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Biography

After graduating from Moscow secondary school No. 103 in 1953, he entered the Moscow Polygraphic Institute, the art department of which he graduated in 1958.

In 1952, while still at school, he began working for the Housing Worker newspaper, where he published his first cartoons.

Since 1955 he has been working in the magazine "Crocodile", since 1956 - in "Funny Pictures", since 1958 - in "Murzilka", since 1959 - in "Around the World".

He also worked in Evening Moscow, Pionerskaya Pravda, Young Naturalist, Young Guard, Ogonyok, Pioneer, Nedelya and other periodicals.

Since 1960, he has been illustrating books in the publishing houses "Kid", "Children's Literature", "Fiction", etc.

Member of the Union of Journalists of the Russian Federation since 1960.

Member of the Union of Artists of the Russian Federation since 1968.

Member of the editorial board of the Murzilka magazine since 1965.

Holder of the Honorary Diploma named after H.K. Russian children's book (1997).

Laureate of the All-Russian competition "The Art of the Book" (1989, 1990, 1993, 1996, 1997), the reader's choice contest "Golden Key" (1996), the annual professional award for the highest achievements in the genre of satire and humor - "Golden Ostap" (1997).

Chairman of the jury of the children's drawing competition "Tick-tock", held by the Mir TV company (Russian television channel) since 1994.

People's Artist of Russia.

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Microautobiography

“Since I was born, they have been asking me: “Chizhik-pyzhik, where have you been?” I answer: - I was in kindergarten, I was at school, I was at the Polygraphic Institute, I was in Crocodile, I was in Murzilka, I was in Around the World, I was in Funny Pictures, I was in Detgiz, in "Kid" was. Yes! I almost forgot. I was also on the Fontanka. Twice."

V. Chizhikov

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I met Viktor Chizhikov in 1976 at the celebration of the 75th anniversary of Ivan Maksimovich Semyonov, People's Artist of the USSR. I don’t remember whether I myself approached him with a request to sign a book from the “Masters of Soviet Caricature” series, or whether he stopped me when I returned to my place after “congratulations from young Krasnogorsk artists to Ivan Semyonov,” the acquaintance took place. For me then, Chizhikov was not only a virtuoso draftsman, whose work I looked at with pleasure both in Crocodile and Around the World, but also the author of a wonderful idea of ​​how to get to know your favorite artist and not look like a stupid sticky admirer.

At one time, the pioneer Chizhikov dragged a whole suitcase of his drawings to the Kukryniksy and asked the question: “Will a cartoonist come out of me?” ... In a word, I brought with me ... no, not a suitcase, a folder of my drawings and, as if passing the baton , showed the contents to Viktor Alexandrovich. I don't know what was in Chizhikov's suitcase, but I can imagine what was in my folder. He did not beat me with slippers, but kissed me and gave some practical advice. I still remember them.

To begin with, he forbade me to draw on school sheets in a box. In the most categorical way. "You must learn to respect yourself!" Chizhikov said. - "Yourself and your work." And since then I have never shown the drawings made on checkered paper to anyone. Finding drawings of alcoholics in the folder, Chizhikov remarked: “Pay attention when you draw drunkards that no one ever lies belly up. Usually, either the head or the legs stick out of the ditch ... "

Later, when I visited his studio in the house of artists on Nizhnyaya Maslovka, he shared with me his creative method. “I never sit somewhere in a subway car with a notebook, I sit down, choose a victim and try to remember all the details of his appearance as accurately as possible. Then I come home and immediately sketch what I see. This is a great memory training, which is very important for the artist! I never draw anyone from life. Today I was asked to draw a caricature of Gurov, I visited the artistic college, carefully looked at Evgeny Alexandrovich, and then came home and drew him the way I remembered ... "

Not so long ago, Viktor Aleksandrovich turned 70 years old. I still can't believe this! What seventy! This is the magnificent young master of the pen, as I have always known him! His illustrations for children's books are among the best, the caricatures are incomparable, one series of "The Great at the Desks" is worth several volumes of boring historical works, and the Olympic bear, authored by Viktor Aleksandrovich 4 years after we met, is still considered the best Olympic bear. talisman for the entire existence of the Olympic Games in recent history. And, by the way, what am I talking about? Better see for yourself!

Sergei Repiev

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Half of Moscow can be seen from the window of the artist Viktor Alexandrovich Chizhikov's studio. In this house - Malaya Gruzinskaya, 28 - lived Vladimir Vysotsky. Here Chizhikov came up with and drew the Olympic Bear.

The rubber Olympic bear stood on my shelf next to the book "Aibolit" and the numbers of "Murzilka". This year, on the occasion of the 80th anniversary of the journal, the Russian State Children's Library made an exhibition of the artists "Murzilka": Charushin's animals, Konashevich's "Fly-Tsokotuha", cars to the verses of Barto Molokanov. We do not remember their names - only the famous drawings, which were distributed throughout the country in six million copies. (Today's print run of Murzilka is 120,000 copies, which is already self-sustaining.) Chizhikov has been working for the magazine for 46 years, and he and Murzilka have all the stories in common.

“The magazine was defined by men. The ten of us sat down at a large table and started talking nonsense about the next number. Suddenly, the theme is "Small Rivers of Russia" - everyone remembers the river of their childhood. An unusually warm issue came out, this was invented by Yuri Molokanov - he was the main artist in the magazine. He also introduced such a tradition - everyone who returned from a trip showed his sketches and shared stories.

Extremely interesting was the trip of Molokanov himself to the Philippines as part of the first tourist group from the Union. Molokanov wrote a sketch, sitting under a palm tree, and a very beautiful woman with a colorfully dressed retinue passed by. She liked the scene. Molokanov immediately presented it. She asked me to draw her portrait. He was great at capturing the resemblance - well, he gave her a portrait as well. The next day, President Ferdinand Marcos invited the Soviet delegation to a pleasure barge - dancing and drinking were planned. There Molokanov realized that yesterday's beauty was the president's wife. And he is very fond of him. But the horror was that everyone was drunk. And who was at the helm - too. And Molokanov before Polygraph served for seven years in the Northern Fleet. He took the helm in his hands and brought the barge to the shore. True, knocked down the pier. I am missing details. Molokanov reflected all this in his diary drawings.

