Vladimir Favorsky (1886-1964)

Aliases: Vladimir Favorschij; Vladimir Andreevich Favorski; Vladimir Andreevič Favorskij; Vladimir Andreevich Favorsky; Vladimir Andreyevich Favorsky; Vladyimir Andrejevics Favorszkij; Wladimir Andrejewitsch Faworski; Wladimir Andrejewitsch Faworskij

Professions: Illustrator; Painter; Sculptor; Commercial artist

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  Фаворский, Владимир Андреевич (Fawórski, Wladímir Andréjewitsch). 1886-1964 Moskau

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  VLADIMIR FAVORSKY (RUSSIAN, 1886-1964) WOODCUT A

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Vladimir Favorsky Biography

(b Moscow, 1886; d Moscow, 1964). Russian engraver, draughtsman and theorist. He trained with Konstantin Yuon in Moscow, with Simon Hollósy in Munich (1906–7) and in the Art History Department at Moscow University (1907–12). He made his first engraving in 1907 and started exhibiting his work in 1911. After experimenting with a Neo-primitivist style, as in, for example, St George (1911), and a simplified academicism (e.g. Bombardier Sviridenko , 1916–18), Favorsky developed a mature style that was bold yet highly disciplined (e.g. October 1917 , 1928). He was particularly deeply influenced by the ideas of Adolf von Hildebrand, with their tendency towards a type of Neo-classicism and faultless architectonic precision in form. (In 1914 Favorsky translated Hildebrandt’s famous work, Das Problem der Form in der bildenden Kunst , into Russian.) He taught at the second Svomas (State Free Art Studios) in Moscow (1918), served in the Red Army (1919–21) and taught drawing (1921–9) in the Graphics Faculty of Vkhutemas (Higher Artistic and Technical Workshops) in Moscow. He was popular as the Director of Vkhutemas (1923–5) because of his commitment to technical skill, his lack of dogmatism and his tolerance of experimentation of all kinds. In 1930 he joined the staff of the Moscow Graphics Institute. Although he was sympathetic to avant-garde ideas, Favorsky’s own work was firmly representational and he was a member of the moderate FOUR ARTS SOCIETY OF ARTISTS, together with Lev Bruni and David Shterenberg. He produced designs and illustrations for numerous publications (e.g. the cover of the magazine Makovets , 1923). His engravings, along with his theoretical analyses of the artistic and technical bases of wood-engraving, had a great influence on the development of modern Russian graphics.

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