Polychrome painting is replaced by a monochrome underglaze painting kobatom. Blue and white ware Gzhel masters its mild forms of plasticity, the elegant decoration. Light noble porcelain, painted only cobalt, under the influence of high thermal, becomes сказачно beautiful. Blue paint better than any other was connected to a glaze when obzhoge and izluchachla radiance, is not subjected to the action of time.
Severe economic crisis that befell gzhel in the late 19 th century, also affected the development of its national crafts. Traditions old Maseru had been lost. To revive the ancient art of Gzhel become one of the main tasks of the Soviet masters of arts and crafts.
The basis of practical and creative deyatklnosti for Revival art Gzhel went to famous art works of AB Saltykov. Together with the artists and craftsmen Gzhel recover forgotten skill, technique cobalt painting, created new forms.
Revival art noviznv which would preserve local traditions, has dedicated her life and LP Azarov - leading artist proizvrdstvennogo association Gzhel. Giving of LP Azarova - sculptor and master of decorative painting products - in neissekaemoy creative energy and rich imagination, industriousness. With great love, she is exploring the traditions Gzhel, Russian applied art, vozrazhdaet tradition of porcelain and faience of Russian art, introducing new imagery, their new understanding of the material, shape and painting. For works LP Azarova characterized by generalized plastic, a combination of utilitarian function of art (Kvasnik "Tea Time" watch "Morning" oiler "Fish-Whale"). Traditions Gzhel plane monochromatic paintings reinvented with hkdozhnikom and find vyrvzhenie in the birth laconic decorative forms in the creation of rich plasticity of fine sculpture ( "The Rooster", "Cats"). Continuing the tradition of the ancient masters, LP Azarov widely uses in his works Russian falklor (sculptural composition "Milkmaid", "guitarist" and "Balalaika Player," "Evening," "On the bench," "Pig," "Feast"). Great interest is a panel, the creation of an artist for the interior of the Palace of Sports in the city of Togliatti. Plural songs with texts Russian proverbs and sayings depicting fishermen, hunters, balalaika woven into a necklace of zoomorphic ornamental, plant motifs and symbols Zadiaka.
For creativity LP Azarova characterized by innovation, insight into contemporary fashion, vyrvzhenie and even the anticipation of high aesthetic demands.
The problems of the world, deeply moving LP Azarov, a veteran of World War II with its first days until the day of victory, embodied in the idea of rich sculptural compositions ( "Let there always be sunshine," "ABC" and others). Creativity LP Azarov, has won national recognition and love, largely determines the direction of development of Soviet arts and crafts.

TA Postrelva

talent manifested itself early: receive training in private studios and schools of Vilnius, Moscow and St. Petersburg, where her teachers were outstanding masters of Leonid Sherwood and Mary Dillon (whom we remember from the amazing gravestone Komissarzhevskaya), a seventeen year old sculptor has successfully started develop such complex materials like marble and granite.
During this period, Danko in the creative workshop VV Kuznetsova is working on sculptural decoration of mansions in Moscow and St. Petersburg, erected by architects such as AV Schusev, IA Fomin (mansion AA Polovtseva at Stone Island), and other projects. The outbreak of World War II put an end to the flourishing of architectural and construction business. VV Kuznetsov accepts the offer, EE Lancere head sculpture studio of the Imperial Porcelain Factory, together with him in February 1915 at the plant comes Natalia Danko.
Since then, she began her special way in art. This path has coincided with the revival of the State (formerly Imperial) Porcelain Factory. In March 1918 the production was to assist the People's Commissariat of Education, which is in charge acted State Porcelain Factory (from 1925 - LPF, the Leningrad Porcelain Factory Lomonosov). The Soviet state sought to use the propaganda possibilities of art to promote the new system and its ideological values. So in the history of art appeared propaganda porcelain. Availability of material and the possibility of hundreds and thousands of copies of replicated "democratic art forms" (Lunacharskii) enabled quickly solve the problem posed by the Bolsheviks.
In 1919, Natalia Danko led the sculpture studio of the plant. For twenty-three years of work at the factory sculptor has created over three hundred polychrome porcelain figurines, vessels and reliefs, sculptural groups and desktop devices. Subtle knowledge of the material that penetrates deep into the traditions of Russian folk ceramics and porcelain, the incredible accuracy of the social and psychological characteristics - all of this was inherent in the work of many famous artists studio and Natalia Danko - in the first place. Like-minded sculptor was an artist Elena Yakovlevna Danko (1898-1942), sister Natalia. That she is the author of the majority of works of painting Danko. Of particular note is that the paintings were not repeated in each figure of the artist invested something new, sought to inspire the beauty of the objective world.
 
