Young artist Nadya Rusheva drawings. Nadya Rusheva

Positive psychology 15.11.2012

I would like to tell you about the unusual fate of an immensely talented child who was endowed with simply divine instinct and intuition. Interesting fact that she was born on the same day as Vanga, a famous clairvoyant. The article is a little sad, because Nadya lived completely short life. But how did she manage to live it?

Here is an excerpt from Neva magazine for 1972.

Snow was falling. Fluffy, soft, March. The girl ran along the alley of Pushkin Park, and sketches appeared on her way - elastic lines were drawn on the snow with a branch. And now the thin girl’s profile glows in the diamonds of snowflakes, young Pushkin laughs, images of his lyceum friends are born...

A branch in the snow. Confident, generous, deft. It’s really easy for her to give the melting snow a few fleeting thoughts and images. She is young, talented, and has her whole life ahead of her. How much more will she tell with her drawings about her love for people, for life, about the beauty of the land and cities, about this snow-covered, fabulous Leningrad, where young filmmakers are now shooting the last frames of a film about her, a Moscow schoolgirl.

Hermitage Museum, Winter Palace, Pushkin’s apartment on the Moika... and you can draw all this as much as your heart desires,” she said, sounding out the film, “I walk the streets with an album, and I just want to cry with happiness.

And three days later, on March 6, 1969, Nadya Rusheva passed away. Cause of death: cerebral aneurysm... Passed away on takeoff, not even reaching adulthood.

A seventeen-year-old girl who left behind more than 15 thousand works. They were made with pencil, watercolor, fine pen, and felt-tip pens. There is such technique, plasticity, and so much wisdom in everything that it’s hard to believe that it was all drawn by a child. Such a quantity of works would be enough for a long century even for a great accomplished artist.

Nadya started drawing when she was not even 5 years old. The family was very creative. My father is a famous Russian theater artist, and my mother is the first Tuvan ballerina. She was born in Mongolia. And a family friend gave her a name, they called her Naidan. Translated, this meant eternally living.

And this is fate. Although, if you look for more deep meaning everything has its own depth. Her name is now known not only in our country, but also far beyond its borders. And Nadya herself wrote in her diary: “ The best remedy from immortality - talent."

Life ended suddenly. Nadya was just getting ready for school and fell on the threshold of her apartment. It was not possible to save her. The only daughter of her parents. Nowadays they perform operations for such a diagnosis and save people. And then medicine was simply powerless; doctors were surprised how she could live such a long life with this diagnosis.

Nadya spent her childhood in Moscow. All the fairy tales and stories that her parents told and read to her were immediately depicted in drawings. Dad, who adored his daughter, read to her a lot, and Nadya drew at this time. And then one evening after reading, Nadya got up and asked for a notebook and pencil, and immediately sketched 36 drawings on the theme “Tales of Tsar Saltan.” Moreover, it was the details that shocked my father. Details of the era, costumes, characters.

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Drawings by Nadya Rusheva.

At first I drew only with a pencil without any paints or colors. So everything was suggested to her by her imagination. At the age of 7, when I went to school and began to write with a pen and feather, pen drawings immediately appeared. Later I started using paints. I always drew clean. At the same time, she said that she sees everything and simply circles everything.

She studied at a regular Moscow school and only attended the art studio at the Palace of Pioneers on weekends. She adored Tariverdiev and Vysotsky, the Beatles and Rachmaninov. And I painted a lot.

The playful girl, who was the leader in the class, immediately transformed when she was engaged in creativity. I dreamed of entering VGIK and getting a profession as an animator.

17 years of a girl’s life and more than 15 thousand works. Just think about it. Moreover, the themes of the drawings themselves are surprisingly versatile: space, animals, ballet, fairy tales, fashion, grace, biblical stories, drawings for your favorite books and much more.

Nadya was called a child prodigy of the times Khrushchev's thaw. Films were made about her during her lifetime, and the Soviet government proudly sent her personal exhibitions abroad. The first exhibition took place at the age of 12. Then there were exhibitions in St. Petersburg, Artek, Warsaw and other cities and countries. During Nadya's lifetime she was 15 personal exhibitions. Currently, more than 150 exhibitions have been held in Mongolia, Japan, USA, Germany and other countries.

Today, her works are stored not only in museums and private collections, but also in the museum of the school where she studied. And the school holds children’s drawing competitions “There is Hope” in Nadya’s honor.

Nadya's favorite poet was Pushkin with scenes from the life of his characters. Once Nadya received a D in literature for an essay on the novel “War and Peace.” Her thoughts did not coincide with generally accepted ones.

“What kind of a hero is he,” she argued with a literature teacher about the personality of Andrei Bolkonsky, “if his father forbade him to marry, if he subjected his beloved Natasha to a year-long test and at the first mistake he returned her letters... This is not knightly. He is brave, but this is the duty of every soldier. But Pierre is a hero! Nobody called him to battle of Borodino, into the thick of it, at Raevsky’s battery! No one asked him to save a child from the fire or a woman from a French robber. For this he was shot... And when Natasha was feeling very bad, he was the only one who supported her. A friend in need is a friend indeed…"

This is the girl's wisdom. Let's look at some of Nadya's drawings on Pushkin's theme.

Lyceum students and PushkinDying Pushkin

A.S. Pushkin A.S. Pushkin and A. Kern

And Bulgakov’s series of works was admired by distinguished artists and artists. These drawings are recognized as the best in the history of publications of the novel. Childish handwriting children's drawing. Here are some drawings on this topic.

Frida's Plea Koroviev and Behemoth.

The first meeting of the master and Margarita

Margarita reads the master's manuscript

“I live life by whom I draw” - this is what Nadya says about her works. I was very shocked by the drawings on Christian themes. There were no secrets for her. She clearly saw the past and imagined the future. I have never drawn from life. All the images, as Nadya said, were in her head.

Watch a wonderful video with her work. “Mozart of drawing” was the name given to these works. Most of Nadya's works are kept in the Pushkin Museum in Moscow.

One of the planets in the solar system is named after Nadi. And cosmonaut Georgy Grechko, taking Nadya’s drawings into orbit, showed them to the whole world during a television session with the Earth. A vernissage of the girl’s works took place on a global scale. Steam psychologists and psychics noticed that some of Nadia’s works emit energy.

