Saturday, December 5, 2009

A Sparrow in the Soviet Storm




Vera Mikhailovna Ermolayeva (1893-1937) was a Russian painter, printmaker and illustrator. 
Her legs had been paralyzed since childhood, and she walked with the aid of crutches. 
After studying painting and archeology, in 1918 she established the artist collective Segodnya (Today) 
in Petrograd, which published small editions of children's books illustrated with hand tinted linocuts 
in the traditional lubok style.

Illustration for Petukh (Rooster) by Natan Vengrov, linocut with watercolor additions, 1918

Cover and illustration for Myshata by Natan Vengrov, linocut with watercolor additions, 1918

In 1919 Ermolayeva was chosen to replace Chagall as the rector of the Institute of Practical Arts in Vitebsk
She appointed Kazimir Malevich as head of the painting department, and with some of the school's students 
they formed the UNOVIS group. During this period she was strongly influenced by Malevich's ideas, and created
Suprematist designs for stage sets and wall paintings. In the early twenties Ermolayeva moved to Leningrad,
 where she worked at the Institute of Artistic Culture and the Art History Institute. In this period, 
she moved away from abstraction and started developing her personal style of figurative painting.

Illustration for the fairy-tale book Zaichik (Bunny), linocut, 1923

From 1923, she contributed to the first children's magazines VorobeyNovy Robinzon and Chizh and Ezh
and in 1925 she started illustrating children's books for the state publishing house Gosizdat. These works 
reflect not only Ermolayeva's artistic skills and mastering of different techniques, but her strong sense 
of humor and joie de vivre. She published approximately twenty books with texts by leading poets 
like Daniil Kharms, Nikolay Zabolotsky, Alexander Vvedensky and others.

Illustration for Top-top-top by Nikolai Aseyev, 1925

Illustration for Krasnosheika by Nikolai Aseyev, 1927

Cover and illustration for Martyshka i Ochki (The monkey and the spectacles) by I.A.Krylov, 1929

Sketch for the cover of Kot Pamfil (Pamphil the Cat), watercolor on paper, 1928 (unpublished)

Cover and sketch for Rybaki (Fishermen) by Aleksander Vvedenskij, gouache on paper, 1930
In 1928 Ermolayeva went on a trip to the White Sea, and recorded her impressions in a series of gouaches.
 These works inspired Kharms and Vvedensij, who wrote children's books based on them.
Cover and illustrations for her own Sobachki (Little dogs), 1929

Cover and double spread for Ivan Ivanovich Samovar by Daniil Kharms,1929

Illustration for Reineke Fox (Reynard the fox) by Johann Goethe, 1930 (unpublished)

Regrettably, like many other members of the Russian avant-gardes, Ermolayeva became a victim 
of the Stalinist purges and her life had a tragic ending. In 1934 she was arrested with a group of other artists,
 possibly because of her satirical illustrations for Reineke Fox, or her brother's involvement with the Mansheviks.
 She was condemned to 5 years in a prison camp in Kazakhstan, from which she never returned. Some sources 
say that she was executed by shooting in 1937On a personal note, while I always love researching the lives
 behind the artworks, I found Ermolayeva's story particularly interesting and moving. I now deeply admire 
this brave and independent woman and sensitive artist, who in spite of her physical impairment took 
a very active role in times of great changes, and was crushed by her fatal collision with the dark currents 
of history. I am not aware of any current editions of her children's books, but found two illustrated volumes
 about her work, both in Russian: Vera Ermolayeva by A.Zainchkovskaya, 2009, and the exhibition catalogue
Vera Ermolayeva, 1893-1937, published in 2008.

Thursday, December 3, 2009

De Bestiarium Naturis


Andrea Pedrazzini is an Italian poet and visual artist working in Milan, best known for his illustrations and vignettes
 published in magazines and newspapers. In 2000 he began the personal artistic project
De Bestiarium Naturis,
 which he planned as a modern bestiary composed of 999 original ink and mixed media drawings
 representing fantastic animals. More than 700 creatures have been completed to date.
 Following are some of the refined and patiently crafted artworks that Pedrazzini 
has exposed in galleries or published in his artist books and blog. Hopefully he will 
be able to publish the entire magnum opus in book form once it is finished.



Above are a few plates from Pedrazzini's Bestiario degli animali autunnali,
published in 2000 and now a freely downloadable e-book


It was difficult to pick just a few images from this delightful banquet of visual puns and ironic inventions. 
Pedrazzini's intelligent and critical eye seems to have conceived this strange collection of creatures
 as an intimate exploration of the deep awkwardness of human nature. His mutating menagerie
 has been grafted with disproportionate and seemingly redundant appendages and accessories,
 and looks hardly fit for survival in the wild. Perhaps, the obviously precarious yet strangely reassuring
 presence of these evolutionary misfits and their questioning gaze are what make them so endearing...

Tuesday, December 1, 2009

Cocorico and Kikeriki



Graphis 28, Special Swiss issue, cover by Hans Hartmann, 1949

As it often happens, a series of serendipitous coincidences has led me
to discover this lovely addendum to Sunday's Roosterfest.
It seems that the fantastic Graphis magazine had a thing for roosters too...

Graphis 28, cover by Joseph Binder, 1950

Graphis 56, cover by Picasso, 1954

Graphis 72, cover by Celestino Piatti, 1957

Graphis 97, cover by Hoot von Zitzewitz, 1961

Graphis 110, cover by Walter Greider, 1963

You can buy the PDFs of these beauties and other past issues at the Graphis website
or go for the originals at the fantastic Modernism 101 bookstore on ebay. This shop is 
a real collector's heaven and it makes me wish I had a lot more money in my pockets...

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