After the success at international exhibitions and fairs in Paris, Berlin, Lyon, in 1928 the plant returned to the replication of Exported commercially successful figures of works by Natalia Danko, Boris Kustodiev and Dmitry Ivanov. In 1931 opened the first art studio to create samples of mass production, it was headed by NM Suetin. Since 1936 products on the plant began to put the stamp of "LPF". Works of pre-war decades, different forms of purity, richness of colors, incredible concrete manner. Among the heritage brilliant cohort of masters of the plant Natalia Danko this time are especially outstanding. For five years it has been established for over thirty models. The transition from the subjects of the revolution of ideas and forms of propaganda porcelain to the new style consonant with "the socialist way of life", for Danko was difficult. It was a way of "partisans in the campaign" (1919) to "rabfak" (1930).
The sculptor has managed to embody different social types, to create a vivid picture of reality: canary restaurant, a street hoodlum with a balalaika, the Komsomol in a red kerchief with a volleyball ball in his hands, a laundress, and other images were created during this period. By the conviction of many contemporaries, to such a creative breakthrough Danko came under the influence of II Rybakov, who failed to appreciate the unique historical and artistic significance of small knick-knacks that reflect the great events, and support the sculptor in a difficult period for her creativity.

Sculptor Natalia Danko has participated in many exhibitions, including abroad. Her works were exhibited in Paris, where in 1937 the LPF products were awarded the gold medal of the World exhibition. But Natalia Yakovlevna solo exhibition was held only one, the one organized II Rybakov. In a small room in the house of culture in the Vyborg district in January 1929 the public was presented to one hundred and fifty works by the master. The exhibition has successfully worked for almost nine months. Critics have emphasized the "wonderful and laconic, with the full agreement given by the sample" (VS Warrior).

1969 by submitting student work, Bruskin adopted in the Union of Artists in the section of painting.
Since the late 1970's working in parallel on two themes: the myth of Judaism and the Communist myth.
1980 creates the work in the form of fragments of an infinite pattern (alefbet "," Fundamental Lexicon, "codification" and others).
1983 solo exhibition Grisha Bruskin in Vilnius, Lithuania. A few days after the opening of the exhibition is closed by order of Comrade. Shepetisa, Secretary of the Division of ideology manual Lithuania. Artist call for a friendly court in the Moscow branch of the Union of Artists. Trying to exclude from the Union. Limited to public censure.
1984 exhibition opens Grisha Bruskin at the Central House of Artists. The exhibition is closed on the following day by order of Comrade. Rogozhin, Secretary MK party.
1985 Bruskin began work on sculptures.
1987 opened the first uncensored exhibition "The Artist and Modernity" in the exhibition hall Kashirka. Located in Moscow, an American film director Milos Forman gets 1 st part of the picture Bruskin "Fundamental lexicon.
1988 Bruskin exercise performance "Birth of a Hero" in the exhibition hall Kashirka with Pekarsky, Prigov, Rubinstein, Tarasova, etc.
Bruskin participates in the exhibition "I live - I see" in the Museum of Fine Arts in Bern, Switzerland.
July 7 is the first Moscow Sotheby's. Painting Bruskin "Fundamental Lexicon" - on posters and on the cover of the catalog.
Six works Bruskin sold for a record for contemporary Russian art prices.
Participates in the exhibition "Olympics of Art" at the National Museum in Seoul, South Korea.
President of the Chicago International Exhibition invites Bruskin come to Chicago and make a poster for this exhibition.
Since 1988 lives and works in New York.