For those who want to watch short film Oh Nadya, I invite you. Very touching footage of Nadya, her mother, who now lives all alone, she is 85 years old.

In memory of Nadya Rusheva.

Like a short but bright flashlight,
Like a breath of warmth in winter,
This girl is a sad bespectacled girl -
Once passed between us.
Every stroke is like a swallow of childhood,
Everything is in Pushkin’s style - immediately clearer...
And then with a broken heart
I watched film footage of her.
...Here is a smile... Familiar verses...
But I can’t forget the twig,
Displayed curly profile
On the cheerful lyceum snow.
Max Dahie.

I would also like to say a few more words. I hope they will be understood correctly. To say that you need to enjoy every day that Life has given you and just live... And also support our children in everything. Let them also learn positivity, Kindness, Love from us and develop their creative abilities.

My heartfelt gift for today Caccini - Ave Maria performed Veronica Dzhioeva and the chamber orchestra of the Novosibirsk Philharmonic. This is a Catholic prayer to the Virgin Mary. I already introduced you to the singer. Listen to this extraordinary performance; I think it doesn’t need my comments.

Health to everyone and life wisdom. Take care of yourself and your loved ones.

For people suffering from iodine deficiency, seaweed is a necessary product in the daily diet. Thanks to modern technologies, sea kale is available to consumers dried, frozen or fresh.

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School fountain pen, felt-tip pen, colored crayons, pastels, ink. That's all the tools. Nadya captured entire worlds with them. Just imagine that a child, for whom restlessness, movement, and play are determined by nature itself, suddenly concentrates and patiently immerses himself in drawing “with his head”! Or was it already a need, the satisfaction of an ever-increasing passion to create?

Nadya began drawing from her preschool years. Her parents read her fairy tales, stories about ancient heroes and their exploits. And the girl immediately came up with pictures to go with what she heard. Year after year, the collection of Nadya’s works increased. The number of folders in which they were stored exceeded a hundred. The two-room “Khrushchev” of the Rushev family turned out to be a repository for over ten thousand drawings. Yet amazing productivity is only one side of the Nadya Rusheva mystery.

“I live the life of those I paint,” Nadya once said. Perhaps this recognition is the most valuable thing for understanding Rusheva’s artistic genius? With the courage of a pioneer and childlike spontaneity, she entered the gold-bearing strata of world culture. The magic wand of imagination helped her to be either Medea or Joan of Arc. Nadya saw herself as Natasha Rostova and Anna Karenina, Natalya Goncharova and Bulgakov's Margarita... There were many more of these transformations than drawings in her creative heritage. And the fact that the Rusheva phenomenon took place is almost decisive role played by the special, creative environment in the family of the aspiring artist.

Nadya was only daughter Nikolai Konstantinovich Rushev and Natalya Doydalovna Azhikmaa. She was born in Ulaanbaatar in 1952, where a Moscow theater artist and a Tuvan ballerina were on a creative trip. Soon the Rushev family returned to Moscow. Nadya’s parents, people of art, could not help but notice their daughter’s artistic talent.

Fortunately, they resisted the understandable temptation to teach the girl to draw “correctly” and allowed Nadya’s talent to develop naturally. They were strengthened in this decision by teachers N.K. Rushev, and then the famous animal sculptor Vasily Alekseevich Vatagin, who became the artist’s kind mentor.

He spoke forcefully: “Let’s not interfere with her self-development, it’s already seething. You don’t need to teach her, you just need to educate her.” On the advice of the master, Nadya continued to study at a regular school, and on Saturdays she attended the art studio of the Moscow Palace of Pioneers and Schoolchildren.

Participation in studio exhibitions attracted attention to her drawings. Journalists from the then popular newspaper “Pionerskaya Pravda” invited Nadya to illustrate a fabulous science-fiction story Polish writer Tadeusz Unkiewicz "Elmis of Professor Rembowski". Of her fifteen drawings, nine were selected. They appeared in four December issues of the newspaper in 1963.

Six more original sketches of costumes for the school New Year's carnival were also printed there. Academician Vatagin was one of the first to respond to Nadya’s debut: “Congratulations to dear Nadya on her first successful publication of drawings in print at the age of 11! The great draftsman of France, Gustave Doré, began publishing at the age of 12.”

Fame came to Rusheva at the age of twelve, the following year, 1964, when writers Lev Kassil and Boris Polevoy became interested in her drawings, and the schoolgirl’s first personal exhibitions were held at the Moscow State University “Arts Club” and at the editorial office of the magazine “Youth”. What happened at these opening days? The themes of the shown drawings speak of the diversity of interests and the rapidly expanding horizons of the young artist. It seems that Nadya wants to embrace the immensity. At exhibitions that year, she presented sheets from the series “Russian Ballet”, “Animal World”, “Space and Science”, “Fairy Tales and Fantasies”, “Fashions Yesterday and Today”, “Greeks and Slaves”, “Children’s World”, “Forces” and grace”... At these and at the next twelve personal exhibitions of Rusheva, none of the works were repeated.

Enthusiastic reviews from visitors to her opening days, filming, articles in newspapers and magazines - it was as if Nadya had not noticed. This was noticed and accurately described by Lev Kassil, who was introduced to “a thin, black-browed girl, silently and somehow aloof, indifferently listening to everything that writers, journalists, and artists were enthusiastically discussing.”

The Rushevs’ neighbors in the five-story apartment building said that only after Nadya’s sudden departure did they learn how much she drew and left for people. They remembered how, as a little girl, on the shore of the surrounding Tsaritsyn ponds, Nadya would intently draw something in the sand with a twig, while other children were making Easter cakes. Years later, she draws Pushkin’s outline, a dashing hussar, and a girl’s profile on the snow of the Lyceum in Tsarskoe Selo. A random twig. And these fragile improvisations will be captured on film by documentary filmmakers, as evidence to the world around us - Nadya could not help but draw!..

Rusheva was an ordinary student at a suburban Moscow school. I haven’t picked up a pen or felt-tip pen yet. Then a miracle happened - under the artist’s pen, a completed, perfect drawing appeared in a matter of seconds. Sometimes several dozen faces fit on a simple blotter...

Classmates did not perceive Rusheva as an artist. The teachers also did not do her any favors. Especially in high school, the girl had to pore over numerous homework assignments. First of all, by exact sciences. Physics and chemistry were not easy for her.

