1 slide

* MUNICIPAL EDUCATIONAL INSTITUTION SECONDARY EDUCATIONAL SCHOOL No. 2 ILLUSTRATIONS FOR THE STORY OF N.S. LESKOVA “LEFT-HANDED” PERFORMED BY: KOLESNIKOVA T.P., first category teacher P. ELBAN 2006

2 slide

* Leskov’s tale “Lefty” evoked responses from such famous illustrators as N.V. Kuzmin, Kukryniksy, L. Epple and cartoonist Yu. Tyurin. The idea of ​​tragic fate resonates equally strongly in the work of all illustrators. talented person in Russia and about the cruelty and coldness of autocracy. Using the means inherent in artistic graphics, the artists skillfully convey the writer’s gentle irony towards the Tula masters and the satirical subtext in the depiction of “petty Russian life.”

3 slide

* Kukryniksy is the common pseudonym of three artists: Mikhail Vasilyevich Kupriyanov (1903-1991), Porfiry Nikitich Krylov (1902-1990), Nikolai Aleksandrovich Sokolov (1903-2000), which is compiled from the initial syllables of their surnames. During their collaboration they illustrated the works of N.V. Gogol, M.E. Saltykova-Shchedrina, A.P. Chekhov, M. Gorky. In 1974, artists created illustrations for the tale of N.S. Leskova "Lefty".

4 slide

* 1.Look at the illustration. Why did the artists place a portrait of Lefty on the frontispiece? How is Lefty represented in the generalized portrait created by the artists? Refer to the text of Leskov’s tale and name the hero’s appearance features scattered throughout the work, which are reflected in the Kukryniksy’s drawing. What guided the illustrators when recreating the clothes of the Tula gunsmith? What business is Lefty depicted doing in the main illustration for the work? What does it mean that Lefty is doing a “disgraceful job for the English nation”? What tools are shown on the master's desktop? Why is there no “small scope” on the table? Why does the master hold the hammer in his left hand?

5 slide

Artists Kukryniksy. The Emperor with Platov in the Kunstkamera. Illustration for chapter 2 of the tale. 1974. In the 2nd chapter, which tells about the sovereign’s visit to the Kunstkamera, non-Russian names of objects are deliberately given in a distorted form, giving a unique flavor to the entire tale, causing the reader to smile.

6 slide

* 1. What details of the text of the first and second chapters of the tale were transferred by the artists into the illustration recreating the setting of the Kunstkamera? What impression did the Kunstkamera make on the sovereign and Platov? 2.How are the characters depicted in the illustration? What was the reason for the “exchange” between the sovereign and Platov during the inspection of the main hall of the Kunstkamera? How did Platov “embarrass” the British? 3.What words from the text of the second chapter can you sign the illustration? 4. Compare the illustration of the Kukryniksy with the illustration for the 2nd chapter by the artist N.V. Kuzmin, reproduced in the textbook. Which illustration did you like the most?

7 slide

* Illustration for the 3rd chapter of the tale. 1974 The Tsar and Platov were offered to examine through a “small scope” a “nymphosoria” forged from pure “Aglitsky” steel in the image of a flea. The expressiveness of the scene, its saturation with pictorial details, evoked responses both in a series of illustrations by Kuzmin, consisting of 80 drawings, and in a graphic commentary to the tale of the artists Kukryniksy, which included 64 illustrations.

8 slide

* 1. Drawings by artists Kukryniksy make the reader smile. Often their illustrations have caricature features, which is achieved by deliberately violating the proportions of the figures. characters, sharpness of detail in the depiction of heroes. Think about what caused this nature of the drawings. To what extent does it correspond to the manner of fairy tale storytelling? 2. Do you often smile while reading “Lefty” by Leskov? Is a writer's laughter always harmless? 3.How are the characters of the work depicted in the illustration? How are the mood and behavior of the main and secondary characters in the work conveyed?

Slide 9

* Drawing for the 3rd chapter of the tale. 1962 – 1965. In search of a drawing style, artist A. Tyurin turned to Russian folk popular print. Popular prints, often naive, but understandable to the common people, were always printed on separate sheets of paper, accompanied by explanatory inscriptions. Creatively using the style of popular prints, A.G. Tyurin captured the main characters of Leskov's tale. This illustration depicts Platov lying on an “unfortunate couch.”

10 slide

*.What feelings does the artist’s drawing evoke in you, combining In what ways did the artist follow the text of Leskov’s tale? What Details of the drawing were invented by the artist as a commentator on the work? Can we say that these details as a whole do not contradict the text of Leskov’s tale? 2. In which chapters of the story is Platov’s “bite” mentioned? Why is the mention of “bite” accompanied in the work by the definition “annoying”? How do you understand such an unusual combination of words? Why is the word “bite” deprived of its usual epithet in the 19th chapter of the tale? 3. Compare the image of Platov on the “annoying couch” in the drawing by A. Tyurin and in the illustration by N.V. Kuzmina. How do the artists’ drawings convey the mood of the Don Cossack Platov? Which drawing made the most impression on you? 4. Using the text of Leskov’s tale, compose short story“Platov and the “annoying bite.” Use images created by illustrators in your story.