Performances
1988 "The Birth of a hero. Showroom Kashirka Street Millionschikova, Moscow, Russia
1997 Grisha Bruskin /Vladimir Tarasov. "The elementary truth or Island - part of land surrounded by water." Festival KUKART-3. Tsarskoe Selo, Russia

Public procurement and installation

1995 Sculpture "Person" for the city of Ra'anana, Israel
1999 Triptych "Life is above all" for the renovated Reichstag in Berlin, Germany

Personal Exhibitions

1976 House of Artists, Moscow, USSR
1983 Vilnius, Lithuania
1984 Central House of Artists, Moscow, USSR
1990 Marlborough Gallery, New York (catalog)
1991 Painting and Sculpture. Grace Hokin Gallery, Palm Beach, USA
Personal mythology. Gallery Erica Meerovich, San Francisco, USA
1992 Galerie Alex Lachmann, Cologne, Germany
General Instruction /Lev Rubinstein. Another name. State Museum of Fine Arts. Pushkin, Moscow, Russia, State Russian Museum, St. Petersburg, Russia (catalog)
1993 Painting, drawing and sculpture. Struve Gallery, Chicago, USA
1994 Painting. Sculpture. Graphics. Linda Harris Gallery, Seattle, USA (catalog)
General instruction and other work. Marlborough Gallery, New York, USA (catalog)
Metamorphoses. Gallery Meerovich. San Francisco, USA
1995 National Museum of Fine Arts, Buenos Aires, Argentina (catalog)
Mythical images. Meerovich Gallery, San Francisco, USA
1996 Revisions. Marlborough Gallery, New York, USA (catalog)
1997 Birth of a hero. Gallery Andy Illinois, Zurich, Switzerland
1998 Life Is Everywhere. Marlborough Gallery, New York, USA (catalog)
1999 Life is above all. Gallery Andy Illinois, Zurich, Switzerland
2000 Marlborough Gallery, Boca Raton, USA
2001 Life Is Everywhere. State Museum of Fine Arts. Pushkin, Moscow and The State Russian Museum, St. Petersburg, Russia (catalog)