But in your free time you could ski, swim, read, listen to your favorite music from Rachmaninov to the songs of Tariverdiev and Vysotsky, dance to the rhythms of the Beatles, take care of guinea pig and cacti... And draw: whatever you want and as much as you want.

The year 1967 brought Nadya an event that divided many things into “before” and “after” for her. After eighth grade, she became a delegate to the III All-Union Pioneer Rally in Artek. There she made friends with whom she corresponded and whose opinions she valued. Then, in letters to Alik from Baku and to Olga from Pavlodar, who became her most sincere friend, Nadya more than once recalled Golden time in Crimea, he will note that the harder it is, “the more the days of Artek shine.”

Nadya spent many hours reading books and albums on cultural history, in museums and art galleries. She especially loved Renaissance artists - Sandro Botticelli, Leonardo da Vinci, Michelangelo.

From her great predecessors she learned the ability to extract and capture beauty. And when it turned out that her classmates were indifferent to art, she took upon herself the responsibility of the plenipotentiary representative of the beautiful: she held conversations, published a caustic wall newspaper, made drawings for school evenings, “pulled” students to the Museum of Fine Arts. I introduced my peers to the classics as best I could.

Why did she need this too? social work, extracurricular activities, hassle with kids who have no broad interests? To Nadya herself, every opportunity for such enlightenment did not seem burdensome. She was sincerely surprised by her eccentric classmates who lived in Moscow and did not take advantage of her artistic riches. In order to stir up the inert, to help them feel the high destiny of man, she, in essence, worked tirelessly in art. Aphoristically expressing his attitude towards the lazy and indifferent at heart: “If you want them to smolder a little, burn to the ground yourself... It’s terribly difficult, but necessary. You can’t just do it for yourself.”

The last year of Rusheva’s life coincided not only with her school graduation. Her “Pushkiniana” was replenished with wonderful compositions. The ancient series ended with a graphic masterpiece on the theme of the myth of Apollo and Daphne.

It seems incredible that a sixteen-year-old artist managed to become the first illustrator famous novel Mikhail Bulgakov "The Master and Margarita". But it was Nadya Rusheva who created “for herself” more than a hundred masterly illustrations. To this day they amaze anyone who discovers through her drawing the appearance of Ivan Bezdomny, Frida, Yeshua and Pontius Pilate.

Unconquered

Those who visited the Rushevs’ house in the early 70s will forever remember the home opening days that Nikolai Konstantinovich organized in memory of his daughter. After talking about exhibitions, cultural news, publications and the traditional tea party, he would take out a folder with drawings from the closet. The sofa against the wall turned into a kind of stand. One sheet, another, a fifth... Some of those present asked to pause to look at this or that drawing - I wanted to admire them! Such is the magic of her graphic miniatures...

“The fact that this was created by a girl of genius becomes clear from the first drawing. They do not require proof of their primordial nature,” wrote Irakli Andronnikov on one of Nadina’s “Pushkiniana” sheets.

But, perhaps, the nature, the deep essence of Nadya Rusheva’s creativity could be determined more penetratingly than others... by the ancient philosopher Plotinus: beauty lies not so much in symmetry as in the radiance that illuminates it. Is it not for the consciousness that there is beauty, and the art of geniuses has been revealed to humanity?

In the middle of the twentieth century, an artist came into the world who had no equal in art. By the end of the century, it becomes obvious what immense wealth she left for people. How careless we are with this heritage, how we do not know how to manage it. And the fact of “cosmic recognition” of Nadya Rusheva’s extraordinary gift remains little consolation. In the mid-70s, cosmonaut Georgy Grechko took Nadya’s drawing with him into low-Earth orbit and showed it to the world during a television session with the Earth. Rusheva became the first artist whose vernissage took place on a global scale.

A few years later, one of the minor planets solar system received the name Nadya Rusheva. But perhaps the most surprising thing was the discovery of the energy of her drawings. Parapsychologists and psychics noticed that among the artist’s works there are sheets that emit energy.

Is this a concentration of spirit, the quintessence of emotions, feelings? Or the magic of beauty? Be that as it may, this girl, with her light, soaring lines, seems to invite us on a flight to beauty and perfection. To an unknown planet whose name is Nadezhda. And let more and more souls, seeking the beautiful, set off on a flight to the endless mystery of her gift. They are waiting for the discoveries and revelations of the brilliant artist, who has become “the greatest of the young and the youngest of the great.”

Many consider her the most talented artist Soviet period of our history. I will say more: talent of this kind could only arise in the USSR. Look carefully at the themes of her work. On the ideals that she adheres to. What she believes in. In what other period of Russia’s existence could such a female soul arise?

Not only the Moscow school where she studied was named after her (a memorial museum was opened there), but also a pass in the Caucasus and one of the small planets. In 1976, the publishing house "Fine Arts" published a large album with her drawings. Her drawing became the logo " International Center Non-fiction Cinema and Television "Centaur". There is a community in LiveJournal dedicated to it: nadja_rusheva , there are many sites on the Internet related to her work (for example, http://nrusheva.narod.ru).

Among her works are illustrations to myths Ancient Hellas, works by Pushkin, L.N. Tolstoy, Mikhail Bulgakov. In total, the works of about 50 authors were illustrated.

Among Nadya’s sketches there are several that depict the ballet “Anna Karenina”. Such a ballet was actually staged after the death of the artist and main role Maya Plisetskaya danced in it.

Her drawings were born without sketches, she always drew straight away, and she never used an eraser. “I see them in advance... They appear on paper like watermarks, and all I have to do is outline them with something,” said Nadya. This is a classic expression of a talented person.

Nadya left behind a huge artistic heritage— about 12,000 drawings. Their exact number is impossible to calculate - a significant proportion were distributed in letters, the artist gave hundreds of sheets to friends and acquaintances, a considerable number of works for various reasons were not returned from the first exhibitions. Many of her drawings are kept in the Leo Tolstoy Museum in Moscow, in the branch museum named after Nadya Rusheva in the city of Kyzyl, in the Pushkin House of the Academy of Sciences in St. Petersburg, the National Cultural Foundation and the Pushkin Museum in Moscow.

There have been more than 160 exhibitions of her works in different countries: Japan, Germany, USA, India, Mongolia, Poland and many others.

Yes, I almost forgot: she died at the age of 17.