11 slide

* The real arbiters of events in the tale are the oblique Lefty and his comrades. They undertook to fulfill the sovereign’s order and “the hope of the nation now rested on them.” The reader is captivated by self-esteem, self-confidence, responsibility for the assigned work, determination and fortitude. Moral support For a big and responsible task, masters are found in “church piety.”

12 slide

* 1. Each of the 20 chapters of Leskov’s tale introduces something new into the development of the action, which increasingly strengthens the reader in the idea that the true guardians of the state interests of Russia are ordinary Russian people, embodied in the images of Lefty and his comrades. Kuzmin takes the reader inside the house and shows how they work. Take a closer look at Kuzmin's drawing. Select different signature options from the text of Chapter 7. 2. Find details in the text of chapters 6 and 7 portrait characteristics Lefties. How are they embodied in the illustrations for Leskov’s tale?

Slide 13

* A.G. Tyurin. "They're running." Illustration for the 8th chapter of Leskov’s tale. "Sweaty Spiral" Illustration for Chapter 9 of the tale. 1962 – 1965. The illustration tells how Platov “rolled up” to Tula. The word “smoke” makes you smile, and the inscriptions “running” and “still running” enhance the dynamics of the action conveyed in the drawing. Tyurin’s illustration for the 9th chapter responded to the central episode. The artist not only introduces the words “sweaty spiral” into the drawing, but also gives a graphic image of the “spiral”; it seems to cover all the characters in the scene.

Slide 14

* 1. What seemed unexpected to you in A. Tyurin’s drawing for the 8th chapter of the work? 2. Reading Leskov’s tale makes the reader smile. And the 9th chapter of the work is no exception. The writer always finds a comic side in a serious subject, presents the reader with surprises that delight, and sometimes puzzles, and willingly resorts to eccentric wordplay. The illustrator follows the writer and strives to convey in his drawing what made him, as a reader, smile. What visual means does the artist use to convey the events of chapter 9?

15 slide

* Illustrations for the 9th chapter of the tale. 1950 This is a group portrait of Tula masters who “undertook to support Platov, and with him the whole of Russia.” “...to search for the prototype of Lefty, it is not at all necessary to look for him in Tula among the Gunsmiths, our country is rich in folk craftsmen - the Kulibins and Polzunovs - and in my life I have more than once met people who could serve as prototypes for Leskov’s hero.” Kuzmin, among the prototypes of the hero, names the inventor-sapper Shevtsov, with whom he served in the engineering troops during the 1st World War, the model maker of the Putilov Factory Vasin, a man of rare modesty, similar to Lefty, the old watchmaker Esaulov, a great master who determined the attitude of the master book drawing To the Leskov gunsmiths.

16 slide

* 1.Read the last paragraph of the 9th chapter. To what extent does the artist’s drawing echo her closing lines? 2.What does Kuzmin claim with his drawing?

Slide 17

* This illustration is reminiscent of the illustration for Chapter 3, when Emperor Alexander Pavlovich examines a flea through a small scope in England. Sovereign Nikolai Pavlovich does the same, but in St. Petersburg. The artist expressed the attitude of each king towards the English flea. Alexander Pavlovich does not believe in the great powers of his people. Nikolai Pavlovich takes a different position, believing that the Russian people will not deceive him. The shod flea represents for the sovereign the loyal devotion of the Russian people to him.

18 slide

* 1. Consider the illustration by the artists Kukryniksy for the 13th chapter of the work. What words of the tale make you remember the artists’ drawing? How is the sovereign depicted in the illustration? What do artists strive to tell the reader with their drawings? 2. Why did the artists introduce courtiers and Platov into the illustration? What do the poses of the royal nobles say? How is Platov depicted in the picture? 3. Compare the illustrations to the 3rd and 13th chapters, depicting Alexander Pavlovich and Nikolai Pavlovich examining the English steel flea with a microscope. What's common in compositional solution drawings? What do you see as the similarities and differences in the illustrations of Russian sovereigns, English workers “in tunic vests and aprons” and royal nobles? How is Platov’s behavior conveyed in the drawings of Artists Kukryniksy? 4.Tell us how the attitude towards the steel flea differs between Alexander Pavlovich and Nikolai Pavlovich. Use the writer’s original, apt words and expressions in your story.

Slide 19

* ILLUSTRATION FOR THE 13TH CHAPTER OF THE TALE. 1952 – 1965 This drawing is ironic. In the Kukryniksov’s illustration, the sovereign is bent unbelievably, so that it seems there are no vertebrae in his back. And in A. Tyurin’s drawing, the figure of the emperor seems, on the contrary, wooden, rigid. The artist skillfully uses the technique of exaggeration when the small scope, which Platov once “put into his pocket,” is equipped with steps. And the sovereign’s headdress is rather heavy, which makes the reader smile. Exaggeration in Tyurin’s drawing is one of the means of conveying the irony inherent in Leskov’s tale.