We were very friendly. Birthdays were celebrated. For example, the 50th anniversary of Viktor Dragunsky is approaching. And one of us - Ivan Bruni - came up with the idea of ​​\u200b\u200bsculpting the laughing head of Dragunsky. You can’t imagine a more ridiculous sight than the laughing Dragunsky: he called his teeth “carelessly thrown pearls.” (What we see now on the stage - satirists in the sense - so we wiped our feet on it, because Dragunsky was among us.) And so we fashioned a caricature from papier-mâché, painted it - a wildly similar head. Once the housekeeper of the Dragunskys, when the owners left for the dacha, opened the closet - this head fell out. With a cry: "Vitya was killed!" - she jumped out into the stairwell and screamed until the neighbors came running and explained to her that it was a sculpture.

Much is also connected with Koval. I usually live in the summer near Pereslavl Zalessky, in the village of Troitskoye. Once Koval arrived, we were walking through the village, and I said who lives in what house. It's an autumn day, cold but sunny. And near some hut, apparently, featherbeds were knocked out. There is no one else, but the fluff is flying. And every feather is pierced by the sun. Koval says: "Chizh, and who lives in this house, I know - Fellini." And I remembered footage from "Amarcord" - an autumn day in Italy, and it begins to snow. The sun pierces the snow flakes, and a peacock sits on the fence. And we had a rooster sitting on the fence. What associative power, I think. Since then, Fellini has been living in our village.”

Recorded by Anna Epstein

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The Olympic bear looks like Viktor Chizhikov. This is understandable: Chizhikov painted it. The bear's portrait takes its place on the wall of Viktor Alexandrovich's workshop among friendly caricatures, photographs of friends and drawings of cats. The bear belongs to the people, and cats are Chizhikov's real passion. Give him free rein - he draws only cats.

In the Murzilka magazine, where Chizhikov has been working for 51 years, they are enthusiastic about this: it is difficult to refuse the cover of Chizhikov with a cat. Like a Charushin bear cub, Chizhikov's cat wants to be stroked and shaken up.

“A children's artist should be distinguished by absolute kindness,” says Chizhikov. - Zlyuka can get into children's artists. Maybe he draws wool well. Everything about him is fluffy. And you can't fool your soul."

How was the Murzilka magazine made when Chizhikov and his artist friends were young? Members of the editorial board gathered for a summer meeting and suggested whatever came to mind. There were amazing numbers. This is how one of Chizhikov's favorite Murzilka number, Big and Small Rivers, appeared. Artist Yuri Molokanov invited everyone to write about the rivers of their childhood. “Life in the field of children's drawing, when wonderful friends are around you, is a rapture. Not even grace, this is not enough, namely a delightful life.

Like all Murzilka artists, Chizhikov painted Murzilka. And it always turned out to be different even for Chizhikov himself, because it should be so - Murzilka lives her own life, and the artists draw it. Viktor Alexandrovich smiles when asked why Murzilka has a scarf in the color of the Russian flag on one page, and on the other it is just blue. Murzilka has her own mood. He alone, perhaps, can afford such frequent dressing up on the pages of a children's magazine.

“If you dressed the hero in blue shoes, keep blue shoes until the end of the book! After one incident, I always followed it. Once I was instructed to draw a picture for Agnia Barto's poem "Grandma had 40 grandchildren." I drew 15 people out of the 40 mentioned, leaving the rest behind the edge of the page. Letters were sent: “Why did the artist Chizhikov depict only 15 grandchildren? Where are the other 25? The circulation of Murzilka was then 6.5 million copies. The chief editor said: “Vitya, did you understand how it should be? Said forty - draw forty. As you wish". Then a book came out, and I drew 40 grandchildren and planted a dog.”

“Before, everyone wanted to work warmly. I don't know what explains it. I lived in a communal apartment with 27 neighbors. Getting to the toilet in the morning was impossible, I never even dreamed about it. My departure to school coincided with the departure of everyone to work, and I went to the public restroom on Arbatskaya Square. Half of our class met there, everyone lived in approximately the same conditions. We washed, and then rewrote the lessons - I rewrote mathematics, I have German. The head of the restroom loved us all, wiped the window sill so that it would be convenient for us to work. She had our soap and towels. Human kindness has been distributed in abundance, and I do not understand where I could have gone.

I will tell you about our reserve of mutual understanding. I have a friend, a wonderful artist Nikolai Ustinov. We live with him in the same village near Pereslavl-Zalessky. Once I went to Paris on business and kept thinking how nice it would be to be in the countryside on my birthday and see Kolya. And so I arrived, bought vodka, herring, potatoes, went on a bus from Pereslavl to the village and looked out the window: from a certain place Kolya's window was visible. It's getting dark and the window is lit up. He is at home! I run to him: "Come, let's sit!". Kolya says: "That's good, you came, and I composed poems for you."

I fired up the stove, boiled the potatoes, the firewood crackled, the stars poured out. Good! And Kolya reads poetry:

In the country bus shaking,
I remembered the Vendôme column.
Falling into the road mud -
Louvre, Tuileries and various Sorbonne.
But only in the distance I will see an image,
Pond dam, old wells,
And someone's mouth, pronouncing the mat,
I am both light and wisely smile.
But I'll just go down to the warm grass,
I will see the landscape with a crooked church,
And the forest, and the valley, and the house where I live,
I suddenly hold my heart with my hand.
Hello, oh house, oh hayloft!
Hello, oh furniture, oh dishes!
After all, everything that I have been drawing for 20 years,
It comes out from here.
Now I will cook buckwheat porridge
And I'll smoke, and I'll put on boots,
I look at a blank sheet of paper
I'll throw a spruce log into the oven.
I'll touch the warm pipe
And we saw your Paris in a coffin!

Well, be healthy! Kolya said and drank.

So explain what "Murzilka" is. Probably the state of mind of our generation.”

You can find out what young artists think about Murzilka at the exhibition that opened yesterday, May 14, in the Lenin Library. On May 16, Murzilka magazine turns 85 years old.

Ekaterina Vasenina

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Honored Artist of Russia Viktor Chizhikov devoted his whole life to children's books. It can be said without exaggeration that his pen and brush illustrated all our literature for children: Marshak and Barto, Chukovsky and Volkov, Zakhoder and Koval, Mikhalkov and Nosov ... And also - Rodari with his "Cipollino"! And also - Uspensky with the already classic characters Uncle Fedor and Cat Matroskin! And also - the Olympic Bear, which flew away a long time ago into the Luzhniki sky, causing tears and a lump in the throat ... And also - a series of two dozen books by the Samovar publishing house with the inviting title "Visiting Viktor Chizhikov."