Selected Group Exhibitions

1966 Seventh Exhibition of Young Artists. House of Artists, Moscow, USSR
1987 Artist and Modernity. Showroom Kashirka Millionschikova Street, Moscow, USSR
Object. Exhibition hall at the Little Georgian Street, Moscow, USSR
Retrospective 1957-87. Exhibition Hall of the Hermitage on Profsoyuznaya Street, Moscow, USSR
1988 Ich lebe - Ich sehe. Kunstler der achtziger Jahre in Moskau. Art Museum of Bern, Bern, Switzerland (catalog)
Olympiad of Art. National Museum of Contemporary Art, Seoul, South Korea (catalog)
Sowejetkunst heute. Museum Ludwig, Cologne, Germany (catalog)
Glasnost - Die neue Freiheit der sowjetischen Maler. Kunsthalle Emden, Germany (catalog)
Kunstdrachen: Bilderfurden Himmel. Art Museum of Miyagi Prefecture, Sendai, Japan (traveling exhibition: Japan - Europe, 1988-1992) (catalog)
1989 100 Years of Russian Art 1889-1989: From Private Collections in the USSR. Barbican Art Gallery, London, England (traveling exhibition: Great Britain - USSR) (directory)
Sculpture by Abakanowicz, Botero, Bruskin, Davies, Grooms, Mason. Marlborough Gallery, New York, USA (catalog)
Von der Revolution zur Perestroika: Sowjetische Kunst aus der Sammlung Ludwig. Kunstmuseum, Lucerne, Switzerland - Palace Virreyna-Ahuntament, Barcelona, Spain - Museum of Contemporary Art, Saint-Etienne, France (catalog)
Recent Aquisitions. Museum of Modern Art, New York
Artists for Liberty, Berlin Wall. Foundation Pascal Jeandet. Paris-London-Madrid (catalog)
1989-92 Bilderfurden Himmel-Kunstdrachen. Palace of Arts, Munich, Germany - Great Hall of the Town Hall, Paris, France - Collection of North Rhine-Westphalia, Dusseldorf, Germany - Central House of Artists, Moscow, Russia - Deyhtor-Halle, Hamburg, Germany - Galust Gulbenkian Museum, Lisbon, Portugal - Museum Fine Arts, Brussels, Belgium - National Gallery, Berlin, Germany - Charlottenburg, Copenhagen, Denmark, etc. (folder)
1990 Chagall to Kitaj. The Jewish Experience in 20th Century Art. Barbican Art Gallery, London, UK (catalog)
1991 Artistas Rusos Contamporaneos. Santiago de Compostela, Spain (catalog)
1992 On Paper. Marlborough Gallery, New York (catalog)
Diaspora. Central House of Artists, Moscow, Russia
1993 Drawing the Line Against AIDS. Venice Biennale, Venice, Italy - The Guggenheim Museum in Soho, New York (catalog)
Von Malewitsch bis Kabakov. Russische Avantgarde im 20. Jahrundert. Collection of the Museum Ludwig. Josef Haubrih-Kunsthalle, Cologne, Germany (catalog)
Post-modernism and tradition. The State Tretyakov Gallery, Moscow, Russia
A la decouverte ... de collections romandes. Museum of Contemporary Art, Pully /Lausanne, Switzerland (catalog)
Eugora-Eugora. Das Jahrhundert der Avantgarde in Mittel und Osteuropa. Art Exhibition Hall of the Federal Republic of Germany, Bonn, Germany
Fujisankel Biennale. Open-air Museum, Hakone, Japan (catalog)
1994-95 Itinere. Center for Contemporary Art, Santiago de Compostela, Spain (catalog)
1995 Reinventing the Emblem. Art Gallery of Yale University, New Haven, Connecticut, USA (catalog)
Russian Jewish Artists in a Century of Change 1890-1990. Museum of Jewish Culture, New York (catalog)
From Gulag to Glasnost. Non-Conformist Art from the Soviet Union 1956-1986. Collection of Nancy and Norton Dodge. Art Museum Jane Vorhis Zimmerly, Rutgers University, New Brunswick, New Jersey, USA (catalog)
Moscow: The Group. Heidi Nyuhoff Gallery, New York (catalog)
On Paper. Marlborough Gallery, New York (catalog)
Sculpture in the Little Forest. Ra'anana, Israel
