Tabor Vladimir Andreyevich
(1886-1964)

Known primarily as a book illustrator, woodcut VA Tabor was the creator of works in many types of art - a monumental painting (in the techniques of fresco, sgraffito, mosaic), theatrical and decorative painting, sculpture and the decorative arts. The inherent versatility of the artist is qualitatively different from the effervescent artistic versatility masters of XIX and XX centuries. Included a fundamental understanding of the theory of art, developed educational system, in fact Tabor school that is no exaggeration to call its talent congenial artists and thinkers of the Renaissance.

The first skill in drawing Tabor received at home under the guidance of his mother, nee Sherwood (daughter of the famous architect VO Sherwood). Later, he attended the private studio of K. Juon (1903 - 1905) and evening classes in sculpture at SHPU.

After graduating from high school in 1905, Tabor entered the University of Munich. Catching up in oriental philosophy department faculty, he also studied at the School of Sh Holloshi and further considered him his principal teacher of art.

Back in 1907 in Moscow, Tabor Art and continued education at Moscow University and in 1913 he defended his thesis, "Giotto and his predecessors." Letters to "The judgment of Mr. Jerome Kunyara" Anatole France, made in 1918, brought fame Tabor.

The growing need for a new society in the illustrated literature prompted the artist to mainstream art. In the 1920s. he created the illustrations for the book "The Kremlin. Sverdlov Hall" (1921), "Egeria" PP Muratov (1921), "Little House in Kolomna" Pushkin (1922), "Tales of Animals" of Leo . Tolstoy (1929). The most consistently creative principles reflected in the work of the master of the "Book of Ruth" (1921). Starting with the cover, title, font, and right up to the ending of the product design follows the idea of ​​presenting a unified spatial image that does not violate their invasion of the inner life of the text, and sends it to the style, without becoming a pastiche. Style things Tabor defines as the ratio of the object to a space that is, filling the product, "creates a world within a bounded frame or contours, infinitely complex and one-piece."

In his vision of a plastic Tabor detects the proximity to the Byzantine mosaic artists to Michelangelo, Vrubel. Tabor combines in one image are not only close in time event, but sometimes fills the space entire epochs. On the frontispiece of the "Book of Ruth" to a tree with a sprawling crone, going back to biblical symbolism, bent young woman in the lines of the figure which at the same time and felt the hardness and obedience to his duty to be at the origins of the lineage of David, to plant the tree, crowned with the royal crown.

In a series of etchings "Years of Revolution" (1928) all the space covered by the rapid movement, a kaleidoscope of events, the pulsating center of which appears the figure of the leader, surrounded by supporters, in a portrait of Fyodor Dostoyevsky (1929) Solid-dramatic background personification of reality - hard pressed figure writer and tilt of his head and his hands tight expressed unwavering opposition to external forces.