Introduction. Book graphics - artist E

1.1 What is hyperactivity?

"Hyper..." - (from Greek Hyper - above, from above) - a component of complex words, indicating... excess of the norm. Word “ active” came to Russian from Latin. "Activus" means "active, active." Initially, this term in Russia was used only in a commercial sense (early 19th century).

The authors of the psychological dictionary classify external manifestations of hyperactivity as inattention, distractibility, impulsivity, and increased motor activity. Hyperactivity is often accompanied by negative aspects such as lack of concentration, problems in relationships with others, learning difficulties, and low self-esteem. At the same time, the level of intellectual development in children does not depend on the degree of hyperactivity and can exceed the age norm. The first manifestations of hyperactivity are observed before the age of 7 years and are more common in boys than in girls.

There are many opinions about the causes of hyperactivity: in some cases it may be genetic factors, features of the structure and functioning of the brain, birth injuries, infectious diseases suffered by the child in the first months of life, etc.

1.2 Portrait of a hyperactive child

Probably in every kindergarten group there are children who find it difficult to sit in one place for a long time, to remain silent for a long time, and not to fuss. They, as a rule, create additional difficulties in the work of educators because they move a lot , fidgeting, fussy, impulsive. Often, hyperactive children have poor coordination of movements, so when moving, they touch and drop various objects, push peers, thereby creating conflict situations at every step. The famous American psychologist Violet Oaklander characterizes hyperactive children as follows: “A hyperactive child has difficulty sitting, he is fussy, moves a lot, spins around, is sometimes overly talkative, and can be annoying in his manner of behavior. He often has poor coordination or insufficient muscle control. He is clumsy, drops or breaks things, spills milk. It is difficult for such a child to concentrate his attention, he is easily distracted, often asks many questions, but rarely waits for answers, probably every teacher is familiar with the painted portrait.

1.3 Diagnosis of a hyperactive child

The behavior of hyperactive children may be superficially similar to the behavior of children with increased anxiety. Therefore, it is important for the teacher to know the main differences between the behavioral factors of one category of children from another. The table below will help with this.

Table 2. How to distinguish a hyperactive child from an anxious one.

In addition, an anxious child is not socially destructive, but a hyperactive child is often the source of various conflicts, fights and simply misunderstandings.

To identify a hyperactive child in a kindergarten group, long-term observation of children, conversations with parents and employees of the child care institution (music worker, psychologist, methodologist) are necessary.

Evgeny Grigorievich Monin - master of children's book graphics,
People's Artist of Russia, Corresponding Member
Russian Academy of Arts (1931-2002).

Monin E. G. was born in 1931 in Kharkov. He graduated from the Moscow Secondary Art School, and in 1956 from the Moscow Architectural Institute. He worked extensively and successfully in children's book publishing houses in Moscow.
More than 20 books by E. Monin have been awarded diplomas from All-Union and All-Russian children's book competitions. He is a multiple winner of the Quadrennial of Small Graphic Forms in Banská Bystrica (Slovakia), winner of a diploma and a personal message from the Governor of Tokyo for participating in an exhibition of Russian art in Japan. For his illustrations of English folk tales he was awarded a silver medal from the Russian Academy of Arts.

Artist E. Monin Watercolor 17x12 cm Illustration for a newspaper "Lived once" Price 3,000 rub.
Artist E. Monin Watercolor 7x10 cm Illustration for a newspaper "Lived once" Price 2,000 rub.
Artist E. Monin Watercolor 9x8 cm Illustration for a newspaper "Lived once" Price 2,000 rub.
Artist E. Monin Watercolor 10x10 cm Illustration for a newspaper "Lived once" Price 3,000 rub.
Artist E. Monin Watercolor 12x20 cm Illustration for children's magazine "Murzilka" No. 8, 1983 Price 6,000 rub.
Artist E. Monin 15x22 cm Illustration for children's magazine "Murzilka" No. 7, 1976 Price 7,000 rub.
Artist E. Monin 24x18 cm Illustration for children's magazine "Murzilka" No. 11, 1973 Price 7,000 rub.
Artist E. Monin Watercolor 24x18 cm Illustration for book Price 6,000 rub.

On this page of the site you can buy originals
book illustrations (book graphics) by Artist E. Monin,

KARINA ZURABOVA: MAN OF ART (Article published in the magazine "Preschool Education", issue 3, 2013)

Evgeniy Monin is remembered cheerfully. Acquaintances, colleagues, artist friends.“He met knights and kings, loved to talk with giants and jesters. But most of all, the artist loved to free beautiful princesses locked in a cave by a terrible fire-breathing dragon. All the dragons, vampires, sorcerers and other evil spirits were afraid of our artist like fire: he had a cheerful disposition and knew how to make fun of some villain in his drawings so much that everyone around him began to laugh uncontrollably at him. And we know that anyone, even the most terrible cannibal, if ridiculed, immediately loses all his strength,” writes the artist Lev Tokmakov. “Evgeniy Monin is a magician. He created his own world - autumn: umbrellas, wind, rain, golden maple leaves... A world of giants and eccentrics, noble gentlemen and brave robbers, angular, thin, funny, lanky, swift - like himself,” this is journalist Julia Govorova. “Monin’s cheerful, unprecedented nature of the fairy-tale action became so convincing and reliable that they began to perceive it as reality,” this is from a speech at the exhibition. After looking through one book illustrated by him, you will recognize Monin’s drawings everywhere. Not because it is the same everywhere, but simply - each artist has his own “optics,” as the artist’s daughter said, and his own way of joking. With Monin, both are so original that you meet his characters as good acquaintances and will not confuse them with anyone.