Nadezhda Rusheva was born in the city of Ulaanbaatar in the family of the Soviet artist Nikolai Konstantinovich Rushev. Her mother is the first Tuvan ballerina Natalya Doydalovna Azhikmaa-Rusheva. In the summer of 1952, the family moved to Moscow.

(The Little Prince - during the USSR, this fairy tale by Exupery was very loved)

(Sad Fox (after parting with the Little Prince))

Nadya began drawing at the age of five, and no one taught her how to draw, and she was not taught to read and write before school. At the age of seven, as a first-grader, she began to draw regularly, every day for no more than half an hour after school. Then, in one evening, she drew 36 illustrations for “The Tale of Tsar Saltan” by Pushkin, while her father was reading this favorite fairy tale out loud.

(Young Pushkin and the lady of his dreams)

In May 1964, the first exhibition of her drawings was organized by the magazine “Youth” (Nadya was in fifth grade). After this exhibition, the first publications of her drawings appeared in issue 6 of the magazine that same year, when she was only 12 years old. Over the next five years of her life, fifteen personal exhibitions took place in Moscow, Warsaw, Leningrad, Poland, Czechoslovakia, Romania, and India.

(Ballerina Maya Plesetskaya)

In 1965, in issue No. 3 of the Yunost magazine, thirteen-year-old Nadya’s first illustrations for a work of art were published - for the story “Newton’s Apple” by Eduard Pashnev. Ahead were illustrations for the novels “War and Peace” by Leo Tolstoy and “The Master and Margarita” by Mikhail Bulgakov and the glory of the future book graphics, although she herself young artist I dreamed of becoming a cartoonist. In 1967, she was in Artek, where she met Oleg Safaraliev.

(drawn during a vacation at the Artek pioneer camp)

In 1969, a film was made at Lenfilm "You are like your first love...", dedicated to Nadya Rusheva. The film is not finished.
She died on March 6, 1969 in the hospital due to the rupture of a congenital aneurysm of a cerebral vessel and subsequent hemorrhage in the brain.

(The most famous drawing by Nadya Rusheva is Natalya Goncharova, Pushkin’s wife)

She was buried at the Pokrovskoye cemetery in the first plot. A monument was erected at her grave, where her drawing “Centaur” was reproduced. Here are more of her works:

(Taming)

(Prisoner)

(Two pages)

(Adam and Eve)

(Apollo and Daphne)

(Hercules and Deianira)

(Illustration for "War and Peace")

(Illustration for "War and Peace")

(From illustrations for War and Peace: Pierre Bezukhov)

(Prince Andrey)

(Prince Andrei and Natasha before separation)

(Bela from "Hero of Our Time" by Lermontov)

(Lady Hamilton)

(Confusion)

(Untitled)

(Ballerina Maya Plesetskaya - Dying Swan)

I suggest you look at her illustrations for “The Master and Margarita” by Bulgakov:

(Koroviev and Kot)

(Master and Margarita)

(Meeting of Margarita and the Master)

(The Master and Margarita in the developer's basement)

(Above the manuscript)

(Margarita transformed)

(Pontius Pilate with a dog)

(Yeshua)

(Margarita)

(Woland)

(Ivan Bezdomny)

(Frida's plea)

("Farewell!")

This is not Aubrey Beardsley.

Her mother is still alive. She is 85 years old. “The best cure for old age is to die young,” Nadya wrote in her diary...

Nadya Rusheva. Anniversary.

January 31 marks the 60th birthday
Moscow artist Nadya Rusheva.

A festive evening will be held at the artist’s Moscow museum.
We invite everyone who honors her memory and talent.
February 4, Saturday. Starts at 15.00.

Address: st. Yerevanskaya, 20 (school building No. 1466).
Directions:
1. Metro station "Kantemirovskaya", then by bus or minibus No. 164 to the stop "School"
2. Metro station "Tsaritsyno", then by bus No. 245 or No. 289 to the stop "Erevanskaya Street"

There were four hours of waiting time for her exhibition.

In history, she remained an adult child. Just like her favorite character, the Little Prince. Nadya died very early - at 17. The day before, the girl returned from St. Petersburg, where she was filming documentary film about Pushkin.

“That day my daughter met me animated and joyful,” recalls Natalya Doydalovna, Nadya’s mother. “In her hand she held a burning red candle with white wax flowing down it. “Mom, look how beautiful it is!”

And the next morning she burned herself out. Sudden cerebral hemorrhage...

That candle, with frozen wax tears, still stands on the artist’s desk. Only now it has turned from scarlet to pale yellow. Over time, everything loses color - the drawings made with felt-tip pens fade, no matter how hard Natalya Doydalovna hides them from the light, the pages of the books that her daughter leafed through turn yellow - only the memories do not fade.

As cynical as it may be, early death only fueled the public's interest in the young artist. There were hours-long queues for her exhibition at the Pushkin Museum. Art critics spoke with aspiration about Rusheva’s graphics. Exhibitions were held in more than two hundred cities - not only in the Union, but also in the USA and Japan. Bulgakov’s widow, Elena Sergeevna, who met the Rushevs after the tragedy, claimed that Nadina’s illustrations for “The Master and Margarita” were the best, and that the artist’s gift was on the verge of clairvoyance. Her Master's ring is an exact copy of the ring that Bulgakov himself wore, while Margarita is the spitting image of the writer's widow... Elena Sergeevna was going to help publish the novel with Nadya's illustrations, but did not have time - shortly after meeting the parents of the artist Bulgakova died.

The 15-year-old girl’s drawings on the theme of the cult novel still look fresh and exciting – it’s even strange that “The Masters” with Rusheva’s illustrations were never really published (except for the Barnaul edition of the early 90s, the printing quality of which left much to be desired). The artist's graphics were rarely printed in the USSR due to poor printing - this was done in Japan and Germany. They are in no hurry to release albums even now, although technical capabilities have improved. “If I were rich, I would at least publish a calendar,” laments Natalya Doydalovna. The parents earned sheer tears from their daughter’s drawings: in 1976, the only album “Graphics by Nadya Rusheva” was released, father and mother were paid 990 rubles for it. But Natalya Doydalovna doesn’t even think about money: “When they make an exhibition, it’s an honor for us. In 1980, Nadina had an exhibition in Japan. The organizers printed drawings from Pushkiniana and gave me several copies.” Now the gift in a beautiful gilded frame decorates Natalya Doydalovna’s living room.