20 slide

* 1. How is Lefty shown in the illustration? What are the details of it? verbal portrait shown in the picture? 2.What character traits of Lefty, in your opinion, did the artist strive to convey in the illustrations? 3. The possibilities of a word are wider than the possibilities of an image. A writer always tells more than the artist who illustrates his work. Refer to the dialogue between the sovereign and Lefty, the nuances of which cannot be conveyed in the drawing. How does the conversation with the emperor characterize Lefty and his magnificent skill? What words of Lefty from chapters 13 and 14 stood out to you most?

21 slides

* Illustration for the 15th chapter of the tale. 1962 – 1965 The illustration shows how the British admire Lefty's talent and skill. The idea of ​​Russian backwardness, which fetters the creative powers of the people, and Lefty’s commitment to his homeland are heard.

Slide 22

* 1. How is Lefty depicted in the illustration? Remember what Lefty was wearing before his trip to England. For what purpose was this done? What does Lefty's posture and facial expression indicate? 2.How are the British depicted in the illustration? What words from the text of chapter 15 guided the artist when depicting the English in the drawing? 3. Literary scholar I.V. Stolyarov writes: “...to understand the general meaning of the tale, it is fundamentally important that the very result of the “breathless” work of the Tula masters is fraught with an “insidious” duality of impression: they really managed to create a miracle - to forge a “nymphosoria.” And yet their superiority is not absolute. A flea forged by eye can no longer “dance.” The improved English wonder “turns out at the same time hopelessly broken.” Do you agree with the opinion of the literary critic? 4.Refer to the text of the work. What do the English say to Lefty about a savvy flea? What do they see as the reason that she doesn’t dance? 5. What illustrations, following the drawing by the artist Tyurin, would you like to draw, responding to the “foreign views” of Lefty? Describe one of the illustrations orally.

24 slide

* 1.Why did the artist refuse to follow exactly literary text and captured the death of Lefty near the palace? What does the artist say with his illustration? 2.The art of illustration is still perceived ambiguously. There are critics who reject illustration, seeing it as a “bad educational tool.” Illustrator Kuzmin emphasizes: “My own reading experience protests against the assertion that illustration is an obstacle to perception literary work" You got acquainted with the illustrations for the tale “Lefty”, made by artists Kukryniksy, Kuzmin and Tyurin. Whose illustrations did you like best? Which ones would you especially like to highlight? Why? 3.Read the final chapter of the work. Why is the work called a “tale” in the subtitle, and “a legend” in the last chapter? What idea does the writer assert in the final chapter?

25 slide

* 1. KOLOKOLTSEV E.N. ILLUSTRATIONS FOR THE TALE “LEFT-HANDER” - J. “LITERATURE AT SCHOOL” No. 10 - 2005 2. TEXTBOOK – READING FOR 7TH CLASS EDITED BY T.F. KURDIUMOVA

N. S. LESKOV. "LEFT-HANDED". ILLUSTRATIONS BY KUKRYNIKS

Publishing house " art" Moscow. 1979
Set includes 16 postcards, cover
Format 15 x 10.5 cm
Circulation 130,000
Artists Kukryniksy
The price of one postcard is 3 kopecks.
Set price cop.



1. Given name left-handed, like the names of many of the greatest geniuses, is forever lost to posterity; but as a myth personified by popular fantasy, he is interesting, and his adventures can serve as a memory of an era, the general spirit of which is accurately and accurately captured.


2. And the British were not sleeping at that very time either, because they too were dizzy. While the sovereign was having fun at the ball, they staged such a new surprise for him that Platov was robbed of all his imagination.


3. The next day, as Platov came to the sovereign with Good morning appeared, he said to him:
- Let them lay down the two-seater carriage now, and we’ll go to the new cabinets of curiosities to look.


4. They hit the microscope, and the sovereign saw that there was indeed a key lying on the tray near the flea.
“If you please,” they say, “take her in the palm of your hand - she has a winding hole in her little belly, and the key has seven turns, and then she will go to the dance... Forcibly the sovereign grabbed this key and with force he could hold it in a pinch, and in another pinch I took the flea and just inserted the key, when I felt that she was starting to move her antennae, then she began to move her legs, and finally she suddenly jumped and in one flight, a straight dance and two variations to the side, then to the other, and so in three variations she danced the whole cavril.


5. Petersburg. Palace Square


6. - ...I know what you are like, well, there’s nothing to do, - I believe you, but just be careful not to replace the diamond and don’t spoil the fine English work, but don’t bother for long, because I drive a lot: two weeks will not pass since I quiet Don I’ll head back to St. Petersburg again - then I’ll definitely have something to show the sovereign.



8. All three of them came together in one house with the left-hander, locked the doors, closed the shutters in the windows, lit the lamp in front of Nikolin’s image and began to work. For a day, two, three they sit and don’t go anywhere, everyone is tapping with hammers. They are forging something, but what they are forging is unknown. Everyone is curious, but no one can find out anything, because the workers don’t say anything and don’t show themselves. Various people went to the house, knocked on the doors different types to ask for fire or salt, but the three artisans do not respond to any demand, and even what they eat is unknown.