1996 Nonconformisten. Die zweite Russische Avantgarde 1955-1988. Collection Bar-Gera. The State Russian Museum, St. Petersburg State Tretyakov Gallery, Moscow, Russia; Art Institute and Gallery, Frankfurt, Germany; Exhibition Hall of the Bavarian department of culture, Leverkusen, Germany, Josef Albers Museum, Bottrop, Germany (catalog)
On Paper. Marlborough Gallery, New York (catalog)
Division of the latest trends: the first five years. The State Russian Museum, St. Petersburg, Russia
1997 Artistas Nao Conformistas da Uniao Sovietica. The Nancy and Norton Dodge Collection at the Jane Voorhees Zimmerli Art Museum. Lisbon, Portugal (poster exhibition and catalog)
Nonconformist Art from the Soviet Union. Palace of Arts, Budapest, Hungary
Contemporary Artists Welcome the New Year-The Jewish Museum List Graphic Commission. Museum of Jewish Culture, New York
1998-99 Forbidden Art. The Postwar Russian Avant-Garde. Art Center College of design, gallery Alice de Roulet Williamson, Pasadena, California, United States, the State Russian Museum, St. Petersburg, Russia The State Tretyakov Gallery, Moscow, Russia; Art Museum, Miami University, Oxford, Ohio, USA (catalog)
1998 It's the Real Thing: Soviet and Post-Soviet Sots Art & American Pop Art. Wiseman Art Museum, Minneapolis, MN (catalog)
1999 20th Century Sculpture. Nassau County Museum of Art, New York (catalog)
Artist's Book 1970-1990. From the collection of the State Museum of Fine Arts. Pushkin. Department of personal collections. Moscow, Russia (catalog)
Art Projects in the renovated Reichstag. Berlin, Germany
2000 L'arte vietata in U.R.S.S. 1955-1988. Non-conformisti dalla Collezione Bar-Gera. Gallery of Modern Art, Palazzo Forti, Verona (catalog)
Nonconformisten 1955-1988. Die Zweite Russische Avantgarde. Chronik. Bilder und Fotodokumente aus der Sammlung Bar-Gera. Merkishes-Museum of the city of Witten, Germany (catalog)
Eden Zion Utopia. Zur Geschichte der Zukunft im Judentum. The Jewish Museum, Vienna, Austria. Curator Werner Hanako (catalog)
Realizing Future. Museum of Jewish Culture, New York
L'Homme qui marche. De Rodin a Mimran. Sculptures. Palais Royal, Paris, France - Lange Voorhout, The Hague, Netherlands (catalog)
The New Wing for the Nancy and Norton Dodge Collection of Nonconformist Art from the Soviet Union 1956-1986. Art Museum Jane Vorhis Zimmerly, Rutgers University, New Brunswick, New Jersey, USA
Art of 20 th century. The new permanent exhibition of contemporary Russian art. State Tretyakov Gallery, Moscow, Russia
American and Russian Nonconformist Art. Marjorie Barrick Museum, Las Vegas, Nevada, USA
2000-01 Collection of Hans and Uschi Welle. Graphic study, including state museums of Berlin, Berlin, Germany
2001-02 Das rote Haus. Zeitgenossische russische Kunst aus der Sammlung Bierfreund. City gallery Betingen-Bissingen; City Gallery Villa Zander, Bergisch Gladbach, Germany
2001 Dumbo Double Deuce. New York & Russian Artists. Dumbo, New York, USA
Museums
Arkansas Art Center, Little Rock, Arkansas, USA
Chicago Art Institute, Chicago, USA
National Gallery of Art, Caracas, Venezuela
Israel Museum, Jerusalem, Israel
Museum of Jewish Culture, New York, USA
Kunsthalle Emden, Germany
Milwaukee Art Museum, Milwaukee, Wisconsin, USA
Museum Ludwig, Cologne, Germany
Museum of Modern Art, New York, USA
Portland Art Museum, Portland, Maine, USA
State Museum of Fine Arts. Pushkin, Moscow, Russia
The State Russian Museum, St. Petersburg, Russia
The State Tretyakov Gallery, Moscow, Russia
Rutgers University, Jane Vorhis Zimmerli Museum, New Brunswick, New Jersey, USA
Achenbach Foundation for Graphic Arts, San Francisco Museum of Modern Art, USA