Our conversation is with a wonderful Russian book artist Viktor Chizhikov.

I love Belarusian artists, says Viktor Chizhikov. - I have a wonderful friend in Minsk Georgy Poplavsky, People's Artist, Academician. He is the head of a family of artists: his wife Natasha is a wonderful illustrator of a children's book, and his daughter Katya is also a very good artist. We met in the House of Creativity in Palanga in 1967. When he is in Moscow, he always comes to see me. He is a very famous master, he illustrated Yakub Kolas and other Belarusian writers. For a series of Indian works he received the Jawaharlal Nehru Prize.

Do you feel the breath of a new generation in book graphics? To whom will you give the lyre, Viktor Alexandrovich?

I include Vika Fomina, who won the Golden Apple honorary prize at the Bratislava Biennale, among the new generation. There are worthy artists among the very young. At one time on the pages of the magazine "Children's Literature" it was written about some kind of crisis in the "illustrator genre." I never felt it. There have always been many talented artists working. Of course, we need to support them, especially the elderly. For example, Gennady Kalinovsky did a lot for Russian book graphics. He is now about 75 years old, he is sick, little is remembered about him. We, his friends and colleagues, remember him, but we cannot ensure the purchase of his works. And he has very interesting works for The Master and Margarita and Gulliver's Travels. He is especially famous for his illustrations for Alice in Wonderland. I have never seen better illustrations for this book! Another wonderful friend of mine is Evgeny Grigorievich Monin, who recently passed away. An artist of a very high level, a source of pride for our graphics. And there was not a single television program about him. When all the time on the TV screen is devoted to pop music, and illustrators are not given attention, this impoverishes the general culture. After all, illustrators, especially children's books, hold a huge layer of culture: the first steps of a child are associated not so much with text as with pictures. Humor in children's illustrations is very necessary. True, when it comes to serious or tragic things, the illustration should be tragic. But not for the little ones! I remember that once, when the Children's Fund was being created, Sergei Vladimirovich Obraztsov and I talked about the age at which children can be scared, making various scary stories that are now fashionable for them. Obraztsov told me that he did not want to allow anything terrible in his theatrical productions for the smallest. Let the children remain "unafraid" as long as possible. And then, when they grow up, you can gradually introduce both Baba Yaga and the Wolf who meets Little Red Riding Hood into fairy tales ... He explained this by the fact that children in the future will have many reasons for fear. The child's psyche must first mature, strengthen, and then it can be loaded with various horror stories.

Foresters say that tamed bear cubs or fawns, when they are released into the wild as adults, feel helpless. And now our grown children are entering the same predatory forest ...

Yes, today everything is not happening as Obraztsov said. But I try to make my scary characters funny. The same Wolf, for example, who is going to eat Little Red Riding Hood.

Will he eat it with a smile?

Barmaley in my "Doctor Aibolit" sleeps in bed, and from under the pillow protrudes the magazine "Murzilka" - Barmaley's favorite reading! Here is my method.

Aren't you afraid that grown-up children will later meet with some Chikatila and will look for where the Murzilka magazine sticks out from him?

And yet I even try to soften the terrible text with drawings. Although life will still put everything in its place. I often meet people who tell me: we grew up on your books, thank you for making us laugh! This sounds like a reward to me. I wanted and want children to have fewer fears. Childhood should be carefree. In general, it seems to me that this is inherent in the Russian people. You have noticed that in the villages mummers go on holidays: the peasants will drink and dress up in women's dresses ...

To do this, you do not need to go to the village: turn on the TV with some kind of satirical program - solid men in women's dresses!

The abundance of such men on TV scares me. It's not funny anymore. And among the people, mummers are a common thing, they organically fit into the holiday with their carelessness and boldness. It always amused me as a child. Then you grow up - and layers of culture are gradually superimposed on you. You start to understand a little more. A little! But the main leaven is laid in childhood. If you bring up a child in fear, warn all the time: they say, don’t go there, and there too, it’s scary there! - the child will sit dumb in the middle of the room and be afraid of everything. And in life you need people who can stand up for themselves and laugh heartily. We must educate such people.

Well, no one will be surprised by your cheerful Barmaley - in the end, Viktor Chizhikov made the Olympic Bear fly into his fairy forest. Until now, Mishka keeps flying and flying over our heads, and people keep crying and crying, saying goodbye to him ...

And they cry for a completely natural reason: they managed to fall in love with Mishka. The scene was at the station: one is leaving, the others are seeing him off. We always see people crying at train stations. Why are they crying? Because someone is leaving.

Our Bear, having become the Olympic talisman, for the first time looked into the eyes of the audience: “Here I am! Hospitable, strong, unenvious and independent, I look you in the eye…” The bear cub fell in love with his look. Before him, no Olympic talisman - no one has ever paid attention to it! - I didn’t look into the eyes: neither the Munich dachshund, nor the Canadian beaver ... I don’t remember their eyes at all. But after the Olympic Mishka, the Seoul tiger cub Hodori and the Sarajevo wolf cub Vuchko appeared - they already looked into the eyes of the audience.

- I remember that you had the idea to draw a series of "Cats of great people." What condition is she in?

I'll draw it, then disband it. I already have "Savrasov's Cat", "Chaliapin's Cat", "Herostrat's Cat". There is even "Luzhkov's Cat" - he himself is not wearing a cap, but the cap is involved in this process.

- Is there Pushkin's Cat?

No. But there is "Malevich's Cat", there is "Yesenin's Cat": imagine - the cat is drowning. A dog is sitting on the beach. The cat stretches out its paw: "Give me, Jim, for luck, a paw to me" ... There is a "Gogol's Cat" ...

- "Gogol's cat", probably with a long nose?

No, he is standing in a boat in the reeds, game is stuffed in his belt. He aims with a slingshot and says: "A rare bird will fly to the middle of the Dnieper."

Can you imagine, "Lenin's Cat", sitting in Shushenskoye, next to it - Nadezhda Konstantinovna ... And yet - "Putin's Cat" was not drawn? Next to the president's Labrador that's on TV?

No, I don't have these cats. To do this, you need to sit down and think - take this topic seriously. Maybe there will be more. You don't know what will happen here. While I take what lies on the surface. The philosopher Liechtenstein said well: “It is bad to be right in those matters in which the powers that be are wrong.” This topic must be approached with caution.