SCHOOL

Evgeniy Monin was born in Kharkov in 1931. He drew “like all children” - with a pencil on the wallpaper. Some wonderful animals he had never seen before - elephants, rhinoceroses. In Perm, where the family was evacuated, Monin met a good man - a professional artist who taught him to draw. He learned well, so in 1943 Monin, having passed a fair competition, entered an art school in Moscow - now it is called the “Moscow Academic Art Lyceum”, and they teach academic drawing there like nowhere else in Moscow. At school he became friends with Veniamin Losin - as it turned out, for life. But then Losin entered the Surikov Institute, and Monin almost became an engineer.

The fact is that his father could not imagine a real man without an engineering education, and he was not supposed to rebel against him. We found a compromise - the Architectural Institute. “Once I answered some interview questions,” Monin recalled, “where they asked me who your teacher is in the field of book illustration, I was somewhat confused because I didn’t have a teacher.” And one day I asked the wonderful St. Petersburg artist Valentin Ivanovich Kurdov if he would mind if I called him a teacher. He said he wouldn't mind. This is, of course, a joke. But I loved this artist very much, I was friends with him. Indeed, Monin’s drawings have nothing in common with the work of the famous artist Kurdov, but you have to call someone a teacher when asked! The joke is quite in the spirit of Evgeniy Grigorievich.

At the institute, Monin studied to be an architect, received a diploma of a “real man” and was appointed as a construction foreman. But, of course, I didn’t work there a single day. While still at the institute, he published his first book, it was called “Ananze the Spider” - these were African fairy tales in Ukrainian. And in general, he firmly decided to draw. And he went to work at Murzilka.

It was not for nothing that the Murzilka magazine was included in the Guinness Book of Records as the most durable children's publication - classics of children's literature and the most talented young authors and artists gathered under its cover. In “Murzilka” there was then something like a club for creative youth, they even played ping-pong there. Working in a magazine is a good school for a beginner... no, an artist who has already started. There, in the editorial office of a funny magazine, Monin met Chizhikov and Pertsov, and Losin also collaborated there. Since then, the four of them were friends and drew, designed books together: one made the cover, the other made fonts and headbands, the rest made illustrations... This is how the book “Tales of Grandma Kuprianikha” turned out. A beautiful book came out.

The houses that Monin built

Evgeny Monin illustrated more than 200 books. Awarded many diplomas and medals. Visited different countries. I made friends with good and interesting people. But nothing inspired his creativity more than a good text. When the word “literary” is used in relation to an artist, they mean secondary, boring mentality, a literal illustration of a thought. Monin's literary spirit is the cheerful mind of the artist. He subtly senses the style and originality of literary material and reproduces it with the help of line and paint. Sometimes he comes up with a completely original plot, seemingly unrelated to the text. His favorite authors - attention! - F. Rabelais, B. Shergin, O. Henry, S. Pisakhov are storytellers with a pronounced, unique intonation and peculiar humor. Rabelais dreamed of illustrating all his life, but he never had to, but he designed Shergin and Pisakhov, wonderful northern storytellers. Most of all, Monin loved to illustrate fairy tales. The Brothers Grimm, Hauff, Russian folk tales, Italian, English, Armenian, French...

His characters are desperately funny. Surprised bearded craftsmen in vests, pondering the riddles of D. Kharms. Very serious people jumping in a dense crowd over a cart with a horse from S. Pisakhov’s fairy tale. A brave hunter with sideburns and a hat with a feather, who pretended to be dead in the Italian fairy tale “Bearskin.” A bride in a white dress standing motionless in the sky above the orange mountains - she is carried by the Chick from O. Tumanyan's fairy tale. The book of English songs translated by Marshak is amazingly made - it depicts not only the heroes of the poems - the miller, Humpty Dumpty or Robin Bobbin, but also the narrator, such a funny guy: he winks at the audience, points his finger at what to look at, is surprised, laughs... So is the artist I felt the author's voice! And all these wonderful people usually act against the backdrop of houses.

Architectural education was not in vain - Evgeniy Grigorievich knew well how a house works, be it a hut, an Italian palace or an old mansion in a provincial Russian town. “How he drew architecture in his books!..” recalls Olga Monina. - He could manipulate houses and towers like that!.. And he also really loved to depict a Russian hut in section, because he understood everything, about the rafters, about the load-bearing beams, about everything - about everything. The architectural dominant of the landscape distinguishes almost all of Monin’s illustrations, and where it is impossible to place a house, its role is played by trees: they also somehow represent a wall, a roof, a room, on them, under them, you can sleep in them, hide from enemies, pretending to be a cuckoo... And how beautiful and mysterious the night looks in Monin’s drawings! You have to look closely at it: gray-black trees, a dark cave - and a clear moon illuminating a bicycle and a tiny gnome. Or sleeping black and gray houses, a deserted square - and a clever thief leading a horse under a colorful blanket (Italian folk tales “In My Land”). Or a huge, dark, fluffy tree, and through its crown the windows of the house glow (Ya. Akim, “Colorful Houses”). But my favorite thing is the Italian palaces of the Renaissance. Houses, squares, towers, cathedrals, castles, fortresses... All this glows with an alluring pink or orange, everything is beautiful, whimsical and fun. But his daughter, Olga Evgenievna, can better tell about the artist Monin’s personal relationship with the Italian Renaissance.

Conversation with the artist's daughter in the interior

The interior, as expected, is a kitchen. Only artists know how to organize space in such a way that a typical kitchen seems spacious, comfortable and luxurious. The main character of the interior is an ancient sideboard, reminiscent of the fabulous Monin palaces. “Family,” Olga Evgenievna says about him. - Almost a relative. Olga Monina is an artist, illustrates books and teaches at the Printing Institute, from which she graduated.

Tell me, did Evgeniy Grigorievich have any students? Has he ever taught?

