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Dmitry
Isidorovich Mitrokhin

Russia 
1888−1973
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Biography and information

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Born in the city of Yeysk, Krasnodar Krai. He lived in Leningrad. Since 1944 – in Moscow. Studied at MUZHVZ (1903 - 1904) in A. Vasnetsov and A. Stepanov, at the Stroganov school (1904 - 1905) S. Yaguzhinsky and S. noakowskiego street, in private schools of Paris (1905 – 1906). Member of the Association "World of art" (from 1916). Taught at the Higher Institute of photography and photographic equipment (1919 – 1921), AH (1924 – 1930). Professor. From 1916 to 1923 the Keeper in the timing. Honored art worker of the RSFSR (1969).

D. I. Mitrokhin was fortunate enough to spend not one, but three whole independent and creative life, and each of them was full and beautiful in its own way. The first began in childhood, when he, born in a remote province, in the family of a minor civil servant, was kindled the desire to become an artist book. To this end, he entered the Moscow school of painting (1902), two years later changed it to SHPU, but was convinced that he needed the skills of graphic skills still need to develop on their own. Then he helped the trip to Paris, but the main landmark served as graphic artists "World of art". That's why in 1908 he moved to St. Petersburg, where he went to so desirable an artistic medium. Then he quickly drew attention to themselves, illustrating several children's books, including "Little Flour" V. Hauff (1912), "Roland-squire" V. A. Zhukovsky and "the Barge" by R. Gustafson (both 1913). Each of them was a model of impeccable graphic style and the unity of the drawings, inscriptions and ornament. To Mitrokhin came about the recognition, and with the recognition of numerous orders, which he performed faithfully and with enthusiasm, not just turning ordinary covers into works of refined graphics. Together with G. I. Narbut and S. Chekhonin V. he defined the high level of the Russian book arts on the eve of the revolution. Book graphics was in the centre 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 the Russian Museum and was engaged in teaching. While continuing to do the cover for the cover, he developed his own style, gradually freeing it from excessive upornosti and subordination developed Canon; in this he was helped by enhanced training of 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 are interested in printed graphic techniques, and book illustrations gradually receded into the background. Each of them mastered the techniques he showed himself as a talented and confident master. At first it was a woodcut, lithograph, and then, finally, the process of metal engraving (Burin and dry point) was refined and became 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 original masters of easel engravings. In their little chamber landscapes depicting usually the quiet corners of the city and the old Park on Elagin island, he spoke in a new way - as an attentive observer and lyrical, sposobnye to poetize unassuming life motives and to raise them to the level of high art. The new change in the work of Mitrokhin, who lived from 1943 in Moscow, originated by themselves. In the late 1940s, he losing strength, had to part with engraving, and ten years later, and with book graphics. All the more chilling old age and disease, a vicious outside his apartment, but still overwhelmed with an unquenchable thirst for creativity, he found a way out that still was available in a simple pencil drawing, often slightly tinted with watercolors. Hundreds of these small (usually no more than postcards) of pictures are testimony to the phenomenal creative young artist, entered the classics of domestic art of XX century.

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