Direct speech

"I define a genre of his writings as" Notes of a collector. "For me important is the principle of the collection. Beetles, butterflies, rare items, sketches from memory - their existence is nonlinear, they can be regarded as anything, to read: if you want - from first to last, care - on the contrary, as you want - as you want. "

Prepositional case

Name Grisha Bruskin until 1988 there was little indication to the public, his paintings could only see their own, exhibitions have been banned.

Then, at the Moscow Sotheby's auction of his paintings, including "The fundamental vocabulary," were sold for a record for contemporary art prices - nearly $ 1 million.

Grisha Bruskin lives as if out of time, more precisely, over time - he looks at the past from the future, at present from the past.

C no matter what system he or plastic work, whether painting, drawing, monumental sculptures or small plaster figures, he writes like an anthology of mythological archetypes, calling their cycles "Lexicon", "Alphabet", "logy".

As a result, develops a kind of book, chapters which bear the names of its projects, Genesis, Genesis of civilization, from birth to death.

Prepositional case

Grigory Davidovich Bruskin, Muscovite 45-year birthday, Grisha Bruskin began many years ago. That's how he signed the first of which seemed to him self now. In Soviet times, life Bruskin was not happy: personal exhibition of the artist banned with an enviable constancy, and his work practice were not known to the public. But already in 1988, Grisha Bruskin was avenged with a vengeance for the previous neglect. Became known for its "fundamental vocabulary" (1986), where the figures, bearing the emblem of official Soviet culture, brought together at large tables.

In a subsequent work of the same principles of sots-art combined with elements of ironic Judaica. In the first and the last was held in Moscow, a Sotheby's auction of its 6 paintings - the most famous of these was "The fundamental hryushachy lexicon" - were sold for a record for contemporary Russian art prices (930 thousand dollars - it should agree that amount). A week later, Bruskin went to America - for cultural exchange, work, and immediately received several proposals to implement long-planned art projects.

In short, Bruskin lives in America today, his works are in major museums around the world, and he is considered one of the most famous Russian artists in the West.

In the early 80's, he molded a group of fifteen sculptures and called the work "The Birth of a hero. Having cast in bronze and wishing to draw parallels with the Soviet sculpture park, he painted them with white enamel. The thought of porcelain first came into his head when he saw the result, which resulted in further work on the "museum collection" of porcelain sculptures of "Life Is Everywhere". Then he invented the "children's" Porcelain "Primer", snovidcheskuyu series "The Edge" to "lovers of poetry", a set of "mystical" dishes "alefbet", "imperial" Fundamental Lexicon, "infinite plot noumenal dishes" Fragment ".

In 1999, Bruskin on the proposal of the German government represented Russia in a project to upgrade the Berlin Reichstag building: there are now adorn triptych Bruskin "Life is above all. Artist lives and works in New York.

Description
after a design by Natalia Danko, sculpted by I. Kuznetsov, a woman depicted with a child at her feet, holding a fish in both hands, one wrapped in a Pravda newspaper

with impressed manufactory mark used for sculpture before 1936
 LITERATURE AND REFERENCES

For similar models please see T.N. Nosovich and I.P. Popova, Gosudarstvennyi farforovyi zavod, 1904-1944, St. Petersburg, 2005, p. 354 and Nina Lobanov-Rostovsky, Revolutionary Ceramics: Soviet Porcelain 1917-1927, London, 1990, p. 93.
 http://www.sothebys.com/app/live/lot...t_id=159587383