No, he never taught. Although his name was. This thought fascinated him even less than being a foreman at a construction site. The foreman must command, and for dad this is incredible. You need to put some kind of partition between the students and yourself so that they don’t sit on your head. And I can’t imagine how dad would do it. It would be impossible for him to say something unpleasant to his face - but what could he do without it? For dad, the company of friends was ideal. In creative houses, he was sometimes appointed group leader, and he led so successfully that many later recalled this time as the happiest in their lives.

Did he exercise any leadership at home?

No. To understand that he was dissatisfied with something, one had to have supernatural sensitivity. Well, for example, I once sewed myself a new jacket from a seamstress. He looked at him and said: “I seem to be completely behind fashion.” I then decided that he just didn’t really like the jacket, but in fact in his language it meant: “This is monstrous!”

But, probably, there were some educational moments?

Educational moments... I remember one. I was less than five years old, and there was some kind of French book about animals, which was laminated and covered with cellophane. And this cellophane came off a little, and I remember what a wonderful sound it made when I tore it off! One page, second, third... I was caught doing this and, apparently, scolded. There was nothing, no punishment, no screaming - they just told me that books weren’t treated like that, but I remembered it forever, it was my childhood nightmare! We still have this book, and my heart still aches when I see it. That is, the main thing that education consisted of was how to handle books. Respect for the word. - Yes, there was another such case. Actually, I was a quiet child, but then, at the age of 4, I somehow miraculously got hold of my father’s passport and cut it into small pieces - “for cinema tickets for myself and Misha.” I don’t remember who this Misha was and how the idea of “tickets” came about, but I remember that everyone laughed wildly. And dad laughed! This is the reaction. And, laughing, he took me to the police station, which was in the next house, and there the appearance of a red-haired laughing man with a confused four-year-old girl and a freshly torn passport also amused everyone for some reason. In general, there were no problems! But with a book - yes, that's a different matter.

You are engaged in book illustration. Was your dad your first teacher?

Literally - no. There was just a period when I copied everything from him. And he didn’t teach me himself, but sometimes he simply helped me out when I didn’t get an order: I still didn’t know how to draw, I panicked and tore up pieces of paper. He then drew me some children’s faces, which I couldn’t get my head around.

Did Evgeniy Grigorievich have a favorite book among his works?

He loved Italian fairy tales very much. He then changed his creative style - in 1978 the black drawing line disappeared, the drawing became softer, he tinted the sheet with gouache or watercolor and then rubbed it with a dry brush. And Italian Tales was one of his most brilliant books of this period. He really loved Italy. Trips there were complete happiness for him, because his friends, like Carpaccio, Piero de la Francesco - they all met him there. All these titans of the Renaissance were as important and close people to us as family members, and all their social problems and creative ups and downs were familiar and understandable, like, say, the adventures of my father’s friend Chizhikov or Losin.

Which book, designed by Evgeny Grigorievich, has entered your life since childhood?

Here is a book by Ovsey Driz, I posed there for a boy who ate something sour. And this is Yakov Akim, dad was friends with him all his life, these are the poems - “A girl was walking in the forest.” My dad drew this girl from me. And in the same book there is his self-portrait - a picture for a poem about the artist, here he is, so red...

Didn’t dad have books that he would write and illustrate? Both May Miturich and Suteev had such experiences...

No. He wrote poetry. Shiny. He often wrote for the occasion - for friends’ birthdays, for some events, but these were real poems, complex, talented. Very interesting. I remember the exhibition in the Manege - the first after his death. There were amazing pictures, “literary”, funny, real jokes in painting.

How did they appear?

Dad was a good artist and was used to being in demand. And by the beginning of the 90s, the entire publishing system began to slip, tilt and fall apart. Moreover, this process took completely offensive forms. “New publishers” came to us - some completely wild young men, in shorts and T-shirts - they came, looked at something and said: “Mmm... this doesn’t suit us...” He was already 60 years old by this time. Publishing houses collapsed. The book work is finished. There was something to be despondent about. And he... he began to paint pictures for himself. Switched from paper to canvas. And he began to compose some funny stories - in these pictures the text is very important, it goes together with the image. Well, for example, in the picture there is a courtly gentleman in the foreground, and a lady in the background. A shadow falls from the master. And the title is “Portrait of a gentleman who cast a shadow on a lady.” Or such pictures - already from the names it is clear that they are funny: “Portrait of Don Juan, who forgot the words of the serenade he was performing,” “Portrait of a gentleman with the illuminated tip of his nose,” “The rooks flew away.” That’s how he composed jokes for himself, stylized for different eras - “Kings”, “Little Dutch”, “Naryshkin Baroque”, drew these pictures, not censored or controlled by anyone, sometimes quite frivolous. After all, when they were young, they played pranks very cheerfully, in a Bursatian way. And in general, when "You've been doing illustration all your life, there comes a moment of fatigue and you develop things that don't fit into a book. So dad made etchings for Shergin, with quotes. I hadn't read Shergin then, but I knew these quotes by heart since childhood: “The Tsar and Kapitonka decided to fight , the clothes were torn, the crown was rolled under the chest of drawers." Shergin, with this wonderful sense of humor, was very close to him. And he also painted kitchen boards “according to Shergin,” according to his subjects. A series of boards, a series of etchings - it’s difficult to make a book out of this.

And all this happened because of the publishing crisis of the 90s?

Well, this crisis was not in vain. After all, when Detgiz and “Kid” were in ruins, a bunch of his books lay there. Some are just starting to come out. Some haven't come out yet. And something was completely lost. Kharms’ originals “Tiger on the Street” disappeared without a trace. And he also made a book, “Children’s Poems by Mandelstam,” of which only samples remain. The book was not published, the originals disappeared. At the opening day in the children's library, one young artist, your daughter, called Evgeny Grigorievich “a titan of the Renaissance.” So she said: “I am the granddaughter of the Titan of the Renaissance!”