Could have become a ballerina

The artist’s mother lives in a cold Khrushchev building without an elevator, four stops from the metro. A petite woman with a neat hairstyle, despite her advanced years, opened the door to me. Showed my daughter's room. On the wall are black and white photographs of Dean Reed and Maya Plisetskaya, idols of the 60s.

And here is Artek, where Rusheva spent more than one summer: a group in swimsuits, with Nadya on the edge - cheerful, long-legged, with straight dark hair. She was not an introverted and reserved prodigy at all. On the contrary, I was drawn to people, new faces. She moved beautifully - she famously danced the Charleston, enjoyed skiing and skating. She could have become a ballerina, like her mother - she had grace and a high, “ballet-like” lift of her feet. But Natalya Doydalovna did not want such a fate for her daughter: “Standing in the crowd is nothing to do, and being the first is very difficult.”

...Nadya’s parents met in Tuva, where Muscovite Nikolai Rushev, theater artist, sent on a business trip. The young man was attracted to the East - from this trip he brought not only impressions, but also his wife - a ballerina, a girl of exotic beauty (in old photographs Natalya Doydalovna, a purebred Tuvan, looks like Chinese women from Wong Kar-Wai's films - N.K.). At that time - a rare union.

After Nadyusha was born, I took up housekeeping. In 1953, Nikolai Konstantinovich worked at the Bolshoi, and I wanted to watch all the performances - I put Nadyusha in bed, asked my neighbor to look after her, and ran to watch the production. My daughter was very calm; wherever you put her, you’ll find her. I wasn’t capricious...

I gave birth to her at the age of 25, in Ulaanbaatar: my husband was sent there on a business trip. I suffered from toxicosis throughout my pregnancy. Newborn Nadyusha weighed only 2500. Fortunately, there was a lot of milk, and she quickly grew stronger. At the age of three, already in Moscow, she was sent to kindergarten. I remember that my daughter plays with the guys all day, but as soon as I appear, she comes running, buries herself in her lap and cries - quietly, quietly... But she doesn’t complain. I cried for a whole month until I got used to it. In general, she had an easy-going, easy-going character.

I drew while my father read fairy tales out loud.

For half a century now, Natalya Rusheva has been asked how she managed to raise a child prodigy. And in all these years she never gave a ready-made recipe. Simply because he doesn't exist. The Rushevs raised their only daughter without going to extremes.

– Nadyusha learned to read only at school, at seven and a half. We didn’t teach it specifically at home, we decided we’d teach it early - my daughter would be bored in class. We have never put pressure on her yet. Is it possible to force a child, because he will do the opposite! She started drawing, like all children, as soon as she learned to hold a pencil. My husband designs the book, hangs the drawing on the wall for a better look, and Nadya comes up and sticks hers next to it. What always surprised me about her is that she’s not childish. careful attitude to things. She never tore books or broke toys.

Dad came home from work every day, lay down on the sofa and read fairy tales to her with expression - and Nadyusha sat next to her and drew. This is how many of her drawings appeared, including the famous cycle for “The Tale of Tsar Saltan,” which experts still admire to this day. She was already an adult, at the age of 14–15, and often asked: “Dad, read to me!” All children draw, but Nadyusha did it in an unusual way. Her husband showed her drawings to colleagues and art critics. Her daughter’s very first exhibition took place in the editorial office of the Yunost magazine, when she was only 12. After school, she wanted to enter VGIK and become an animator.

They promised to take her without exams...

On March 6, 1969, on a gray, chilly morning, Natalya Doydalovna prepared breakfast, ordered her daughter to dress warmly, and ran off to work. She never saw Nadya alive again. The girl bent down to lace her shoes and suddenly fell. Nikolai Konstantinovich ran to call a doctor. The Rushevs did not have a telephone. It was not possible to save Nadya. She died from a congenital cerebral vascular defect.

“In February, my daughter suffered from the Hong Kong flu that was then spreading around Moscow. She was on fire, could neither write nor read, and complained of a headache. I was lying at home alone - it was impossible to be late for my work even by five minutes. They called a doctor - he prescribed pills, now I don’t remember which ones. Having barely recovered, my daughter left for filming. If only I knew then how dangerous that flu was...

I learned about Nadya’s death only in the evening, when I returned home, my husband and colleagues simply did not dare to immediately talk about the tragedy. I open the door and the house is full of people... It was difficult to bear it.

Nadya was buried at the Pokrovsky cemetery, where Nikolai Konstantinovich now lies - the father outlived his daughter by only six years. And the mother never ceases to ask herself why her child was taken away by death so early. For what sins?

Rusheva Nadezhda Nikolaevna

RUSHEVA NADEZHDA NIKOLAEVNA

B iographical sketch

Nadya Rusheva
born into a family of an artist and a ballerina, in a city with a strange, echoing name:
Ulaanbaatar. Then the family moved to Moscow. The girl started drawing at the age of three,
much earlier than reading.

The drawing became for
It’s like another language - mysterious, impetuous, light. Like breathing. She and
she herself was light, active, cheerful, loved dancing, laughter, jokes, harmless
mischief.

But above the picture
always calmed down, froze. Over the drawing, she seemed to be immersed in another world,
unknown to others. She dominated the drawing. She lived in it. She didn't say it herself
times: “I live the life of those I paint.”

What is she
did you draw? Colored crayons, pencil. While her father read aloud to her “The Tale of the Tsar
Saltana", she made more than thirty-six drawings for her in the album... By the way, in
art school she never studied, and no one could ever force her
draw it by force.

At the age of six or seven years, the girl became friends with a pen (pen),
to whom in the first grade everyone diligently produced sticks and hooks. Artists
Usually they don’t draw with it - the tool is too fragile, and corrections are excluded ..
Nadya loved to draw with both a felt-tip pen and pencils; for her it was equally
degree easily, she said that she only circled on sheets of paper suddenly
the emerging contours of the face and figure, contours and plots. After she left -
I can’t even dare to say - death, destruction - it all happened so suddenly! -
There are more than a thousand drawings left, among them illustrations for “the dearest poet”
Pushkin

Graphic artist

"NADIA,
PUSHKIN, SIRENKI and OTHERS.”

Nadya Rusheva, in my opinion, is a phenomenon
extraordinary in the fine arts of our days.

