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Выдача займов под залог картин и скульптур XIX-XXI веков

Первый профессиональный сервис по выдаче займов под залог произведений искусства

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Gorshman Mendel Khaimovich
Pseudonyms,autonyms and aliases: Mikhail, Efremovich, Efimovich 1902–1972  

GORSHMAN Michael Efimovich (Mendel Haimovich)

November 1902, (Novoborisov, Belorussia) — January 2, 1972 (Moscow)

Graphic artist, painter, book illustrator


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Горшман, Мендель Хаимович

Biography

GORSHMAN Michael Efimovich (Mendel Haimovich)

November 1902, (Novoborisov, Belorussia) — January 2, 1972 (Moscow)

Graphic artist, painter, book illustrator

First professional knowledge Gorshman gained in Kostroma, where he studied painting, drawing and wood engraving at the Free Art Studios under N. N. Kupreyanov and N. S. Iznar (1920–1921). At the same time he worked as a decorator of the military hospital club.

In 1922 Gorshman moved to Moscow and entered the Higher State Artistic and Technical Workshops (VKhUTEMAS) — the Higher Art Technical Institute (VKhUTEIN, 1922–1929), where he studied lithography under N. N. Kupreyanov, P. V. Miturich and V. A. Favorsky. As his diploma work he presented a series of six colored autolithographs Shtetl (under he guidance of N. N. Kupreyanov), based on his trip to Belorussia. In 1929 critic D. Aranovich wrote: “The P. Miturich and N. Kupreyanov’s student, M. Gorshman came under stronger influence of the latter. Not so much in terms of lithography techniques, but in terms of style. The most appropriate artistic formula for M. Gorshman is expressionism. His scenes of the everyday life of Shtetl are often full of painfully oppressive mood of poverty and lack of culture which becomes later the foundation of superstition. Fortunately, however, the range of feelings of young artist extends further. In early M. Gorshman autolithographs along with expressionistic satire, there is a lot of vivacity and cheerful humor. In the end, in latest works the search of the monumental and decorative forms is outlined.” After graduation from VKhUTEIN, Gorshman acquired a profession of artist and technologist of the printing industry.

Since 1924 Gorshman began to publish his works in newspapers and magazines, such as Bezbozhnik u Stanka (“Atheist at the Machine”, 1926–1930), Iskusstvo v Massy (“Art into the Masses”, 1929), Krasnaya Niva (“Red Niva”, 1929) and others. Gorshman admitted in his autobiographical notes that his work as a graphic artist had begun in magazines and developed mainly in the book. Even during study at the VKhUTEIN, Gorshman on the instructions of the magazine Bezbozhnik u Stanka created sketches at the Trekhgorny manufacture.

Gorshman designed books: Fire by S. Marshak (1925), Vegetable oil by I. Kipnis (1928), Sasha’s puppies by S. Shervinsky (1928), Miracle of St. Laritsiya by O. Guryan (1930), Cavalry by I. Babel (1933), Son of a shoemaker by S. Gecht (1931), Julis by M. Daniel (1933), Story about red Motele by I. Utkin (1934), Essays about seminary by N. Pomyalovsky (1934) and others. He also illustrated works of classical and modern Jewish literature: Sholom Aleichem, I.-L. Peretz, M. Mocher-Sforim. Gorshman collaborated with the State Publishing House for Literature (Goslitizdat), the publishing house Der Emes, the State Publishing House of Children’s Literature (Detgiz), publishing houses Sovetskaya Literatura (“Soviet Literature”) and Molodaya Gvardia.

Gorshman was a member of the society Four Arts (1928–1929), the Society of Book Artists (since 1930). In 1930–1932 he also was a member of Moscow Regional Union of Soviet Artists (MOSSKh, since1932) and the Society of Easel Artists (OST), but did not participate in exhibitions of this movement.

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