What do you think she meant?

I need to ask my granddaughter about this. The fact is that Monin was very versatile - he did book illustrations, paintings, did etchings very well, painted landscapes from life, wrote poetry. That is, it is clear that only book pictures were not enough for him. He was a Man of Art. Art was his main life. While dad and his friends were all young, cheerful, healthy and beautiful - there was also their friendship, family, children... and then, later, when illnesses and historical cataclysms began, it was emigration - to art, to these, to Giotto, to Brunelleschi, to Piero de la Francesco.

From an interview with Evgeniy Monin:

I really love the Renaissance, not only the early, but also the later. This won’t surprise anyone: everyone loves it. And the fact that it is refracted with some irony in my work is the desire to get away from the problems of today and hide behind this screen. But still, I believe, despite the predilection and love for a particular era, it is absolutely necessary that it be felt that the work was made by a modern artist.

Evgeny Monin illustrated over 200 books, 24 of which were awarded diplomas at All-Union and All-Russian book art competitions. The artist's works are in the State Tretyakov Gallery, the State Museum of Fine Arts. Pushkin, the Central Slovak Art Gallery, art museums and galleries in Russia. For the series of illustrations “Italian Fairy Tales” the artist was awarded a special diploma “For outstanding achievements in book illustration”, and for the illustrations for the book “English Fairy Tales” he was awarded a silver medal from the Russian Academy of Arts. Personal exhibitions of Evgeniy MONINA were seen in Russia, Finland, Slovakia, Switzerland, Japan and other countries. For participation in an exhibition of Russian art in Japan, the Honored Artist of Russia was awarded a diploma and a personal message from the governor of Tokyo. All this indicates that Monin’s works are modern not only in some technical techniques, but first of all - in thought, in the feeling of the world: a little strange, disturbing, but generally cheerful and dynamic, filled with poetry, beauty and voices from all centuries of the world culture.

Opening of the exhibition of Evgeniy Monin at the Russian State Children's Library

On October 4, an exhibition of the illustrator, People's Artist of Russia Evgeny Grigorievich Monin (1931-2002) opened at the Russian State Children's Library. Speakers at the opening included library director Galina Kislovskaya, curator of exhibition projects at the Russian Children's Clinical Hospital Anastasia Arkhipova, writer Marina Moskvina, artists Viktor Chizhikov, Anatoly Itkin, Vladimir Pertsov, Anatoly Eliseev, Veniamin Losin, the artist's daughter Olga Monina and granddaughter Alexandra Monina, art critic Maria Chegodaeva and many others .

Yes, it was a long time ago, a very long time ago...

There is a large house on the embankment of the Moscow River. Until recently, an artist’s studio was located on its eighth floor. From the windows you could see huge passenger ships sailing along the river, self-propelled barges moving leisurely, and beautiful seagulls hovering above the surface of the water.

The artist spent all day drawing illustrations for children's books and magazines. He was a master of his craft, a storyteller like few in the world.

It is known that in fairy tales time moves in the opposite direction. In the artist’s drawings, all rivers and lakes were dry. Hundreds of paddle steamers, slapping the water with wooden blades, threw clouds of thick black smoke into the sky. And there, under the clouds, with their arms outstretched in free flight, people soared, and occasionally a cow or a horse carrying a cart of hay flew by.

The artist himself often got into an ancient carriage and embarked on dangerous journeys to different countries. He met knights and kings, loved to talk with giants and jesters. But most of all, the artist loved to free beautiful princesses locked in a cave by a terrible fire-breathing dragon. All the dragons, vampires, sorcerers and other evil spirits were afraid of our artist like fire: he had a cheerful disposition and knew how to make fun of some villain in his drawings so much that everyone around him began to laugh uncontrollably at him. And we know that anyone, even the most terrible cannibal, if ridiculed, immediately loses all his strength.

And now - about the sad thing. No matter how much I hesitated in finishing my story, the time has come to tell you about the sad outcome of the last fight of our brave storyteller. An evil disease crept up on him - insidious, incurable. The artist fought with her for a long time, but was unable to defeat her because he did not know what she was called. And the doctors didn't know. That's why they couldn't help.

It's bittersweet to write about this. On September 25, our great friend, a great storyteller, People's Artist of Russia, Corresponding Member of the Russian Academy of Arts died

EVGENY GRIGORIEVICH MONIN, –

bright, original talent.

The memory of a wonderful, wise and warm-hearted man remains with us. His wonderful works, mixed with the highest and purest, life truth that never dies, remain with us.

Eternal memory to him and the Kingdom of Heaven.

Tokmakov Lev

Magazine "Cucumber" No. 8, 2002

Monin’s first book was published in the late 50s, it was called “Ananze the Spider” - based on African folk tales, and was published in Kyiv in Ukrainian. Then Monin was still a student at the architectural institute. At the end of the 50s, such a festival style appeared in Moscow. It was entirely, well, pulled from the magazine “Poland”: an abundance of carelessly thrown dies under such an elegant font, this was terribly typical of that time. And so Monin made this Ananze spider on dies, but not carelessly thrown, but organically woven into the image. And it was pleasing to the eye. It was immediately felt that an artist was born with an innate sense of tact. He did not submit to this festival false fun, but remained as delicate and restrained in his pictures as he was in life. And he was always true to his principles.

His principle is color, the cult of color in children's books, even in black and white. Monin’s even black and white drawings look colored, because he gives such a wide gradation. His book is based on restraint of color, on some kind of trepidation, on delicate color relationships. For some time, however, he fell under the influence of such “Malyshovsky” (i.e., characteristic of the books of the Malysh publishing house - O.M.) brightness, became carried away by this brightness, and then he realized that he was wrong, this is not him, Monin is not there. He looked and switched to the same principles, but he had already grown up a lot, became stronger, and then illustrations for the Brothers Grimm appeared. By the way, he was faithful to the Grimms all his life and periodically returned to them. This was his favorite topic - the fairy tales of the Brothers Grimm.