9. Then the whistlers took a log from the street, used it in a fireman’s fashion under the roofing bar, and tore off the entire roof of the small house at once. But the roof was removed, and now they themselves collapsed, because the craftsmen in their cramped mansion became such a sweaty spiral from restless work in the air that it was impossible for an unaccustomed person with a fresh wind to breathe even once.


10. And Platov shouted:
“Well, you’re lying, you scoundrels, I won’t part with you like that, and one of you will go with me to St. Petersburg, and I’ll try to find out what your tricks are.”
And with that, he reached out his hand, grabbed the slanting left-hander by the collar with his knuckle fingers, so that all the hooks from his Cossack flew off, and threw him into the carriage at his feet.
“Sit,” he says, “here it’s like a pub all the way to St. Petersburg, and you’ll answer me for everyone.” And you,” he says to the whistlers, “now a guide!” Don’t miss the chance that the day after tomorrow I will visit the Emperor in St. Petersburg.


11. They took the box out from behind the stove, removed the cloth cover from it, and opened the golden flea, lying as it was before and as it lay.
The Emperor looked and said:
- What a dashing thing!
But he did not diminish his faith in Russian masters, but ordered to call his beloved daughter Alexandra Nikolaevna and ordered her:
- You have thin fingers on your hands - take a small key and quickly start the abdominal machine in this nymphosorium.


12. “If,” says (the left-handed man), “there was a better microscope, which magnifies five million, then you deigned,” he says, “to see that on each horseshoe the master’s name is displayed: which Russian master made that horseshoe.”
- And your name is there? - asked the sovereign.
“No way,” the left-handed man answers, “I’m the only one who doesn’t exist.”
- Why?
“And because,” he says, “I worked smaller than these horseshoes: I forged the nails with which the horseshoes are hammered - no small scope can take them there anymore.”
The Emperor asked:
- Where is your small scope with which you could produce this surprise?
And the left-hander replied:
- We are poor people and due to our poverty we do not have a small scope, but our eyes are so focused.


13. And the English say to him:
- Stay with us, we will impart great education to you, and you will become an amazing master.
But the left-hander did not agree to this.
“I have parents at home,” he says.
The British called themselves to send money to his parents, but the left-handed man did not take it.
“We,” he says, “are committed to our homeland, and my little brother is already an old man, and my parent is an old woman and is used to going to church in her parish, and it will be very boring for me here alone, because I am still single.”
“You,” they say, “get used to it, accept our law, and we will marry you.”
“This,” answered the left-hander, “can never happen...
The British couldn’t do anything to tempt him into becoming seduced by their life, but only persuaded him to stay for a short time.


14. He was not so interested in how new guns were made, but in what form the old ones were in. He goes around and praises everything and says:
- We can do this too.
And when he reaches the old gun, he puts his finger in the barrel, runs along the walls and sighs:
“This,” he says, “is far superior to ours.”


15. They were transporting a left-handed man so uncovered, and when they began to transfer him from one cab to another, they would drop everything, and when they began to pick him up, they would tear his ears so that he would remember. They brought him to one hospital - they wouldn’t admit him without a certificate, they brought him to another - and they wouldn’t admit him there, and so on to the third, and to the fourth - until the morning they dragged him along all the remote crooked paths and kept changing them, so that he was completely beaten up. Then one doctor told the policeman to take him to the common people's Obukhvin hospital, where everyone of an unknown class is admitted to die.


16. In an amazing manner, the half-skipper how-7-o very soon found the left-hander, only they had not yet put him on the bed, but he was lying on the floor in the corridor and complaining to the Englishman.
“I would definitely like to say two words to the sovereign,” he says...
But only when Martyn-Solsky arrived, the left-hander was already finished, because the back of his head was split on the paratha, and he could only say one thing clearly:
- Tell the sovereign that the British don’t clean their guns with bricks: let them not clean ours either, otherwise, God forbid war, they’re not good for shooting. And with this fidelity, the left-hander crossed himself and died.

1 Leskov’s tale “Lefty” evoked responses from such famous illustrators as N.V. Kuzmin, Kukryniksy, L. Epple and cartoonist Yu. Tyurin. In the work of all illustrators, the idea of ​​the tragic fate of a talented person in Russia and the cruelty and coldness of autocracy resounds equally strongly. Using the means inherent in artistic graphics, the artists skillfully convey the writer’s gentle irony towards the Tula masters and the satirical subtext in the depiction of “petty Russian life.” ILLUSTRATIONS FOR N.S.'S STORY LESKOVA "LEFT-HANDED".


2 Kukryniksy is the common pseudonym of three artists at once: Mikhail Vasilyevich Kupriyanov (), Porfiry Nikitich Krylov (), Nikolai Aleksandrovich Sokolov (), which is compiled according to the initial syllables of their surnames. During their collaboration they illustrated the works of N.V. Gogol, M.E. Saltykova-Shchedrina, A.P. Chekhov, M. Gorky. In 1974, artists created illustrations for the tale of N.S. Leskova "Lefty".