- Probably, he was a smart philosopher, since the principality was named after him ...

Definitely, Doc. And I have so far got 25 cats. This is not enough for a book.

In fact, I've had cats all my life. The cat Chunka lived with us in the village for 14 years. It served as an impetus for the creation of a whole series of drawings about cats. And then he left and didn't come back. They say cats go to die. Our Chunka is like Tolstoy. By the way, Tolstoy's departure will also be in my series about cats. I already have an image.

Interestingly, you first study nature, enter the image of a cat? True, you don’t have a mustache to move them, a ponytail too ...

That's right, I'm getting into character.

- What would you wish the readers of your books?

Good prospects. Artists at the institute always study such a subject - "Perspective". I wish readers of Russia and Belarus to see a clear perspective in my life.

- And what do you wish the artist Viktor Chizhikov on his seventieth birthday?

The same prospects! Of course, I don't have big prospects anymore. But I would wish myself a clear perspective for five years!

- Well, on behalf of the readers, we will multiply this figure by five and another five ...

Alexander Shchuplov

Genus. in 1935. People's Artist of Russia. Graduated from the Moscow Polygraphic Institute. "Living classic" of domestic book graphics. One of my favorite children's illustrators. The author of the "Olympic" Mishka, as well as a huge number of drawings for the works of K. Chukovsky, A. Barto, N. Nosov, Yu. Druzhkov, E. Uspensky and others.

After graduating from Moscow secondary school No. 103 in 1953, he entered the Moscow Polygraphic Institute, the art department of which he graduated in 1958.

In 1952, as a high school student, he began working for the Housing Worker newspaper, where he got his first experience as a cartoonist.

Since 1955 he has been working in the magazine "Crocodile", since 1956 - in "Funny Pictures", since 1958 - in "Murzilka", since 1959 - in "Around the World".

He also worked in "Evening Moscow", "Pionerskaya Pravda", "Young Naturalist", "Young Guard", "Spark", "Pioneer", "Nedelya" and other periodicals.

Since 1960, he has been illustrating books in the publishing houses "Kid", "Children's Literature", "Fiction", etc.

Member of the Union of Journalists of the Russian Federation since 1960.

Member of the Union of Artists of the Russian Federation since 1968.

Member of the editorial board of the magazine "Murzilka" since 1965.

Holder of the Honorary Diploma named after H.K. Russian children's book (1997).

Winner of the All-Russian competition "The Art of the Book" (1989, 1990, 1993, 1996, 1997), the reader's choice contest "Golden Key" (1996), the annual professional award for the highest achievements in the genre of satire and humor - "Golden Ostap" (1997).

Chairman of the jury of the children's drawing competition "Tick-tock", held by the TV company "Mir" (TV channel of the Russian Federation) since 1994.

Diplomas and awards
artist V.A. Chizhikov

Diploma of the III degree of the All-Union competition "The Art of the Book" for illustrations for the book by L. Geraskina "In the country of unlearned lessons", publishing house "Soviet Russia", 1966.

Diploma of the 1st degree of the All-Russian and 2nd degree of the All-Union competition "The Art of the Book" for illustrations for the book by G. Tsyferov "Tales", publishing house "Kid", 1969.

Diploma of the II degree of the All-Union competition "The Art of the Book" for illustrations for the book by L. Yakhnin "The Square of Cardboard Clocks", publishing house "Kid", 1971.

Crocodile Magazine Award for Best Drawing of the Year, 1970.

Diploma of the 1st All-Russian Exhibition of Children's Books and Book Graphics, 1965.

Diploma of the II All-Russian exhibition of children's books and book graphics, 1971.

Diploma of the International Cartoon Exhibition in Skopje (Yugoslavia).

Diploma and commemorative medal of the International Caricature Exhibition in Gabrovo, 1975.

Diploma and commemorative medal of the International Caricature Exhibition in Gabrovo, 1977.

Diploma of the 1st degree of the All-Russian and II All-Union competitions "The Art of the Book" for illustrations for the book by K. Chukovsky "Doctor Aibolit", publishing house "Kid", 1977.

Diploma of the Academy of Arts of the USSR, silver medal, prize of the Czechoslovak magazine "Rogach" for the drawing "To be or not to be?" at the International Exhibition "Satire in the Struggle for Peace", Moscow, 1977.

First prize at the book exhibition of the Joint Committee of Graphic Artists, Moscow, 1977.

Diploma of the II degree of the All-Russian and All-Union competitions "The Art of the Book" for illustrations for the book by D. Bisset "Forgotten Birthday", publishing house "Children's Literature", 1978.

Order "Golden Children's Sun" of the German magazine "Bummi", 1979.

Honorary Diploma. G.Kh. Andersen for illustrations to the book by K. Chukovsky "Aibolit", 1980.

Government award - Order of the Badge of Honor, badge of honor of the Olympic Committee, Diploma of the USSR Academy of Arts for creating the image of the mascot of the Moscow Olympic Games - the bear cub "Misha", 1980.

Assignment of the title "Honored Artist of the Russian Federation", 1981.

Second prize and medal at the International Cartoon Competition "Hurrah! Culture.", Moscow, 1990.

Diploma of the 1st degree of the All-Russian competition "The Art of the Book" for illustrations for the book by V. Chizhikov "Petya and Potap", publishing house "Angstrem", 1993.

Diploma of the II degree of the All-Russian competition "The Art of the Book" for illustrations for the book by E. Uspensky "Uncle Fyodor, a dog and a cat", Zebra publishing house, 1993.

Laureate of the All-Russian contest of readers' sympathies "Golden Key", 1996.

Annual professional award for the highest achievements in the genre of satire and humor - "Golden Ostap", St. Petersburg, 1997.

All illustrations are taken from the books of the series "Visiting Viktor Chizhikov", published by the Samovar publishing house.