Speak
it’s joyful and bitter about her: joyful because, looking at Nadya’s drawings, talking about
them, it is impossible not to feel high wave big holiday, no
feel good excitement; but it’s sad because Nadya herself is no longer with
us.

Nadya died at seventeen. Having lived so little in this world, she
left a huge artistic heritage - ten thousand
fantasy drawings.

Talent
generous, and this generosity of the soul, this desire to spend one’s spiritual wealth without
looking back, giving people all of yourself without a trace - undoubtedly one of the first
signs, the original property of true talent.

But of course
Of course, we judge the power of talent not only by the amount of work done.
It is important not only how many drawings are in front of us, but also what kind
drawings.

I was at exhibitions four times as a student of an ordinary Moscow school
Nadya Rusheva, and with each new acquaintance with her drawings they become more and more
captivated, conquered and delighted.

Nadina
drawings are a huge, diverse, rich world of images, feelings, ideas,
interests. Her drawings contain the present day, the historical past of the country, and
Hellenic myths, and modern Poland, and fairy tales, and the pioneers of Artek, and the ancient world,
and the terrible Auschwitz, and the first days of the October Revolution.

Mothers
peace - for peace

Cry
over Zoya

The variety of interests of the artist is amazing. She cares about everything
the world was the matter. Everything concerned her.

But this breadth of artistic interests -
is not omnivorous. The selection apparatus, so important for the artist, operated
Nadi strictly and unmistakably. What did Nadya select for herself from practically
the limitless wealth of human culture?

Nadya loved clean, high
poetic myths Hellenes. Mythological motives Many of her drawings are dedicated, and
among them are the earliest. As an eight-year-old girl, Nadya draws “The Labors of Hercules” -
a cycle of one hundred small studies.

Already in early children's drawings one can clearly see
future artist, with his passions, with his ordinary eye and beautiful
flexible line, with his unmistakable sense of selection and elegant laconicism
artistic language.

This is about the first drawings of eight-year-old Nadya. And here
In front of me is the last composition of a seventeen-year-old artist. And again the topic -
beautiful Hellenic fairy tale: “Apollo and Daphne.” This one is small, about
a page from a school notebook, the drawing is truly a masterpiece. The myth of the sun god, muses,
arts Apollo, who fell in love with the beautiful nymph Daphne and was rejected by her, is one
one of the most poetic creatures of Greek mythology.

This
the victory of the nymph over God, Daphne over Apollo, and Nadya painted it in her very
tragic climax. Apollo, who has already overtaken Daphne, stretches out his hands to
grab her victim, but Daphne is no longer half Daphne. From her living body already
laurel branches appear. With amazing artistic resourcefulness, Nadya caught and
selected the most difficult, most dramatic moment myth. She portrays
like the very process of Daphne’s reincarnation. She is still a person, but at the same time she is already
almost a tree: she has both living human hands and laurel branches. Drawing completed
amazingly spare, precise, transparent. The line is elastic, fluid, completed in the first and
a single movement of the pen.

Nadya’s line is always singular and final.
Nadya did not use a pencil, did not use an eraser, did not shade
drawing, did not outline preliminary directions, did not carry out multiple
linear options. The line is one, always final, and the material with which
Nadya worked, strictly corresponded to her amazing ability to
improvisation. Ink, pen, and felt-tip pen do not tolerate corrections and repeated attempts, but
it was ink, pen and felt-tip pen that Nadya loved, and occasionally colored her drawings
pastel or watercolor.

Freckles.
Seryozha Yesenin.

Dance
Scheherazade

The infallibility of the line in Nadya’s drawings is simply
amazing. This is some kind of special, highest gift, some kind of magical, miraculous
the strength and property of the artist’s hand, which always correctly chooses the only
direction, that single bend, that single thickness and smoothness of the line,
which are necessary in each specific case. Confidence, loyalty to Nadya's hand
incomprehensible.

Ophelia

So
the Nadins’ composition is resourceful, economical and every time undeniably final
works Here is a small drawing of "Caligula's Feast". On a warm greenish background in front of
we have three figures - a plump Caligula and a blooming woman next to him, and in front
them on the stones - a black slave with a tray laden with feast dishes and
vessels with wine. How little is drawn and how much is said: these three figures and their
position in the large banquet hall, only hinted at in the background,
turns out to be enough to create the atmosphere of a feast.

Peculiar
composition "Adam and Eve". There are only two figures in the picture - Adam and Eve. No heavenly
no tabernacles, no tree with the apples of the knowledge of good and evil. Among the accompanying accessories -
only the snake in the foreground and the apple. The apple has already been picked: it is on the ground in front of
to the eyes of Eve, who, crouching down, greedily extended her hand to grab him. This
the violent gesture of a woman eager to seize, to know the forbidden, inimitably
expressive. Adam, obscured by Eve, also crouched to the ground, seems to duplicate
Eve's rapid movement. Center of the picture: Eve, apple, Eve's gesture. I called this one
the composition is a painting, not a drawing, and this, in my opinion, is quite natural.
This drawing is more than a drawing.

Unconquered

A little
The means by which Nadya achieves a huge result are sometimes simply amazing.
Here is a drawing entitled "Auschwitz". There are no camp barracks or
barbed wire, no crematorium ovens. Only a face - one face, haggard,
exhausted, suffering, with sunken cheeks and huge, scary
looking into the world with eyes... There are no details that would speak of terrible
deeds that the Nazis did in the death camp, but all this is clearly seen in
exhausted, haggard face with huge eyes in Nadya's drawing
"Auschwitz".

But the author of “Auschwitz”, “Adam and Eve”, “Apollo and Daphne”
and thousands of other works by an artist who complexly and deeply expressed complex and profound
ideas and images of our century and centuries past, there were only seventeen
years.

Such early maturation of the mind, feelings, hands, talents is impossible
define, measure with ordinary measures, ordinary categories, and I understand
Academician of painting V. Vatagin, speaking about Nadya’s genius.

Nadia
with animal artist V. Vatagin

I understand Irakli Andronnikov,
who, after visiting Nadya Rusheva’s exhibition, wrote: “The fact that this was created
the girl is brilliant, it becomes clear from the first drawing. They don't require
proof of its primordial nature."

The words "genius" and
"primordial" - very big words, they’re a little scary to say in the app
to a contemporary, and, moreover, still seventeen years old. But it seems to me that this is the one
the measure by which Nadia’s enormous talent can and should be measured
Rushevoy.