Artists Kukryniksy. The Emperor with Platov in the Kunstkamera. Illustration for chapter 2 of the tale. 1974. In the 2nd chapter, which tells about the sovereign’s visit to the Kunstkamera, non-Russian names of objects are deliberately given in a distorted form, giving a unique flavor to the entire tale, causing the reader to smile.


4 Drawing for the 3rd chapter of the tale - In search of a drawing style, artist A. Tyurin turned to Russian folk popular print. Popular prints, often naive, but understandable to the common people, were always printed on separate sheets of paper, accompanied by explanatory inscriptions. Creatively using the style of popular prints, A.G. Tyurin captured the main characters of Leskov's tale. This illustration depicts Platov lying on an “unfortunate couch.”


5 ILLUSTRATION FOR THE 13TH CHAPTER OF THE TALE - 1965 This drawing is ironic. In the Kukryniksov’s illustration, the sovereign is bent unbelievably, so that it seems there are no vertebrae in his back. And in A. Tyurin’s drawing, the figure of the emperor seems, on the contrary, wooden, rigid. The artist skillfully uses the technique of exaggeration when the small scope, which Platov once “put into his pocket,” is equipped with steps. And the sovereign’s headdress is rather heavy, which makes the reader smile. Exaggeration in Tyurin’s drawing is one of the means of conveying the irony inherent in Leskov’s tale.


6 Illustration for the 19th chapter of the tale of the year. Chapter 19 concludes the sad story about the tragic fate of Lefty, the “great little man" The Kukryniksy captured the dead Lefty on the floor in the corridor of the common people's Obukhvin hospital, where “everyone of the unknown class is accepted to die,” the meeting of Doctor Martyn-Solsky with the angry Count Chernyshev and, finally, a gun with a barrel in which bullets are dangling. The artist chose to depict the dead Lefty next to the palace, guarded by sentries. What caused this illustrative decision?

Nikolai Vasilievich Kuzmin (1890-1987) Russian graphic artist, folk artist RSFSR. In 1929-31 - one of the leaders of the Thirteen group, which cultivated “tempo painting”, trying to express dynamics modern life. The mastery of free, elegant stylized drawing (sometimes highlighted with watercolors), a subtle, witty interpretation of the style of the era and the emotional structure of the work, inventive humor and sharp satire - all this is characteristic of the illustrations to “Lefty” by N.S. Leskov (ed. 1955, 1961) and other works of Russian classics.

“Kuzmin’s Leskovsky touch is different: mischievous, unexpected, harsh, but essentially kind. The feeling of some kind of flowing warm air around the figures of Tula people. The courtiers are caricatured: they shine like Christmas tree decorations... Subsequently, in the early 60s, N. Kuzmin strengthened the accents: the king and the court became more disgusting, Lefty - more pitiful, the color more active, reminiscences from folk graphics more clear. But the general tone has been preserved: the iridescent, laughing, mischievous Leskovian pattern. For the first time, an individual graphic style was not applied to the story from the outside, but was, as it were, born from the text itself, into which the artist entered in order to experience its events from the inside.” (L.A. Anninsky)

Nikolai Vasilyevich Kuzmin about the illustrations for “Lefty”:

I read and respected Leskov for a long time, but my connection to him as an illustrator began with a drawing for “The Enchanted Wanderer” in the one-volume Goslitizdat (1945). I began the long-planned sketches for “Lefty” gradually, quietly, without showing what I had done to any outsiders. When everything was decided down to the details, I took the risk of showing the layout of “Lefty” to the publishing house, where everyone liked it. I took sketches to Leningrad to show A.N. Leskov. He received them with ardent interest. Sometimes he had to resolve my perplexities that arose during the work process.

– How do you think the horses in Platov’s carriage are harnessed – in a troika or in a train?
- Of course, in three.
- What about the text: “Both the coachman and the postilion are in place?” What kind of postilions are there in the troika?
- That's right, postilion!.. Well, you know, the most attentive author has a slip of the tongue! Look, this edition of “Lefty” with drawings by N.N. Karazin, it was published during N.S.’s lifetime. Leskova, - Platov on the top three!

With the blessing of Andrei Nikolaevich, I also depicted a troika, otherwise the “postilion” in the text stood across my road and somehow tied my hands.

During one of my visits, I forgot my drawing with a portrait of Nicholas I. He sent it to me in Moscow in a letter: “When you left, in the evening I saw a large sheet and in it a “devil’s doll” and two folding sheets of decent paper... During these days, I looked closely at the image you gave and became convinced of its accuracy and impressiveness. I vividly imagine him every time I remember him. This means that it is embedded and lives in visual memory. This is precisely the “imagination” that Leskov talks about in “Tupeyny” and which all “persons” then tried to embody, and above all this was achieved by Palkin” (from a letter dated May 17, 1953).

A.N. Leskov wrote to me: “Deep, heartfelt gratitude to you for your tireless desire to help our reader visually remember the images of the great master of words.”
But it happens that even a qualified reader finds something in the illustrations that reveals to him the content of the book from a new perspective. K.I. Chukovsky wrote to me about “Lefty”: “You exposed it [the book] main topic: violence committed by scoundrels, stupid people and boors, against talent, over intelligence, over Genius. How great people are trampled under boots...” Such recognition is the highest award for an illustrator.