But his illustrations for Grimm are different! The last, posthumous exhibition featured illustrations for the fairy tales of the Brothers Grimm, which Monin made in the very last years of his life. They have such a special German humor, and this laughter sounds very loud. Has this always been present, or does something change when you read a text throughout your life?

It definitely changes, because everything that surrounds artists influences everything. Everyday. You leaned out the window, a swallow flew past you with a whistle - you are already different. You already come back with new impressions, because nothing happens by chance in life. And the swallow was sent by fate, everything here is so trembling in this world, and Monin is an extremely impressionable person. In general, it is very important for a children’s artist to remain a child spiritually and mentally. And Monin remained. He could grow technically and intellectually. But in general he was a child - touching and often funny because of his childishness.

One day he bought a house near Kaluga and began growing tulips there. Monin growing tulips is something, this is such a picture - straight from his books!

This is very much his flower, even in the lines...

Yes Yes. In terms of plastic, it's his. Well, by color. Here is Monin among the tulips - I even wanted to make such a cartoon. But he didn’t, unfortunately. Because it's his flower. And the architecture is European - Dutch, German, she is always friends with Monin. It’s not like Monin is with her - architecture clings to him. Such densely packed houses that stand in a row and seem to support each other with their shoulders - this is Monin’s architecture. These houses may lean, but they always stand in dense rows.

They have a sense of shoulder.

Yes. The sense of shoulder, the sense of elbow in these Moninsky houses is very highly developed. And among people. Monin depicts a crowd of people as a crowd of densely planted trees, they are all such “dense” people. Why does this density appear? Because Monin, like no one else, felt the integrity of the image. He intuitively knocked together the disparate elements of life. As they say now: “Where are we and where is the French Revolution,” i.e. it has long been. But with Monin it’s not like that: we are here, and the French Revolution is here. He could firmly combine the impressions of one day into something unified. Therefore, he never thought of himself separately from his friends. We were all shot down too.

You even had such a general exhibition in 1976: Chizhikov, Monin, . Then you came up with a name for yourself - connoisseurs of children's literature.

Right. And for Monin this unity was important - both in friendship and in art. The integrity of the image is also one of Monin’s most important principles. Not everyone achieves integrity. I can’t do it, I’m always full of something. I won’t talk about others, sometimes it doesn’t work out either, but Monin could calm down some screaming individual details. Sometimes, when we worked together, and we rented a common workshop in our youth, he would come up, look over my shoulder as I was drawing, and say: “Calm down, calm down.”

He felt what needed to be muffled and what, on the contrary, should be pulled out. He often said: “Pull it out, hit it with the color here, and it will come out.” I felt the sheet of paper very well; the role of white in it is extraordinary. I could leave a piece of paper somewhere, and this white piece, free of watercolor, would then hold the entire illustration.

But our publishers have now forgotten this. They are afraid of clean sheets and air.

Somehow everyone is afraid of white, although white is the brightest color. They think if they plant orange, purple, crazy green...

- ... and circle it with a border

- ... then everyone will rush to buy this book. Nothing like this. The strongest thing is the image, the solid, powerful image on the cover. It attracts the reader first.

Monin’s sketches are very interesting. Sketches of such internal breathing. Colossal. Monin went to the Volga with three pairs of glasses: for distance, for some average distance and for drawing close up. It turned out like this: with his left hand he makes complex movements to change eyepieces, and in his right hand he has a brush, and a watercolor in front of him. He wrote such wonderful sketches, looking at which you want to breathe deeply. There is space and flight in them. They are made in one or two touches. A very complex thing, but very easily written. Monin was such a magician, absolutely amazing. And terribly serious. While his illustrations are humorous, his sketches are simply breathtaking.

Was Evgeny Grigorievich a cheerful or sad person?

And in life he also had a lot of humor, of course. Humor lived in him all the time.

Then Monin’s remarks about life are generally very interesting.

One day we went to the sculptor Zaznobin. One of the guests decided to pay tribute to the glory and recognition of the owner, and he listened and said: “My dear, they let you in there without glory,” and pointed to the ceiling. So Monin adopted this phrase. No, no, yes, I used it. “They let you go there without glory.” He did not identify himself with any glory.

One of his favorite sayings was: A man is like a carpenter: he lives, lives and dies. This is what I liked too.

We still end up with some kind of “lightweight” portrait. But new and new generations of artists appear - original, original, rejecting much of the old - but, an amazing thing: for almost everyone, Monin’s authority is undeniable, and his work does not age at all.

As for Monin’s significance for our book, it is enormous. It's so different! Recently there was a children's book week at the Republican Children's Library. There were various books lying there, but I immediately noticed that of the entire series, the most noticeable one was Monin’s book. His face is so bright, both plastic and colorful.

Monin taught us a lot. By your example. Thanks to Monin, I consider my life very successful. Happy even. Because friendship for me was primarily a spiritual concept.

Friendship with Monin is very important to me. It happened that you would do something meager and think: Lord! Well, how can I tell Monin about this! You can't do that.

Or, for example, Monin never allowed himself to be a dog. He simply stepped aside. He wouldn't be able to work if he was a dog. And me too, by the way. As soon as I have a fight somewhere, I come to the workshop and everything falls out of my hands. I’m spitting and thinking: I should have answered this way and that way. And then I look at Monin, he’s hanging there, and I say to myself: No. Zhenya would have done the same. And that’s it, you calm down, sit down and begin to move on with your life.

Yakov Lazarevich Akim, Evgeniy Monin’s closest and faithful friend, was invisibly present during our conversation. And it would be right to give him the floor too. Akim has an amazing poem dedicated to Durgu the artist. And you will get a double portrait - through the eyes of the artist and through the eyes of the poet.