So far I have spoken more or less in detail about four
Nadya’s drawings: “Apollo and Daphne”, “Caligula’s Feast”, “Adam and Eve”, “Auschwitz”,
but, in essence, each of her drawings deserves just as much and even more
detailed conversation. Thematic diversity and richness of Nadina
creativity is almost limitless on any themes, motives, life phenomena
this hot and greedily seeking soul does not turn!

Self-portrait
drawing on the floor

Nadya insatiably devolves books, and almost all of them
gives birth to a whirlwind of thoughts and a thirst to translate it onto paper visibly, in lines and colors
material from the book read, its characters, its ideas and images.

She draws
illustrations for K. Chukovsky and W. Shakespeare, L. Cassil and F. Rabelais, A. Gaidar and
E. Hoffman, S. Marshak and D. Batsron, A. Green and C. Dickens, N. Nosov and A. Dumas,
P. Ershov and M. Twain, P. Bazhov and D. Rodari, A. Blok and F. Cooper, I. Turgenev and
J. Verne, B. Polevoy and M. Reed, L. Tolstoy and V. Hugo, M. Bulgakov and E. Voynich,
M. Lermontov and A. Saint-Exupery.

Small
prince with rose

Parting
with Fox

Pushkin
- this is Nadya’s special world, her special passion, her special love. From Pushkin,
perhaps this is where it all began. Pushkin woke up the slumbering little eight-year-old
Nadya Rusheva has an instinct of creativity. It was then, in the year fifty-nine,
visiting Leningrad with my parents for the first time, visiting the Hermitage, Russian Museum,
last apartment poet on Moika 12, Nadya picked up a pen and a felt-tip pen. Then
it was precisely this that the first thirty-six drawings appeared on themes inspired by “The Tale of
Tsar Saltan."

From this apartment on the Moika that has become dear to Nadya’s heart
creativity began in Nada; this is where it ended. Her last trip was made
here after ten years.

The day after visiting the poet’s apartment
Nadya died suddenly. Three days before, she visited the city of Pushkin under
Leningrad, in the lyceum, in the room in which a lyceum student lived for six years
Pushkin.

Young
Lyceum students Pushkin and Delvig

Nadya Rusheva's drawings bring us closer to
Pushkin one more step. While working on these drawings, Nadya tried to get used to
only in the image of the poet himself, but also in the atmosphere that surrounded him, in Pushkin’s
era, see, feel, experience it - imagine with your own eyes the people of that
time, their surroundings, the things that were around them and in their hands. Setting up
To this end, Nadya made drawings of Pushkin’s cycle with a quill pen. She constantly
been fiddling with these days goose feathers, mended them, burned them in candle flame,
made countless cuts of the feather at different locations from the groove, so that
achieve a certain flexibility of the tip of the pen necessary for drawing.

Dad,
let's play!

In Pushkin's cycle Nadya there is clearly a consonance with
in the manner of Pushkin's drawing - light, relaxed, graceful, as if
flying But at the same time, Nadya remains Nadya in these drawings. On the face
her always laconic layout, confident definiteness of lines,
improvisational freedom of drawing.

Nadya first creates a series of high school
drawings: several portraits of Pushkin the Lyceum student and his comrades at the Lyceum. Under
Nadya’s pen brings forth Kyukhlya, Delvig, Pushchin, genre scenes of lyceum life,
friends from the lyceum visiting the sick Sasha, the lyceum students are fighting against
the slanderous teacher Piletsky.

Kuchelbecker

But
Little by little, artistic thirst and the desire to understand the world of the great come into force
the poet in all his breadth and diversity. And then, after the lyceum series
drawings “Pushkin and Kern”, “Pushkin and Riznich”, “Pushkin and Mitskevich” appear,
“Pushkin and Bakunina”, Pushkin’s farewell to his children before his death, portrait of Natalia
Nikolaevna, Natalya Nikolaevna with children at home and on a walk.

Pursuit
expand the field of view, tirelessly deepen the chosen topic with which we
met in the Pushkin cycle, which is generally typical for Nadya.

Master
and Margarita in the developer's basement

In his last cycle,
dedicated to M. Bulgakov’s novel “The Master and Margarita”, Nadya speaks
the pioneer of the topic. M. Bulgakov’s novel is extremely complex: it unites
in one whole reality and fantasy, history and satire.

Master
waiting for Margarita

Nadya brilliantly overcame this difficulty of unification
different plans. And then, getting used to the image, she endlessly repeats the face
Margarita, for which he is looking for the most vivid embodiment.

Perfect
means of embodying such diverse characters as the Master, Yeshua,
Pilate, Ratkiller, Volnad and his retinue.

Prayer
Frida

Koroviev
and Behemoth

The same tireless search for truth and expressiveness of the image
We also see it in the magnificent cycle dedicated to “War and Peace.” Striving
present to us Natasha Rostova in all her fullness of life, Nadya draws her
a teenager with a doll and a girl inspired by a dream, filled with moonlight before
open window in Otradnoye, and a loving, caring mother at the bedside
child.

Other
The characters of “War and Peace” are also revealed to us in Nadya’s drawings throughout
diversity of life interests, characters, destinies, aspirations, actions and
spiritual movements. The artist’s extremely rich and multifaceted examination of the material
great novel: Pierre on the field of the Battle of Borodino, his rescue of a woman and child,
Kutuzov talking in Fili with a six-year-old peasant girl Malasha, death
Platon Karataev, the death of Petya Rostov, Nikolushka Bolkonsky, dreaming of
exploits...

Pierre
Bezukhov

Napoleon
in retreat

And one more, extraordinary comparison. Eager to enter
into the image, to give it in all its fullness of life, Nadya tries as much as possible
get closer to him, as it were, physically. Drawing Pushkin's cycle, Nadya wanders around
Pushkin's places, visits the Lyceum, goes to the site of Pushkin's duel. Measures according to
ten steps into the snow and, having seen with my own eyes how terrible the distance of the duelists is,
exclaims with pain and indignation: “This is murder! After all, this scoundrel shot
almost point blank." Then I of the Black River goes to Moka and stands there for a long time in front of
a portrait of the poet, among the things that surrounded him during his life, as if absorbing
the very atmosphere of this life, his thoughts, dreams, deeds, his muse, the sound of his
poems. During a walk in the Lyceum Garden, Nadya picks up a twig from the path and
suddenly he begins to draw a flying profile of young Pushkin in the snow...