Drawings for the tale by N.S. I made Leskov’s “Lefty” for more than four years, and in the process of working, literally every drawing was thought over and redone dozens of times, as evidenced by the mountains of sketches that I have preserved. I will also say about the general style of the illustrations - it, of course, was dictated by the very structure of this literary work. This is not a reliable chronicle, but a kind of fairy tale, legend, with all sorts of deliberate incongruities, like this: Lefty goes to London by land, and back through the “Solid Sea”, etc. Hence the style of the drawings, close to the style of ancient Russians pictures.

Relatively appearance Lefties. The writer portrays him as a handsome, modest, but knowledgeable master with self-esteem. Is it necessary to portray him as cross-eyed? “Oblique Lefty” is perhaps just a nickname. If you emphasize the squint of Lefty, you will get an ugly appearance with a roguish, darting gaze (“God marks the rogue”). Therefore, in order to maintain the cute appearance of Lefty, I had to give up emphasizing the squint.

As for his hairstyle, his sexton braids grew during his rushed work - he didn’t have time to cut his hair. Should it be more tattered and unkempt? After all, he appears before the eyes of the strict authorities, puts on his festive caftan and tries to keep everything in order.

Some people find that Lefty’s hut looks like a mansion. It is known historically that in our forest provinces, wooden frames were the cheapest type of housing and they were most often cut in lumberyards according to the standard. The usual log house had three windows; the thatched roof was not typical for the central provinces. The author himself talks about shutters on the windows.

N.V. Kuzmin. The artist and the book. – M.: “Children’s Literature”, 1985.

Slide 2

2 Leskov’s tale “Lefty” evoked responses from such famous illustrators as N.V. Kuzmin, Kukryniksy, L. Epple and cartoonist Yu. Tyurin. In the work of all illustrators, the idea of ​​the tragic fate of a talented person in Russia and the cruelty and coldness of autocracy resounds equally strongly.

Using the means inherent in artistic graphics, the artists skillfully convey the writer’s gentle irony towards the Tula masters and the satirical subtext in the depiction of “petty Russian life.”

Slide 3

3 Kukryniksy is the common pseudonym of three artists: Mikhail Vasilyevich Kupriyanov (1903-1991), Porfiry Nikitich Krylov (1902-1990), Nikolai Aleksandrovich Sokolov (1903-2000), which is compiled from the initial syllables of their surnames. During their collaboration they illustrated the works of N.V. Gogol, M.E. Saltykova-Shchedrina, A.P. Chekhov, M. Gorky. In 1974, artists created illustrations for the tale of N.S. Leskova "Lefty". Artists Kukryniksy. Frontispiece to the tale of N.S. Leskova "Lefty". 1974

Slide 4

4 1.Look at the illustration. Why did the artists place a portrait of Lefty on the frontispiece? How is Lefty represented in the generalized portrait created by the artists? Refer to the text of Leskov’s tale and name the hero’s appearance features scattered throughout the work, which are reflected in the Kukryniksy’s drawing. What guided the illustrators when recreating the clothes of the Tula gunsmith? What business is Lefty depicted doing in the main illustration for the work? What does it mean that Lefty is doing a “disgraceful job for the English nation”? What tools are shown on the master's desktop? Why is there no “small scope” on the table? Why does the master hold the hammer in his left hand? Questions and tasks

Slide 5

Artists Kukryniksy. The Emperor with Platov in the Kunstkamera. Illustration for chapter 2 of the tale. 1974. In the 2nd chapter, which tells about the sovereign’s visit to the Kunstkamera, non-Russian names of objects are deliberately given in a distorted form, giving a unique flavor to the entire tale, causing the reader to smile.

6 Questions and tasks 1. What details of the text of the first and second chapters of the tale did the artists transfer into the illustration recreating the setting of the Kunstkamera? What impression did the Kunstkamera make on the sovereign and Platov? 2.How are the characters depicted in the illustration? What was the reason for the “exchange” between the sovereign and Platov during the inspection of the main hall of the Kunstkamera? How did Platov “embarrass” the British? 3.What words from the text of the second chapter can you sign the illustration? 4. Compare the illustration of the Kukryniksy with the illustration for the 2nd chapter by the artist N.V. Kuzmin, reproduced in the textbook. Which illustration did you like the most?

Slide 7

7 Illustration for the 3rd chapter of the tale. 1974 The Tsar and Platov were offered to examine through a “small scope” a “nymphosoria” forged from pure “Aglitsky” steel in the image of a flea. The expressiveness of the scene, its saturation with pictorial details, evoked responses both in a series of illustrations by Kuzmin, consisting of 80 drawings, and in a graphic commentary to the tale of the artists Kukryniksy, which included 64 illustrations.