And the memory pulls out whimsically
Forgotten diary page:
River, Sunset. And in the spill mirror
Clouds float, transforming.

On the stretch of blue, like an eye,
Lilac in the coastal shade,
They swim high and deep
They are swimming - and they are not them at all.

They float until the darkness extinguishes
The glow of the day in the solemn water...
And it happened, it happened with us
And it will happen again - no one knows where.

Water and sky similarities and dissimilarities
We will be scorched by a sudden wave,
High affinity and strange indentation
Between me and my father, you and me.

The explosion of a landmine will also connect,
And a hard hospital bed
And the late calm of the hour,
When there is nothing to hide from your son.

Material prepared by Olga Mäeots
Treasure Island. Issue 06. Tab in “BSh” No. 14 (170). July 16-31, 2006

Man of art

They remember it cheerfully. Acquaintances, colleagues, artist friends.

“He met knights and kings, loved to talk with giants and jesters. But most of all, the artist loved to free beautiful princesses locked in a cave by a terrible fire-breathing dragon. All the dragons, vampires, sorcerers and other evil spirits were afraid of our artist like fire: he had a cheerful disposition and knew how to make fun of some villain in his drawings so much that everyone around him began to laugh uncontrollably at him. And we know that anyone, even the most terrible cannibal, if ridiculed, immediately loses all his strength,” writes the artist Lev Tokmakov.

“Evgeny Monin is a magician. He created his own world - autumn: umbrellas, wind, rain, golden maple leaves... A world of giants and eccentrics, noble gentlemen and brave robbers, angular, thin, funny, lanky, swift - like himself,” this is journalist Julia Govorova.

“The cheerful, unprecedented nature of the fairy-tale action became so convincing and authentic in Monin’s work that they began to perceive it as reality,” this is from a speech at the exhibition.

After looking through one book illustrated by him, you will recognize Monin’s drawings everywhere. Not because it is the same everywhere, but simply - each artist has his own “optics,” as the artist’s daughter said, and his own way of joking. With Monin, both are so original that you meet his characters as good acquaintances and will not confuse them with anyone.

Evgeniy Monin was born in Kharkov in 1931. He drew “like all children” - with a pencil on the wallpaper. Some wonderful animals he had never seen before - elephants, rhinoceroses. In Perm, where the family was evacuated, Monin met a good man - a professional artist who taught him to draw. He learned well, so in 1943 Monin, having passed a fair competition, entered an art school in Moscow - now it is called the “Moscow Academic Art Lyceum”, and they teach academic drawing there like nowhere else in Moscow. At school he became friends with - as it turned out, for life. But then Losin entered the Surikov Institute, and Monin almost became an engineer.

The fact is that his father could not imagine a real man without an engineering education, and he was not supposed to rebel against him. We found a compromise - the Architectural Institute.

“Once I was answering some interview questions,” Monin recalled, “where I was asked who your teacher is in the field of book illustration, I was somewhat confused because I didn’t have a teacher. And one day I asked a wonderful St. Petersburg artist if he would mind if I called him a teacher. He said he wouldn't mind. This is, of course, a joke. But I loved this artist very much, I was friends with him.

Indeed, Monin’s drawings have nothing in common with the work of the famous artist Kurdov, but you have to call someone a teacher when asked! The joke is quite in the spirit of Evgeniy Grigorievich.

At the institute, Monin studied to be an architect, received a diploma of a “real man” and was appointed as a construction foreman. But, of course, I didn’t work there a single day. While still at the institute, he published his first book, it was called “Ananze the Spider” - it was African fairy tales in Ukrainian. And in general, he firmly decided to draw. And he went to work at Murzilka.

It was not for nothing that the Murzilka magazine was included in the Guinness Book of Records as the most durable children's publication - classics of children's literature and the most talented young authors and artists gathered under its cover. In “Murzilka” there was then something like a club for creative youth, they even played ping-pong there. Working in a magazine is a good school for a beginner... no, an artist who has already started. There, in the editorial office of a funny magazine, Monin met and Losin also collaborated there. Since then, the four of them were friends and drew, designed books together: one made the cover, the other made fonts and headbands, the rest made illustrations... This is how the book “Tales of Grandma Kuprianikha” turned out. A beautiful book came out.

The houses that Monin built

Evgeny Monin illustrated more than 200 books. Awarded many diplomas and medals. Visited different countries. I made friends with good and interesting people. But nothing inspired his creativity more than a good text. When the word “literary” is used in relation to an artist, they mean secondary, boring mentality, a literal illustration of a thought. Monin's literary spirit is the cheerful mind of the artist. He subtly senses the style and originality of literary material and reproduces it with the help of line and paint. Sometimes he comes up with a completely original plot, seemingly unrelated to the text. His favorite authors - attention! – F. Rabelais, B. Shergin, O. Henry, S. Pisakhov are storytellers with a pronounced, unique intonation and original humor. Rabelais dreamed of illustrating all his life, but he never had to, but he designed Shergin and Pisakhov, wonderful northern storytellers. Most of all, Monin loved to illustrate fairy tales. The Brothers Grimm, Hauff, Russian folk tales, Italian, English, Armenian, French...

His characters are desperately funny. Surprised bearded craftsmen in vests, pondering the riddles of D. Kharms. Very serious people jumping in a dense crowd over a cart with a horse from S. Pisakhov’s fairy tale. A brave hunter with sideburns and a hat with a feather, who pretended to be dead in the Italian fairy tale “Bearskin.” A bride in a white dress standing motionless in the sky above the orange mountains - she is carried by the Chick from O. Tumanyan’s fairy tale. The book of English songs translated by Marshak is amazingly made - it depicts not only the heroes of the poems - the miller, Humpty Dumpty or Robin Bobbin, but also the narrator, such a funny guy: he winks at the audience, points his finger at what to look at, is surprised, laughs... So is the artist I felt the author's voice! And all these wonderful people usually act against the backdrop of houses.