That
the same thing happens in the process of working on other cycles, especially expensive ones
to the artist. Drawing sheets of "War and Peace", Nadya travels with her father from Moscow to the autumn
Borodino field wanders for a long time through a huge valley, stopping and carefully
looking through the places where Bagration's flushes were, Raevsky's battery, Shevardinsky
redoubt, Kutuzov’s headquarters...
Working on drawings for The Master and Margarita, Nadya
goes around all the old Moscow alleys, streets, boulevards where it was played out
the action of the novel, where the characters walked, suffered, argued, scandalized, dissembled
Bulgakov's fantasy.

And now I return to the promised emergency
comparison. What does it consist of? Nadya's father said that she could not draw
Naturalistically, with chiaroscuro, she never copied nature. Even doing your own
self-portraits, she only looked in the mirror for a short time, and then drew
by memory. Her drawings were always improvisation.
So how to combine this
improvisational style with the desire to become familiar with the lives of the characters in detail
their drawings, with the places where they lived and acted, carefully examine these
places surrounding objects, study them?

This is how someone usually works
strongly committed to realism. But the improvising artist seems to have to
to act completely wrong?
Nadya's drawings are improvisations. They are to some extent
fantastic, fabulous, but at the same time they are inspired by a specific
reality, life, book, fact. And Nadya is faithful to specific images,
things, events. Nadya’s drawings, despite their improvisational nature and sometimes
fantastic, not groundless, not impersonal, not indifferent to life. They follow
life to the same extent as they follow Nadia’s creative impulse. They
fantastic and realistic at the same time. They are a fairy tale that has become reality, poetry in
graphics.

Nadya draws mythical sirens. A lot of them. She loves them. But how is she
loves them? And what are they like for Nadya?

First of all, these are not those fierce sirens
sea ​​divas who in myths lure sailors-travelers with their singing
the depths of the sea to destroy them. You can only save yourself from them by covering your ears.
wax so as not to hear their singing, as Odysseus did with his companions.U
Nadia sirens are affectionately called sirens, and they do not destroy anyone. On the contrary, they
very charming, friendly, welcoming and, without pretending to be villains, they are engaged
the most mundane things: going to model viewings at a fashion house, serving
waiters, arrange at home, from time to time, a big wash and, taking off their
fish tails and, having washed them, hang them in a row, like panties, on strings for
drying.

These sirens are amazingly cute, and Nadya has been friends with them for a long time. U
she even has this drawing: “Friendship with a siren”, where an ordinary girl
maybe Nadya herself, smiling, stands in an embrace with the siren and peacefully
talking to her.

Centaur
with laurel wreath

Very domestic, sweet and centaurs, as well as centaurs
and centaurs. Centaurs are as flirtatious as sirens. On all four
Their hooves have high, sharp, very high heels. Relationship between Nadya and
the centaurs, Nadia and the sirens, in my opinion, are what a relationship should be
the artist to his creations: they are completely natural, humane, sincere.
Through these relationships, the artist himself is revealed very deeply and reliably, his
a kind look at the world around him.

Meeting
Bacchus and nymphs

And one more thing is hidden in Nadya’s images: this is kind
the artist’s smile and cheerful eye, her gentle humor is soft and at the same time bold
and thin.

Minx
and spitz

In this cheerful, playful, mischievous attitude towards the material there is
something openly childish - and at the same time courageously adult, fearless.
The artist does not bow down, does not servile before the myth, before the fairy tale, but simply
accepts this world as artistic authenticity and is completely free and
relaxed in relationships with him.

What to say?

Say what you want.

-
OK. I'll tell you how I got a D in math.

And she told me.
The story is sweet, simple-minded, open - everything is straightforward, everything is without hiding, without
embellishment It contains all of Nadya, all of her character, all of her spiritual structure.

I
I watched three short films about Nadya. In them, Nadya is also as she is: without
retouching and embellishment. Wandering around Leningrad... Here she is at the Winter Canal, on the embankment
Neva, in the Summer Garden, a nice, sweet girl, sometimes even a girl. Look at
a wonderful city that I loved so much, which I visited during my short life
four times.

IN last movie about Nadya - very short and ending with her
farewell smile and sad caption “The film could not be finished because Nadya
Rusheva died in March 1969...” - one gesture is captured
Nadi.

Slowly walking through the rooms of Pushkin’s apartment and peering into
the relics surrounding her, Nadya with a flying, somehow surprisingly intimate gesture
brings his hand to his face, to his cheek. This unexpected gesture is captivating, she lets you know
to the viewer, with what inner excitement, with what tremulous, hidden spiritual
with anxiety and joy, Nadya peered into Pushkin, into his life, into his
poetry.

I asked Nadya’s father: did she know about her aneurysm, about
that her illness is fatal? Nikolai Konstantinovich answered briefly: “No. Nobody
I didn’t know... In the morning, at home, getting ready for school, I lost consciousness..."

Not
I can say whether it was for the best that Nadya did not suspect about every minute
the death that awaited her. Maybe if she knew, it would deprive her of her drawings
that beautiful and truly great harmony that lives in them would impose
they bear the stamp of the tragic. I don’t know, I don’t know... But I know one thing - looking through
many times Nadya's drawings, I was once again and finally convinced that kind
wizards exist in the world, live among us...

Nadya Rusheva died on March 6, 1969 in the hospital
due to rupture of a congenital aneurysm of a cerebral vessel and subsequent
cerebral hemorrhages, and was buried at the Pokrovskoye cemetery in Moscow.

In memory of Nadya Rusheva Childish handwriting of a child's drawing

She left after
himself has a huge artistic heritage - about 12,000 drawings. Their exact number
impossible to calculate - a significant proportion were distributed in letters, hundreds of sheets
the artist gave to friends and acquaintances a considerable number of works in different
for some reason did not return from the first exhibitions. Many of her drawings are kept in the Lev Museum
Tolstoy in Moscow, in the museum-branch named after Nadya Rusheva in the city of Kyzyl, in
Pushkin House of the Academy of Sciences in St. Petersburg, National Cultural Foundation and Museum
Pushkin in Moscow.

There have been more than 160 exhibitions of her works in Japan, Germany,
USA, India, Mongolia, Poland and many other countries.

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