Viktor Chizhikov Viktor Alexandrovich Chizhikov (b. September 26, 1935 in Moscow) People's Artist of Russia, author of the Olympic bear cub Mishka, the mascot of the XXII Summer Olympic Games. Long-term illustrator of the magazine "Around the World". Biography ... Wikipedia

Viktor Chizhikov Viktor Alexandrovich Chizhikov (b. September 26, 1935 in Moscow) People's Artist of Russia, author of the Olympic bear cub Mishka, the mascot of the XXII Summer Olympic Games. Long-term illustrator of the magazine "Around the World". Biography ... Wikipedia

Viktor Alexandrovich Chizhikov (b. September 26, 1935 in Moscow) People's Artist of Russia, author of the Olympic bear cub Mishka, the mascot of the XXII Summer Olympic Games. Long-term illustrator of the magazine "Around the World". Biography ... Wikipedia

Chizhikov is a Russian surname. Notable bearers: Chizhikov, Anatoly Georgievich (1958) Russian producer, screenwriter and actor. Chizhikov, Viktor Aleksandrovich (1935) People's Artist of Russia, author of the Olympic bear cub Mishka. Chizhikov ... Wikipedia

- ... Wikipedia

A service list of articles created to coordinate work on the development of the topic. This warning did not install ... Wikipedia

- ... Wikipedia

Named after Ivan Fedorov (MGUP) International name of Moscow State University of Printing Arts ... Wikipedia

Coordinates ... Wikipedia

Books

• , Chizhikov Victor Alexandrovich. If the surname is Chizhikov, what can be expected from such a person? He will draw, whistling. He has lines, like musical knees, and inner harmony. He has a funny hand. That…
• Viktor Chizhikov. All together, and the soul is in place. Materials for the biography of the artist, Chizhikov Viktor Alexandrovich. Viktor Chizhikov's illustrations adorned the books of almost all the classics of Soviet children's literature Agnia Barto, Sergei Mikhalkov, Boris Zakhoder, Samuil Marshak, Nikolai Nosov, Eduard...

More about

Creator of the Olympic Bear
September 26 marks the 80th anniversary of the remarkable artist Viktor Chizhikov

He devoted his whole life to illustrating children's books. The creative fate of V. Chizhikov has developed happily. Thanks to his gift and inexhaustible optimism, he has always been loved and in demand. On this topic:

Having never doubted that his vocation was a children's illustration, he with pleasure and his inherent good nature gave the appearance of the heroes of numerous books - Korney Chukovsky, Agniya Barto, Sergei Mikhalkov, Boris Zakhoder, Yuri Koval, Eduard Uspensky, Nikolai Nosov, Andrey Usachev , Alan Alexander Milne and others.“Life in the field of children's drawing, when wonderful friends are around you, is a rapture. Not even grace, this is not enough, namely, an intoxicating life, ”the artist himself says so.

Since 1960 he has been illustrating books published by Malysh, Children's Literature, Samovar, Fiction and others.

The artist's works are in the collection of the State Museum of Fine Arts. A.S. Pushkin. Now V. Chizhikov is the chairman of the Russian Children's Book Council.

Art historian L. Kudryavtseva writes: “Everything in his drawings breathes with witty fun and love of life. It happens in childhood, when the whole world smiles at you. In Chizhikov’s drawings, everything and everything is childishly careless: a house, a chimney on a house, a mailbox, a slide, a light in the window, a gesture, a pose of characters, facial expressions, be it Dr. Aibolit, the cat Matroskin, or the yellow striped tiger from Forgotten birthday". And how they know how to laugh! Lions and mice laugh, cats and dogs, kings and dragons, gentlemen of fortune and losers, nightingale robbers and even Barmaley. Unless some most notorious scoundrel already smiles.

The most chic cats are cats drawn by his hand

In the 1960s, young artists joined the ranks of children's illustrators - Viktor Chizhikov, Evgeny Monin, Veniamin Losin, Vladimir Pertsov. They were friends, worked in the same workshop and, although they were not a creative association, they called their friendly group "TsDL" - "connoisseurs of children's literature."

It was V. Chizhikov's comrade-in-arms at the CDL, V. Pertsov, who brought the “task” to the workshop - to create a sketch of the mascot for the 1980 Olympics.

“Pertsov met one of the leaders of the Union of Artists on the street, and he said to him: “Listen, there is a competition for the mascot of the Olympics, forty thousand proposals have already been considered and we cannot find the right one. Here you would be, children's artists, to take part in it!” We gathered in my workshop, four friends, and each of us began to draw our own bears with a pencil. These were pencil sketches in order to find an image. We drew a hundred pieces. This painted heap remained lying on the table. And then they call Pertsov and say: “Well, did you do something? Then bring it to the Olympic Committee today!” He took it. And when he reappeared with this folder in the yard, Zina, my wife, asked him: “Well, Vovka! How are things there?” - “Ay! .. They took Vitkin ...” Then more than a month passes, and at the end of September 1977 they call me and say: “Viktor Alexandrovich! Congratulations - your bear has passed the Central Committee of the party!”.

Few people remember that the image of the bear was chosen by viewers in the process of voting in the program "In the Animal World". V. Chizhikov admits: “There, the elk supported him firmly, but I am glad that the bear won, because the knees of the elk bend in the wrong direction. And the bear has its knees in front, like a man, he walks like you and I ... ".

Unfortunately, the fate of the famous Olympic Bear became, perhaps, the main creative "dissonance" in Chizhikov's creative life: the image of the bear is widely exploited wherever possible, without asking the artist about it. An unpleasant story is known when, at the initiative of a group of lawyers, an artist sued NTV for using the image of Mishka and lost - the court did not recognize his authorship. It should be noted that the bear was used by TV people in a very frivolous way: during 33 programs, it “flyed” in various places - either it appeared as a tattoo on the chest of some suspicious type, or it turned out to be brought to the strippers.

V. Chizhikov admits that he treats his Mishka as a person who shared all the troubles with him: “This is not just a drawing! An image has been created. And this way it is already possible to operate.

When the image is not created, you can make any bear, that's how United Russia is such a gloomy bear. There are many of them, they are all wandering somewhere ... And this bear is still very good. He often told me: “Vitya, don’t be sad! Everything is fine".

Once Picasso sold a drawing made in five minutes for fabulous money. And to the reproach of self-interest, he replied: “Yes, it was five minutes and plus the whole life!”.

Children's books have always played a huge role in shaping the taste, sense of beauty, moral principles, in the development of the imagination of the younger generation. We all remember our first, long and dearly beloved books, which were turned over many times and learned by heart. They were illustrated by real masters - G. Kalinovsky, E. Charushin, Yu. Vasnetsov, the Traugot brothers, G. Spirin and others.