Vorobyevsky was a prodigy: a year after beginning work at the plant two of his vases have been awarded an honorary diploma at the International Exhibition in Milan. So the young artist immediately without any period of formation, has become a real master. Subsequently, the artist recalled that he, then a student, was given complete creative freedom. Already by the early works of the master can be judged on its artistic principles. Consider, for example, on a plate "Fantastic Landscape" 1927. Dangerous trees and fancy flowers, mysterious, like crystal, mountains. Ornament on the edges of the plates gives the impression of perfectly executed, but a closer look you will notice that no part of the ornament is not repeated, all the details are sometimes slightly, sometimes significantly different from each other, it is because Vorobyevsky not like symmetry. In general, the decor looks perfect and harmonious. How is it possible to artist? The answer is obvious: Vorobyevsky simple sorcerer.
    Wizard from the outset to define your own range of subjects, which was close to his inner attitude. For example, he recognized only two seasons: spring and winter, but summer and autumn never depicted. His unfulfilled dreams to become a theater artist has left mark on all his work. He made no attempt to portray the reality for what it really was, moreover, its flowers and trees are unique in wildlife, human figures depicted rather conditional, buildings amaze your heavenly appearance, but the bridges are built of crystal. In short, everything that represented the artist, it was fabulous. And Vorobyevsky never made sketches, he painted directly on the porcelain, and when pestered him with questions, from which it takes its unusual stories, always replied seriously: one of my dreams. It's amazing how in an era of socialist realism could be such an original talent. No less surprising, and something else: it was a recognized talent. Nobody seemed strange that the artist's work is not particularly fit into the Soviet reality. Apparently, the power of this talent is that sometimes she can overcome everything.
     Vorobyevsky worked hard and fruitfully, by nature, he was a laborer, for him there was nothing except his art. The most important pre-war work of the master is a vase, painted them on the theme of the poem "The Lay. This vase painter graduated in 1939, he worked on it for eight months, with a month thinking about the track, not starting the painting. There are interesting tidbits about what the artist did not read the poem, he only told its main events. It is difficult to say how it was actually possible, it is just a legend, that often arise when it comes to such significant works. Famous vase was made to the 750 anniversary of "Lay". It is the largest vase, which had the opportunity to paint Vorobiev - its height is 97.5 inches. It should be noted that the artist rarely uses literary works to create the mural themes of their works. An example of the first such work was a different vase, painted Vorobiev in 1936 based on the poems of Pushkin's "Ruslan and Ludmila. This vase is the artist commissioned to do the 100 th anniversary of Pushkin's death. In the same year the artist painted, and two more the service - "Ruslan and Ludmilla" and "The Tale of Tsar Saltan. The last time the works of Pushkin Vorobyevsky asked after the war. In 1949 (apparently, the 150 anniversary of the poet), he created two vases - "The Golden Cockerel" and "The Tale of Tsar Saltan. More literary works in his work, he has not used, because subjects for their paintings invented himself. All of the above work in terms of composition have something in common. The surface of the vase is divided into a sort of arch on the side, and each part is painted on a particular episode of the work. The top is painted vases one common frieze. The basket "Lay" frieze occupies about a third product, the rest of it is small. Curiously, for such a reception of the artist resorts (with a few exceptions) only in its "literary" vases.
    His style of painting Vorobyevsky rather unusual, sometimes referred to as an artist-jeweler. He loved painting to fill almost the entire surface of porcelain, using a unique technique: first a thin pen, contour drawing, and then using a thin brush drawing poured colored paint. Technique is very time consuming, but it gives more expressive possibilities than a painting on porcelain with conventional smear brush.
    Very often in the names of works Vorobyevsky found the word "fantastic": "Fantastic view", "Fantastic Venice", "Fantastic city", "Arctic Fantasy", "Fantastic Flowers", "Exotic Fantasy", "Spring Fantasy", "Southern Fantasy "," Russian Fantasy "and simply" Fantasia. " One looks like an alien in the series "The dish with the image of the industrial landscape, completed in 1931 (it is located in the Russian Museum), it would be interesting to look at it: this is probably the only artist working on a similar theme. Other works of masters have little in common with the prosaic reality.