Slide 8

8 1.Drawings by artists Kukryniksy make the reader smile. Often, their illustrations have caricatural features, which is achieved by deliberately disturbing the proportions of the figures of the characters and by sharpening the details in the depiction of the characters. Think about what caused this nature of the drawings. To what extent does it correspond to the manner of fairy tale storytelling? 2. Do you often smile while reading “Lefty” by Leskov? Is a writer's laughter always harmless? 3.How are the characters of the work depicted in the illustration? How are the mood and behavior of the main and secondary characters in the work conveyed? QUESTIONS AND TASKS

Slide 9

9 Drawing for the 3rd chapter of the tale. 1962 – 1965. In search of a drawing style, artist A. Tyurin turned to Russian folk popular print. Popular prints, often naive, but understandable to the common people, were always printed on separate sheets of paper, accompanied by explanatory inscriptions. Creatively using the style of popular prints, A.G. Tyurin captured the main characters of Leskov's tale. This illustration depicts Platov lying on an “unfortunate couch.”

Slide 10

10 QUESTIONS AND TASKS. What feelings does the artist’s drawing evoke in you, combining In what ways did the artist follow the text of Leskov’s tale? What Details of the drawing were invented by the artist as a commentator on the work? Can we say that these details as a whole do not contradict the text of Leskov’s tale? 2. In which chapters of the story is Platov’s “bite” mentioned? Why is the mention of “bite” accompanied in the work by the definition “annoying”? How do you understand such an unusual combination of words? Why is the word “bite” deprived of its usual epithet in the 19th chapter of the tale? 3. Compare the image of Platov on the “annoying couch” in the drawing by A. Tyurin and in the illustration by N.V. Kuzmina. How do the artists’ drawings convey the mood of the Don Cossack Platov? Which drawing made the most impression on you? 4. Using the text of Leskov’s tale, compose a short story “Platov and the “annoying biter.” Use images created by illustrators in your story.

Slide 11

11 The real arbiters of events in the tale are the oblique Lefty and his comrades. They undertook to fulfill the sovereign’s order and “the hope of the nation now rested on them.” The reader is captivated by self-esteem, self-confidence, responsibility for the assigned work, determination and fortitude. Masters find moral support for a great and responsible undertaking in “church piety.”

Slide 12

12 Questions and tasks 1. Each of the 20 chapters of Leskov’s tale introduces something new into the development of the action, which increasingly strengthens the reader in the idea that the true guardians of the state interests of Russia are ordinary Russian people, embodied in the images of Lefty and his comrades. Kuzmin takes the reader inside the house and shows how they work. Take a closer look at Kuzmin's drawing. Select different signature options from the text of Chapter 7. 2. Find in the text of chapters 6 and 7 details of the portrait characteristics of Lefty. How are they embodied in the illustrations for Leskov’s tale?

Slide 13

13 A.G. Tyurin. "They're running." Illustration for the 8th chapter of Leskov’s tale. "Sweaty Spiral" Illustration for Chapter 9 of the tale. 1962 – 1965. The illustration tells how Platov “rolled up” to Tula. The word “smoke” makes you smile, and the inscriptions “running” and “still running” enhance the dynamics of the action conveyed in the drawing. Tyurin’s illustration for the 9th chapter responded to the central episode. The artist not only introduces the words “sweaty spiral” into the drawing, but also gives a graphic image of the “spiral”; it seems to cover all the characters in the scene.

Slide 14

14 Questions and tasks 1. What seemed unexpected to you in A. Tyurin’s drawing for the 8th chapter of the work? 2. Reading Leskov’s tale makes the reader smile. And the 9th chapter of the work is no exception. The writer always finds a comic side in a serious subject, presents the reader with surprises that delight, and sometimes puzzles, and willingly resorts to eccentric wordplay. The illustrator follows the writer and strives to convey in his drawing what made him, as a reader, smile. What visual means does the artist use to convey the events of chapter 9?

Slide 15

15 Illustrations for the 9th chapter of the tale. 1950 This is a group portrait of Tula masters who “undertook to support Platov, and with him the whole of Russia.” “...to search for the prototype of Lefty, it is not at all necessary to look for him in Tula among the Gunsmiths, our country is rich in folk craftsmen - the Kulibins and Polzunovs - and in my life I have more than once met people who could serve as prototypes for Leskov’s hero.” Kuzmin, among the prototypes of the hero, names the inventor-sapper Shevtsov, with whom he served in the engineering troops during the 1st World War, the model maker of the Putilov Factory Vasin, a man of rare modesty, similar to Lefty, the old watchmaker Esaulov, a great master who determined the attitude of the master book drawing To the Leskov gunsmiths.

Slide 16

16 questions and tasks 1. Read the last paragraph of the 9th chapter. To what extent does the artist’s drawing echo her closing lines? 2.What does Kuzmin claim with his drawing?

Slide 17

17 illustration for the 13th chapter of the tale. 1950. This illustration is reminiscent of the illustration for Chapter 3, when Emperor Alexander Pavlovich examines a flea through a small scope in England. Sovereign Nikolai Pavlovich does the same, but in St. Petersburg. The artist expressed the attitude of each king towards the English flea. Alexander Pavlovich does not believe in the great powers of his people. Nikolai Pavlovich takes a different position, believing that the Russian people will not deceive him. The shod flea represents for the sovereign the loyal devotion of the Russian people to him.