Architectural education was not in vain - Evgeniy Grigorievich knew well how a house works, be it a hut, an Italian palace or an old mansion in a provincial Russian town.

“How he drew architecture in his books!..” recalls Olga Monina. “He could manipulate houses and towers like that!.. And he also really loved to depict a Russian hut in section, because he understood everything, about the rafters, about the load-bearing beams, about everything, about everything.”

The architectural dominant of the landscape distinguishes almost all of Monin’s illustrations, and where it is impossible to place a house, its role is played by trees: they also somehow represent a wall, a roof, a room, on them, under them, you can sleep in them, hide from enemies, pretending to be a cuckoo... And how beautiful and mysterious the night looks in Monin’s drawings! You have to peer into it: gray-black trees, a dark cave - and a clear moon illuminating the bicycle and the tiny gnome. Or sleeping black and gray houses, a deserted square - and a clever thief leading a horse under a colorful blanket (Italian folk tales “In My Land”). Or a huge, dark, fluffy tree, and through its crown the windows of the house glow (Ya. Akim, “Colorful Houses”). But my favorite thing is the Italian palaces of the Renaissance. Houses, squares, towers, cathedrals, castles, fortresses... All this glows with an alluring pink or orange, everything is beautiful, whimsical and fun. But his daughter, Olga Evgenievna, can better tell about the artist Monin’s personal relationship with the Italian Renaissance.

Conversation with the artist's daughter in the interior

“Family,” Olga Evgenievna says about him. - Almost a relative.

Olga Monina is an artist, illustrates books and teaches at the Printing Institute, from which she graduated.

— Tell me, did Evgeniy Grigoryevich have any students? Has he ever taught?

- No, he never taught. Although his name was. This thought fascinated him even less than being a foreman at a construction site. The foreman must command, and for dad this is incredible. You need to put some kind of partition between the students and yourself so that they don’t sit on your head. And I can’t imagine how dad would do it. It would be impossible for him to say something unpleasant to his face - but what could he do without it? For dad, the company of friends was ideal. In creative houses, he was sometimes appointed group leader, and he led so successfully that many later recalled this time as the happiest in their lives.

— Did he exercise any leadership at home?

- No. To understand that he was dissatisfied with something, one had to have supernatural sensitivity. Well, for example, I once sewed myself a new jacket from a seamstress. He looked at him and said: “I seem to be completely behind fashion.” I then decided that he just didn’t really like the jacket, but in fact in his language it meant: “This is monstrous!”

— But, probably, there were some educational moments?

— Educational moments... I remember one. I was less than five years old, and there was some kind of French book about animals, which was laminated and covered with cellophane. And this cellophane came off a little, and I remember what a wonderful sound it made when I tore it off! One page, second, third... I was caught doing this and, apparently, scolded. There was nothing, no punishment, no screaming - they just told me that books weren’t treated like that, but I remembered it forever, it was my childhood nightmare! We still have this book, and my heart still aches when I see it. That is, the main thing that education consisted of was how to handle books. Respect for the word. - Yes, there was another such case. Actually, I was a quiet child, but then, at the age of 4, I somehow miraculously got hold of my father’s passport and cut it into small pieces – “for cinema tickets for myself and Misha.” I don’t remember who this Misha was and how the idea of “tickets” came about, but I remember that everyone laughed wildly. And dad laughed! This is the reaction. And, laughing, he took me to the police station, which was in the next house, and there the appearance of a red-haired laughing man with a confused four-year-old girl and a freshly torn passport also amused everyone for some reason. In general, there were no problems! But with a book – yes, that’s a different matter.

— You are engaged in book illustration. Was your dad your first teacher?

- Literally - no. There was just a period when I copied everything from him. And he didn’t teach me himself, but sometimes he simply helped me out when I didn’t get an order: I still didn’t know how to draw, I panicked and tore up pieces of paper. He then drew me some children’s faces, which I couldn’t get my head around.

— Did Evgeny Grigorievich have a favorite book among his works?

— I really loved Italian fairy tales. He then changed his creative style - in 1978 the black drawing line disappeared, the drawing became softer, he tinted the sheet with gouache or watercolor and then rubbed it with a dry brush. And Italian Tales was one of his most brilliant books of this period. He really loved Italy. Trips there were complete happiness for him, because his friends, like Carpaccio, Piero de la Francesco - they all met him there. All these titans of the Renaissance were as important and close people to us as family members, and all their social problems and creative ups and downs were familiar and understandable, like, say, the adventures of my father’s friend Chizhikov or Losin.

— Which book, designed by Evgeny Grigorievich, has entered your life since childhood?

- Here is a book by Ovsey Driz, I posed there for a boy who ate something sour. And this is Yakov Akim, dad was friends with him all his life, these are the poems - “A girl was walking in the forest.” My dad drew this girl from me. And in the same book there is his self-portrait - a picture for a poem about the artist, here he is, so red...

— Didn’t dad have any books that he would write and illustrate? Both May Miturich and Suteev had such experiences...

- No. He wrote poetry. Shiny. I often wrote for the occasion - for friends’ birthdays, for some events, but these were real poems, complex, talented. Very interesting. I remember the exhibition in the Manege - the first after his death. There were amazing pictures, “literary”, funny, real jokes in painting.

- How did they appear?