    Of course, pre-war period of creativity Vorobyevsky was very fruitful, was already a clear scope of his talent. But the war began. Vorobyevsky was not supposed to go into the army at the call: he had tuberculosis, but the fall of 1941 he still was taken in the militia. The militias were first surrounded and then captured. Alexey was in a Nazi camp in Latvia. From the camp he was sent batrachit to the farm to the family of a teacher, where he had to work hard (caring for animals), it is true, as he recalled the artist, fed laborers are very satisfying. Then Vorobyevsky got on one of Riga's factories (probably china). About his work there he never spoke. After the war, the artist has put their own (as a former prisoner of war), he spent 8 months in the Leningrad prison "Crosses". Soon all the same exemption he procured, but understand what the militia were to blame, he never could. They say that the artist painted a number of dishes on the horrors of war. There, on the background of a fantastically beautiful landscape of giant spiders devour people. For a while, these dishes are not subjected to roasting, lay beside the table wizard, but then he washed the painting with turpentine, and when asked why he did it, said that art should be in the world was just beautiful.
    In the postwar years in the artist's works, new motives. In 1946 he created the vase "Puppet Theatre", perhaps starting with this work, the artist seriously interested in Russian popular prints, and in general the influence of Russian folk art on creativity Vorobyevsky was very great. Created in the same year, the vase "Russian splint" and "Flowers and animals" is confirmed. Three years later, the artist painted coffee service "embroidery", then the topic "Russian patterns" and "People patterns" often encountered in the wizard. Of course Vorobyevsky not limited to Russian folk art, its terms of bias is quite large. For example, he is very keen on the east. Service "Oriental dance" was created by him in the far in 1933: Eastern beauties and wonderful designs were inspired by dreams of the artist, this theme was continued after the war. Another favorite theme murals Vorobyevsky was theater, many of his prewar work extremely theatrical, but directly to the image, the theater artist began in the postwar period, one of his most significant works on this subject - service "Russian Ballet".
    Vorobyevsky was a very solid, he never aligned to the real world, he simply created his own world, in which he lived, and generously let others touch it, but only to touch, nothing more. Perhaps that's why artists are not very liked to tell about myself. Many people communicate with him, after a seemingly long conversations made sure that did not know about him almost nothing new. Therefore, any, even the smallest fact from his biography becomes so important.
    Vorobyevsky led a very regulated life. Prior to a walk after work, went into a cafe for supper, and then drove home to get some sleep, then went to the movies or the theater. On weekends, the artist visited the Hermitage. He lived in a communal apartment, his neighbor (the two older women) worked in the Public Library. They brought the artist books about art, he has an excellent grasp of human subjects, but that's the exact sciences did not like. Alexey married late (46 years), a nurse from the infirmary, the Lomonosov factory, after his marriage, his lifestyle has not changed. In the holiday has always traveled in July and only in Sochi, he admired the bright southern nature. He loved the smartly dressed women, but low-key lovers clothing called "mouse".
    In the house of the artist had no pictures, no books about art, nor his own porcelain works. Why? He in fact the entire Hermitage in the head. Indeed, the halls of the Hermitage, he ran almost at a run, almost without looking at the pictures. Puzzled people explained that Vorobyevsky knows all there is the tiniest of details, such is its unique memory. It is said that before the war, the master was a great collection of old postcards of various European cities, thanks to which he knew the sights of these cities in detail, although never been there. This remarkable collection was destroyed in the bombing - the artist's house was completely destroyed, possibly from the time he became so indifferent to mortal things.
    In the seventies he created a very interesting service, as it sums up his five decades of work at the plant - "Art Gallery", a painting which he used all his favorite motifs: trees, like weeping willows, covered with a variety of colors (the artist do not care that one plant can be different colors), air dancers, swans floating on the surface of the lake, the eastern landscape and next to them snow-covered Russian winter, her exquisite fountains, parsley and buffoons, crystal castles, bird Sirin - all it is fused together in a harmonious picture of some of Eden, a fantastic country in which the good fortune to live the artist, and on which he so enthusiastically told us.

Vorobyevsky AV (1906-1992)
1926-1941 and 1945-1992gg. worked on the LPF. Honored Artist of the RSFSR (1969), winner of the Soviet composer. Ilya Repin (1970), People's Artist of the RSFSR (1981), the World Exhibition in New York (1939), Brussels (1958), Montreal (1967).
His works Vorobyevsky stored in the Hermitage, the State Russian Museum, the Museum of Ceramics "Manor Kuskovo XVIII Century, other museums in Russia and abroad, numerous private collections.