In early childhood, V. Chizhikov was struck by Yershov's book The Little Humpbacked Horse with autolithographs by Y. Vasnetsov. Until now, the artist recalls a certain "strangeness of the atmosphere" that Vasnetsov created with amazing details.

And one of the most powerful literary impressions of his childhood was a poem by Sergei Mikhalkov about the incredulous Thomas. The future artist heard these poems in kindergarten in 1938, being a 3-year-old child. And in the same place, when clay was provided to the children, he fashioned his first sculptural composition depicting the death of negligent Thomas in the mouth of a crocodile. “Poems read and memorized in childhood have something in common with the concept of “Motherland” completely ironically,” V. Chizhikov assures.

Another childhood memory of the artist looks symbolic and fateful: “A hot summer day in the pre-war fortieth year. My father and I are boating in the Park of Culture, and suddenly they announce on the radio that Chukovsky is about to perform in the summer theater. They ran on time, settled on the first bench in front of the stage. Everyone clapped for a long time when Korney Ivanovich came out. He read poems for a long time, well known to everyone, favorite poems of the children. His very appearance, the manner of reading poetry, talking with children, his voice - fascinated. The children listened spellbound, But now the meeting is coming to an end, Chukovsky is given flowers, a sea of ​​flowers, he is covered in flowers, there are not enough hands. And suddenly they bring him a bouquet of marvelous beauty - blue, red, yellow.

Then some force throws me up, I run up to the stage itself:
- Grandfather Roots, give me this bouquet!
Chukovsky, not at all surprised, hands me a handsome bouquet.
- Take it, baby! Hold on!
Father, struck by my impudence, asks me to return the bouquet to Korney Ivanovich. Chukovsky, seeing my confusion, says:
- What are you, what are you, let the boy take the bouquet to his mother!
Proud and happy, I walked home, embracing with both hands the gift of the great storyteller Korney Ivanovich Chukovsky!

In 1980, for the illustrations for “Doctor Aibolit”, I was awarded the Diploma named after G.Kh. Andersen. At the celebration, they were awarded a diploma and one carnation - it was supposed to be so. I looked at this carnation and remembered my pre-war childhood, my meeting with Chukovsky and that blue, red, yellow - the most beautiful bouquet in my life.

Chizhikov was always attentive to the beauty of details, to trifles, to associations; No wonder they say that the artist sees the world differently than "mere mortals." According to him, the artist is an agitated mass.

V. Chizhikov's colleague and friend V. Losin, in those cases when the artist drew his attention to something artistically attractive - whether it be a rooster's tail or a cloud, answered: "Yes, as illustrators, this is very important for us."

V. Chizhikov and his mother spent the years of the Great Patriotic War in evacuation, in the village of Krestovo-Gorodishche, Ulyanovsk region, on the Volga; the artist's father died at the front. In the hut in which they settled, it was customary to paste over the walls with fresh newspapers every Easter. Over time, the walls of the hut were decorated with drawings of the boy. One of the main impressions of the evacuation was communication with Uncle Leva, a lonely disabled person who returned from the front without both hands. Nevertheless, Uncle Leva managed to draw well, maintain a wall newspaper and work as the head of the post office. In addition, he set up a "book club" - he gathered kids in his house, both local and evacuated, and read books with them. And the acquaintance of the future artist with Uncle Leva took place under very dramatic circumstances - an armless man saved little Vitya Chizhikov, who was drowning in the Volga.

An amazing story, once again reminding us how many real heroes of the country have not been recognized, how many beautiful modest people somewhere in the villages, in small towns, work real miracles, which, perhaps, will never be known in the capitals ...

V. Chizhikov collaborated with all the leading Soviet magazines for children and youth - "Evening Moscow", "Pionerskaya Pravda", "Young Naturalist", "Young Guard", "Spark", "Funny Pictures", but to the greatest extent his soul lay to Murzilka. The artist called the editorial office of Murzilka a "reserve of mutual understanding." It was there that he met people who would become his lifelong best friends.

The credo of the artist Chizhikov sounds predictable, but undeniable: “A children's artist must be distinguished by absolute kindness. Zlyuka can get into children's artists. Maybe he draws wool well. Everything about him is fluffy. And you can't fool your soul."

Here is another important master's recipe for aspiring children's illustrators: “If you put the hero in blue shoes, keep the blue shoes until the end of the book! Once I was instructed to draw a picture for Agnia Barto's poem “Grandma had 40 grandchildren”. I drew 15 people out of the 40 mentioned, leaving the rest behind the edge of the page. Letters were sent: “Why did the artist Chizhikov depict only 15 grandchildren? Where are the other 25?”. The circulation of Murzilka was then 6.5 million copies. The chief editor said: “Vitya, did you understand how it should be? Said forty - draw forty. As you wish". Then a book came out, and I drew 40 grandchildren and planted a dog.”

Viktor Chizhikov is a wonderful storyteller. He loves people very much and does not get tired of admitting it, loves to talk about his outstanding friends. Among the members of the "CDL" was the writer Yuri Koval. “He was amazingly talented in everything! .. - V. Chizhikov recalls warmly, even enthusiastically. - And in drawing too. As his stories boil with words, so his painting boils with his strokes! .. He has terribly bold strokes that go in different directions. On his pictorial canvas, a strong acquaintance of one stroke with another is tied up - a picturesque, beautiful ligature arises. When he came, everyone immediately understood that he was just missing! He was always needed. He could turn the course of the meeting in a completely different direction! He had such a strong creative fuse that he was not limited to painting, literature, he was still a genius of communication. Koval in prose was able to create a huge picture with one stroke. Kalinovsky felt all this very keenly and made the steppe a flyleaf in “Undersand”: a small undersand runs along this steppe, and above all this is the constellation Orion. And you immediately feel that Koval embraces the cosmos with his creativity. And in this space, the constellation breathes above the earth, and immediately the “microorganism” that escaped from the fur farm moves. Huge scale!

V. Chizhikov also had experience in animation - he acted as production designer in Harry Bardin's cartoon "The Brave Inspector Mamochkin".

There is an opinion that in Soviet times, representatives of creative professions literally "fled" into children's literature, illustration, animation - in order to hide from the ideology of socialist realism and its censorship.