Slide 18

18 Questions and tasks 1. Consider the illustration by artists Kukryniksy for the 13th chapter of the work. What words of the tale make you remember the artists’ drawing? How is the sovereign depicted in the illustration? What do artists strive to tell the reader with their drawings? 2. Why did the artists introduce courtiers and Platov into the illustration? What do the poses of the royal nobles say? How is Platov depicted in the picture? 3. Compare the illustrations to the 3rd and 13th chapters, depicting Alexander Pavlovich and Nikolai Pavlovich examining the English steel flea with a microscope. What do the compositional solutions of the drawings have in common? What do you see as the similarities and differences in the illustrations of Russian sovereigns, English workers “in tunic vests and aprons” and royal nobles? How is Platov’s behavior conveyed in the drawings of Artists Kukryniksy? 4.Tell us how the attitude towards the steel flea differs between Alexander Pavlovich and Nikolai Pavlovich. Use the writer’s original, apt words and expressions in your story.

Slide 19

19 ILLUSTRATION FOR THE 13TH CHAPTER OF THE TALE. 1952 – 1965 This drawing is ironic. In the Kukryniksov’s illustration, the sovereign is bent unbelievably, so that it seems there are no vertebrae in his back. And in A. Tyurin’s drawing, the figure of the emperor seems, on the contrary, wooden, rigid. The artist skillfully uses the technique of exaggeration when the small scope, which Platov once “put into his pocket,” is equipped with steps. And the sovereign’s headdress is rather heavy, which makes the reader smile. Exaggeration in Tyurin’s drawing is one of the means of conveying the irony inherent in Leskov’s tale.

Slide 20

20 Questions and tasks 1. How is Left-handed shown in the illustration? What details of his verbal portrait are shown in the picture? 2.What character traits of Lefty, in your opinion, did the artist strive to convey in the illustrations? 3. The possibilities of a word are wider than the possibilities of an image. A writer always tells more than the artist who illustrates his work. Refer to the dialogue between the sovereign and Lefty, the nuances of which cannot be conveyed in the drawing. How does the conversation with the emperor characterize Lefty and his magnificent skill? What words of Lefty from chapters 13 and 14 stood out to you most?

Slide 21

21 Illustration for the 15th chapter of the tale. 1962 – 1965 The illustration shows how the British admire Lefty's talent and skill. The idea of ​​Russian backwardness, which fetters the creative powers of the people, and Lefty’s commitment to his homeland are heard.

Slide 22

22 Questions and tasks 1. How is Lefty depicted in the illustration? Remember what Lefty was wearing before his trip to England. For what purpose was this done? What does Lefty's posture and facial expression indicate? 2.How are the British depicted in the illustration? What words from the text of chapter 15 guided the artist when depicting the English in the drawing? 3. Literary scholar I.V. Stolyarov writes: “...to understand the general meaning of the tale, it is fundamentally important that the very result of the “breathless” work of the Tula masters is fraught with an “insidious” duality of impression: they really managed to create a miracle - to forge a “nymphosoria.” And yet their superiority is not absolute. A flea forged by eye can no longer “dance.” The improved English wonder “turns out at the same time hopelessly broken.” Do you agree with the opinion of the literary critic? 4.Refer to the text of the work. What do the English say to Lefty about a savvy flea? What do they see as the reason that she doesn’t dance? 5. What illustrations, following the drawing by the artist Tyurin, would you like to draw, responding to the “foreign views” of Lefty? Describe one of the illustrations orally.

Slide 23

23 Illustration for the 19th chapter of the tale. 1962 -1965 Chapter 19 concludes the sad story about the tragic fate of Lefty, the “great little man.” The Kukryniksy captured the dead Lefty on the floor in the corridor of the Common People's Obukhvinsk Hospital, where “an unknown class accepts everyone to die,” the meeting of Doctor Martyn-Solsky with the Angry Count Chernyshev and, finally, a gun with a barrel in which bullets are dangling. The artist chose to depict a dead Lefty next to the palace guarded by Sentinels. What caused this illustrative decision?

Slide 24

24 Questions and tasks 1. Why did the artist refuse to strictly follow the artistic text and capture the death of Lefty near the palace? What does the artist say with his illustration? 2.The art of illustration is still perceived ambiguously. There are critics who reject illustration, seeing it as a “bad educational tool.” Illustrator Kuzmin emphasizes: “My own reading experience protests against the statement that illustration is an obstacle to the perception of a literary work.” You got acquainted with the illustrations for the tale “Lefty”, made by artists Kukryniksy, Kuzmin and Tyurin. Whose illustrations did you like best? Which ones would you especially like to highlight? Why? 3.Read the final chapter of the work. Why is the work called a “tale” in the subtitle, and “a legend” in the last chapter? What idea does the writer assert in the final chapter?

Slide 25

25 REFERENCES USED 1. KOLOKOLTSEV E.N. ILLUSTRATIONS FOR THE TALE “LEFT-HANDER” - J. “LITERATURE AT SCHOOL” No. 10 - 2005 2. TEXTBOOK – READING FOR 7TH CLASS EDITED BY T.F. KURDIUMOVA

View all slides