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Dmitry Mitrokhin Isidorovich (1883-1973)

DI Mitrokhin lucky enough to live not one, but three separate whole creative life, and each of them had a full and beautiful in its own way.

The first began in childhood, when he was born in a remote province, the family of a civil servant, was kindled the desire to become an artist book. To that end, he enrolled at the Moscow School of Painting (1902) and two years later succeeded him SHPU, but was convinced that he needed the skills of graphic skills still have to work out on their own.

There he helped the impressions of a trip to Paris, but the main point of reference is the graph of Masters "World of Art." That's why in 1908 he moved to St. Petersburg, where he came into the coveted artistic environment. Then he quickly attracted attention and illustrated several children's books, including "The Little Flour" B. Gough (1912), "Roland-squire" VAZhukovskogo and "barge" R. Gustafson (both 1913). Each of them was a model for impeccable graphic style and the unity of the drawings, inscriptions and ornamentation.

By Mitrokhin recognition came, and with the recognition - numerous orders, which he performed in good faith and enthusiasm, not just turning the ordinary into works of exquisite cover graphics. Together with G. I. Narbut and C. B. Chekhonin he defined a high level of Russian art book on the eve of the revolution.

Book Graphics remained the center of his interests and after the revolution, despite the fact that the terms of his employment expanded significantly: in 1918 he became curator and head of the Department of Prints and Drawings of the Russian Museum and was involved in teaching. While continuing to do the cover for the cover, he developed his own style, gradually freeing it from excessive ornamentation and subordination worked out by the canon, in which he helped strengthened employment in drawing from life. He returned to the children's book, worked in magazines.

But over time, the direction of his creative interests began to change. Back in the mid-1920s. Mitrokhin interested in the possibility of printed graphic techniques, and book illustrations gradually receded into the background. In each of them mastered techniques he has shown himself to be a talented and confident master.
At first it was a woodcut, lithography, and then, finally, the engraving on metal (chisel and drypoint) - refined and has become quite rare in the XX century. technique. In it, he has achieved the most impressive results and has grown into one of the largest and most idiosyncratic artists easel prints.

In his small chamber landscapes depicting usually quiet corners of Leningrad and the old park on Elagin island, he spoke in a new way - as an attentive observer and lyrical, unpretentious life sposobnyi poetisized motives and raise them to the level of high art. New changes are in the works Mitrokhin, who lived from 1943 in Moscow, originated by themselves. At the end of the 1940s. him losing power, had to part with engraving, and ten years later - and with a book designer.

Increasingly fettered old age and disease, closed outside of his apartment, but still possessed by the indomitable desire for creativity, he found out that while it was still available, - in a simple pencil drawing, often slightly podtsvechennom watercolor. Hundreds of these small (usually no more cards) figures were evidence of phenomenal creative young artist, entered the classics of Russian art of XX century.

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