Here is what V. Chizhikov thinks about this: “So say the people who benefit from it. And those who naturally merged into children's literature do not think so. My friends have never been dissidents or ideologues. What an ideology, when Losin, for example, had magnificent illustrations for Nekrasov's "General Toptygin", when he has Pushkin's Balda - you can be stunned, what a wonderful type! Nobody ever drove him into children's literature - he chose it. He could be a great painter - this is an extra-class draftsman! Children's literature was a refuge for hacks, when the soul did not call to children's literature, but was forced to turn over somewhere - but this is not about my friends and not about me.

V. Chizhikov loves cats very much. In 2005, a book with his drawings and poems by Andrey Usachev "333 Cats" was published. This is a book where it is no longer clear - either the illustrations were made for poems, or the poems were written for pictures, or they are absolutely self-sufficient, and simply interact in a friendly way on the pages of one book.

Chizhikov himself also composes witty poems. For example:

At the store counter
There are three cats:
"We have three meters of tricot
Three tails wide.
The fourth cat came running:
“Do you have a carpet for sale?”

O. Mäeots, a translator and specialist in children's literature, spoke aptly and touchingly about the artist's works: “Chizhikov's drawings are instantly recognizable. And, an amazing thing: although the characters created by the artist are similar, like children of the same father, they retain their individuality, and there is no serial monotony in the illustrations, but there is always a game, an affectionate smile and a sea of ​​happiness and love. And one more important quality, especially valuable in our time, obviously overloaded with violence and all sorts of horrors: Chizhikov's illustrations are not terrible. In the world he created, goodness and harmony reign, and you can live in it without looking back and fear.”

Viktor Chizhikov in 2011

It is gratifying that Connoisseurs of Children's Literature has a worthy replacement in the circle of children's illustrators. New publishers of children's literature appear - for example, "Pink Giraffe" or "Scooter". With the help of young talented artists - M. Pokalev, Z. Surova, I. Oleinikov, V. Semykina and others - they form a renewed and fresh, modern face of a children's book. Interactive books for tablets also began to appear, where pictures can move - even ten years ago this seemed like a fantasy. Remarkable artists are also involved in the development of the artistic part. True, new books are not printed in such circulation as they used to be in Soviet times, when millions of copies were sold all over the country.

V. Chizhikov believes that in order to find a way to the heart of a modern child, spoiled by all sorts of gadgets, you just need to be sincere.

I would like to hope that this is true, that sincerity will still resonate with new generations. And that the new time will give birth to new sincere children's artists, whose work will not be scary at all and very kind.

Now those who did not know will get acquainted with the magnificent creator of visual images, with Viktor Chizhikov, a children's artist. People's Artist of the Russian Federation, author of the image of the bear cub Misha, the mascot of the 1980 Summer Olympics in Moscow. And also the designer of many memorable children's books. And he is also the artist of "Crocodile" And "fun pictures" .

Viktor Chizhikov. My life has passed among caricature and drawing for children

Olga Vikhrova

And for the team of "Evening Moscow" Viktor Alexandrovich is not only a colleague-caricaturist, but also an integral part of the 95-year history of the publication.

For 62 years, the artist's album, as a memory, has kept the first illustration published in Vecherka. Filling up the pages of its historical album, "Vechernyaya Moskva" also decided to keep on its pages a portrait sketch of Viktor Alexandrovich, respected and beloved by generations of editors and readers.

Do you remember your first cartoon in print?

It was published in 1952 in the newspaper "Housing Worker" (ZHR) on the Day of the Soviet Army. On the front page was a huge portrait of Stalin, and on the back - other materials, including my drawing of a tractor, which made its way among the buildings covered with snow. Winter that year was rich in precipitation, and I depicted the Moszhilsnab base in Nagatino. “All the ways to the base were covered with snow. It is very difficult to get to it right away, ”the poet Titov composed the signature.

How did cooperation with ZhR affect the professional development of a children's illustrator?

Oddly enough, it was in this edition of a thick sheet that the person who taught me to think in a caricature much more widely worked. When I came to work at ZhR in the ninth grade, Matvey Prokhorovich Tobinsky was the editor-in-chief there.

“Try to solve the problem not only with the help of people. There are cats, dogs and all sorts of other creatures that inhabit the earth. Try to involve them in your work more often, and then your range as a cartoonist will increase, ”he explained to me.

And Tobinsky also advised to take a closer look at the details of everyday life that catch your eye: for example, which electric bulbs shine on railway platforms, and which ones inside the city. He, as it were, took me and shook me. He was a very interesting person. Even when I worked at Krokodil after 1955, I still looked at it with great pleasure. In general, the first place of work for a journalist, cartoonist or artist forever remains something special and even sacred, as it is, in a way, "Trip to Life"

Since 1956, you have collaborated with Vecherka. Which of the works for our publication was the most memorable?

I have always collaborated with several publications at the same time, but I still have the first cartoon published in Vechernyaya Moskva. When I published somewhere for the first time, I always cut out an illustration as a keepsake and pasted it into a special album. And it is dedicated to the deputies of the French Parliament, who, at the request of the Americans, made some decision. Tex sounded something like this: “First they were appeased, then they approved, but the people disapproved of this.”

After that, did you still have to work with a political cartoon?

Hardly ever. And this despite the fact that the Kukryniksy were my mentors. My parents were architects, and one of my father's friends, who studied at VKhUTEMAS, agreed that they would look at my work. And here I am - a ninth-grader, I came to the Kukryniksy! With a suitcase of cartoons. And the suitcase was heavy, trophy. Upholstered in camouflage and knocked together from real planks. His father returned with him from the front. It was almost impossible to drag this colossus, but the entire volume of drawings that I wanted to show fit only into it.

The workshop was on the eighth floor of a house on Gorky Street. Opposite the Moscow City Council, where the Moskva bookstore is now located. And so, with bated breath, I show them my drawings... And they saw that I was imitating Boris Efimov, and immediately condemned me sharply. But I, nevertheless, was lucky - at the bottom of the suitcase lay forgotten caricatures of classmates. The Kukryniksy began to look at them with interest, even to pass them on to each other. Then they ask: “Who painted this? You?". I nod, not sure what to expect. And they told me: “That's how you draw! We see that this is absolutely yours, an individual hand. And remember that you are a person. You don't have to imitate anyone."

As I remember now, Kupriyanov looks at me and says: “Well, tell me:“ I am a person! I was embarrassed, of course, and mumbled: “You know, I can’t say that in your presence,” to which he laughingly replied: “Well, okay, we’ll work out this phrase with you,” letting me, a teenager, understand that this is not our last meeting. As a result, we agreed that I would come to them every six months and show them “how things are going in drawing”.