“Dad was a good artist and was used to being in demand. And by the beginning of the 90s, the entire publishing system began to slip, tilt and fall apart. Moreover, this process took completely offensive forms. “New publishers” came to us - some completely wild young men, in shorts and T-shirts - they came, looked at something and said: “Mmm... this doesn’t suit us...” He was already about 60 years old by this time. Publishing houses collapsed. The book work is finished. There was something to be despondent about. And he... he began to paint pictures for himself. Switched from paper to canvas. And he began to compose some funny stories - in these pictures the text is very important, it goes together with the image. Well, for example, in the picture there is a courtly gentleman in the foreground, and a lady in the background. A shadow falls from the master. And the title is “Portrait of a gentleman who cast a shadow on a lady.” Or such pictures - it’s clear from the names that they are funny: “Portrait of Don Juan, who forgot the words of the serenade he was performing,” “Portrait of a gentleman with the illuminated tip of his nose,” “The rooks flew away.” This is how he composed jokes for himself, stylized for different eras - “Kings”, “Little Dutchmen”, “Naryshkin Baroque”, drew these pictures, not censored or controlled by anyone, sometimes quite frivolous. After all, when they were young, they played pranks very cheerfully, in a Bursatian way. And in general, when you’ve been illustrating all your life, a moment of fatigue comes and you develop things that don’t fit into a book. This is how dad made etchings for Shergin, with quotes. I hadn’t read Shergin at that time, but I knew these quotes by heart since childhood: “The Tsar and Kapitonka decided to fight, they tore off their clothes, they rolled the crown under the chest of drawers.” Shergin was very close to him with this wonderful sense of humor. And he also painted kitchen boards “according to Shergin,” according to his scenes. A series of boards, a series of etchings - it’s difficult to make a book out of this.

— And all this happened because of the publishing crisis of the 90s?

- Well, this crisis was not in vain. After all, when Detgiz and “Kid” were in ruins, a bunch of his books lay there. Some are just starting to come out. Some haven't come out yet. And something was completely lost. Kharms’ originals “Tiger on the Street” disappeared without a trace. And he also made a book, “Children’s Poems by Mandelstam,” of which only samples remain. The book was not published, the originals disappeared.

— At the opening day in the children’s library, one young artist, your daughter, called Evgeny Grigorievich “a titan of the Renaissance.” So she said: “I am the granddaughter of the Titan of the Renaissance!” What do you think she meant?

- You need to ask your granddaughter. The fact is that Monin was very versatile - he did book illustrations, paintings, did etchings very well, painted landscapes from life, wrote poetry. That is, it is clear that only book pictures were not enough for him. He was a Man of Art. Art was his main life. While dad and his friends were all young, cheerful, healthy and beautiful - there was also their friendship, family, children... and then, later, when illnesses and historical cataclysms began, it was emigration - to art, to these, to Giotto, to Brunelleschi, to Piero de la Francesco.

From an interview with Evgeniy Monin:

— I really love the Renaissance, not only the early, but also the later. This won’t surprise anyone: everyone loves it. And the fact that it is refracted with some irony in my work is the desire to get away from the problems of today and hide behind this screen. But still, I believe, despite the predilection and love for a particular era, it is absolutely necessary that it be felt that the work was made by a modern artist.

Evgeny Monin illustrated over 200 books, 24 of which were awarded diplomas at All-Union and All-Russian book art competitions. The artist's works are in the State Tretyakov Gallery, the State Museum of Fine Arts. Pushkin, the Central Slovak Art Gallery, art museums and galleries in Russia. For the series of illustrations “Italian Fairy Tales” the artist was awarded a special diploma “For outstanding achievements in book illustration”, and for the illustrations for the book “English Fairy Tales” he was awarded a silver medal from the Russian Academy of Arts. Evgeniy Monin’s personal exhibitions were seen in Russia, Finland, Slovakia, Switzerland, Japan and other countries. For participation in an exhibition of Russian art in Japan, the Honored Artist of Russia was awarded a diploma and a personal message from the governor of Tokyo. All this indicates that Monin’s works are modern not only in some technical techniques, but first of all - in thought, in the feeling of the world: a little strange, disturbing, but generally cheerful and dynamic, filled with poetry, beauty and voices from all centuries of the world culture.

This book is addressed to everyone who works with parents of children and adolescents: practical psychologists, teachers, workers in preschool institutions, heads of clubs, etc., as well as psychology teachers who can take individual exercises for their trainings and practical classes. The authors of the book cover in detail the following issues: how to make communication with parents more effective, how to communicate information about the child, how to ask questions, how to resist manipulation, how to be more confident, how to cope with your emotions and how to avoid unnecessary conflicts.

INTRODUCTION

For a long time, the teaching profession has been particularly revered and prestigious, because teaching children is a worthy and necessary task. But the work of a teacher is sometimes associated with contradictory thoughts and feelings: not only pride in one’s profession, but also bitterness and doubts about one’s own competence, not only joy from a successful lesson, but also despair from the inability to solve the problem that has arisen. Unbearable physical activity (a large number of lessons, checking notebooks, class management), the need to constantly maintain a high level of professionalism, to keep abreast of innovative technologies, daily communication with a huge number of people - all this complicates the life of an educator and teacher. That is why representatives of such an ancient and revered profession often need the help of a specialist who will tell you how to cope with negative emotions, how to restore strength after severe stress, and teach techniques of confident behavior and methods of self-regulation. And such a person at school and in kindergarten can be a psychologist who conducts individual consultations and trainings for teachers to develop certain skills.

It has now become commonplace that educators and teachers come to a psychologist with their worries and problems. Experience in educational institutions has shown us that one of the acute problems has become the problem of communication with parents of children attending kindergarten and school. Moreover, many questions arise not only from beginning specialists, but also from experienced teachers. After all, unfortunately, not every university teaches how to maintain your authority in communication with adults, how to recognize parents who are “difficult” in communication, how to resist manipulation on their part, and how to argue your position. Nevertheless, you need to know and be able to do this, but despite the growing interest of teachers in psychological science, there is not always enough time to read all the necessary literature.