Before that, I had a dilemma: to go to the Institute of Foreign Languages ​​in German, or, after all, to draw somewhere. After their approval, I no longer hesitated - I immediately chose the art department of the Polygraphic Institute.

At what age did you start your career?

While studying at the institute, I already drew cartoons in Moscow News, Izvestia, Nedelya and Pionerskaya Pravda with might and main, and in 1956 I came to Ivan Maksimovich Semenov at Funny Pictures. The editorial office was located on the fourth floor, and Murzilka was on the sixth. Of course, I went there too. And since 1958, he also began to cooperate with them. On the other side of the corridor was the magazine "Vokrug sveta", where I was immediately invited to write the column "Motley World" about entertaining facts from different parts of the world. As a result, I stayed at Around the World from 1959 to 2002, and with Murzilka we have our 60th anniversary this year.

How did you cope with such a volume of orders at the same time?

You have no idea how much I worked. In parallel, without ceasing to cooperate with all the above-mentioned publications, since 1960 I began to design children's literature. When I got tired of reading a book, I went to the Crocodile to draw caricatures. Tired of the magazine - went back to the book. At the same time, he also painted in “Health”. In short, whoever ordered, I drew for that. So my range became wider and wider. But, today we can definitely say that my life was spent among caricatures and drawings for children.

Which edition was your favourite?

Despite the huge creative spectrum, I noticed that I feel most at home in book illustration. This format allows me to fit whatever I want. Caricature and humorous drawings in newspapers and magazines, most often, plugged empty spaces. For example, when I worked with the magazine "Soviet Union", there were often intricate places - not squares or rectangles, but writhing like snakes. So come up with some kind of cartoon theme, draw something in such a “cunning” space. On the one hand, I was very fond of such puzzles, and on the other hand, the space of a book illustration gives freedom for creativity.

Did you come to the children's theme thanks to "Funny Pictures"?

Yes, before that I only drew cartoons for adults. Although sometimes I worked with the magazine "Physical Culture and Sport", where children became my heroes. For example, kids who watch high jump competitions, where a schoolboy overcomes the bar set at the height of their tops - no more than a meter, and the little ones admire: “Look, he jumps higher than human height.” How are ideas for illustrations for children's publications born? Thinking up something for the author's text - is it hard, painful work or, after all, inspiration?

All the work of an illustrator matures on impressions from the surrounding life. It is necessary to look very carefully at how people dress, what new details have appeared ... Now it seems common that older people carry trolley bags, but some 30 years ago this did not exist yet .. It would seem that mankind invented the wheel two thousand years ago, but for some reason only now I guessed to put this handbag on wheels.

And how does the world of amazing fantasy animals that you portray relate to observation?

Since the illustrator is the director of the future picture or book, he conducts a kind of recruitment of actors or, as it is now called, casting. The Kukryniksy gave me this advice: “Vitya, when you go to the institute in the morning and go down the escalator, and people go upstairs towards you - don’t stare in vain, but try to remember. How women look, how they hold a handbag. When you get home, immediately try to draw everything that you remember: both the type and the manner of standing. And if you reproduce at least three or four faces that you saw on the escalator, consider that the day was not in vain. Since then, I have become in the habit of memorizing the types that come across to me.

And then, when, for example, in "Chippolino" you need to draw Professor Grusha, Signor Tomato, or Limonchikov's soldier, you start choosing actors for your "future performance" from "peeped" real images.

In general, Aminadav Kanevsky from Crocodile was a great master of humanizing animals. I asked him: “Aminadav Moiseevich, how do you do it so well? You have animals arguing in the drawings, and sneezing into a handkerchief ... ". And he said: “Vitya, when you draw, think less about animals, and think more about a person. Then you can do it too."

Do you have favorite characters?

I love drawing cats. Andrey Usachev and I even published such a book - “333 Cats”. When creating it, of course, I also watched people, made sketches from them, and then transferred each hero from the rank of a person to the rank of a cat. But, you know, it often happens the other way around: a person is walking - well, obviously a cat! Simply amazing!

How deeply do you need to feel the author's text? Does it happen that the writer has already formed his own vision of illustrations in his head and needs to work in a specific style, or is he just “over his soul”?

Very rarely. Usually the authors turn to the artist whom they themselves love. Absolute trust was from Uspensky and Mikhalkov. Barto also asked that the book be given to me. In short, trust must be complete, otherwise the illustrator's hands are tied.

And when the artist knows that he can do as he wants, and believes in himself, the illustration becomes more expressive and convincing. The more responsibility you have for the result, the better the pictures. After all, it is we who are responsible for the sale of a children's book.

Do you think there is a future for children's paper books? Or will electronic publications win?

First, the screen deteriorates vision. No parent wants their child to "set eyes" from the cradle. Secondly, children must learn to respond to a picture located on the plane of the sheet. By the way, it is especially convenient to carefully study small details on cardboard. And to arouse a child's interest in the image on this cardboard is the primary task of the illustrator.

Are there any professional secrets to attract the attention of children?

Toddlers are always worried about the struggle between good and evil: if an evil character is chasing a good one, the child wants the latter to run away and hide as soon as possible. Or, on the contrary, when the positive hero pursues the villain in order to punish him, the child begins to actively cheer for the first. The participation of good and evil is the basis of any children's book. But "Kolobok", by the way, is an exception. When the Fox, after all, eats the hero, it is simply terrible for the child. He was rooting, rooting for Kolobok: he, it seems, “left his grandfather and left his grandmother,” but then suddenly it didn’t work out.

There is, of course, another option: conflict-free fairy tales, such as "Turnip". She, in my opinion, is simply brilliant. Everyone groaned, groaned, pulled, pulled, and nothing happened. And then such an insignificant tiny mouse came running and helped to pull out such a big turnip. As Platonov said: “The people are incomplete without me” (laughs).

In order to feel everything as you describe, it is important to remain a child in your soul? How else? Any fairy tale you illustrate must be believed. It is important to do everything convincingly, and this is only possible when you are extremely serious about even the most ridiculous topic. Children, like no one else, feel false. Actually, an illustration is a conversation with a child. When it is good, the conversation turned out, if it is bad, nothing will come of it. And, in general, the interaction of life and fairy tales is a very subtle thing. It is important to reconcile observations with your fiction, not allowing one to take precedence over the other.

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