David
Alexandrovich Dubinsky

Creative way wonderful graphics and Illustrator D. A. Dubinsky fell on difficult for native art. The artist did not escape the difficulties and mistakes common to many illustrators 1940-50-ies., but his work in recent years has left a bright trace in the history of Russian book graphics. Childhood and adolescence Dubinsky took place in Moscow, where in early 1920s his family moved. In 1938-39, he studied at the drawing Studio KP Chemko, his cartoons printed in the magazine "Crocodile". In 1940, Dubinsky enters the Moscow state art Institute, and at the third course. But his studies interrupted by the war, he participates in it as an artist of the front newspaper. In 1944, Dubinsky became art editor of the Naval publishing house in Moscow, where he published the first book with his illustrations. Interest in caricature, to the sharp satirical drawing was determined and the technique (ink, pen), and the whole structure early in the book charts Dubinsky, and some features of the drawings of this time, expression, sharp features of the images and are manifested in a number of his later works. The young artist returns to education in the Institute and in 1946 defends his graduation work - illustrations for the novel by T. Gautier's "Captain Fracasse". They seen the virtuoso technique of the draftsman, the ability to convey the specific situation, to create a distinguishing portrait, subtly display the details of everyday life. Dubinsky remains true to the previously selected technology - feather pattern; in it, he then performs illustration of "Comedies" of C. Goldoni, "Gavroche" Victor Hugo (1946), "the History of Henry Esmond" and "vanity Fair" W. M. Thackeray (1947), "the Tragic history of doctor Faustus" by C. Marlowe (1949). In many publications Dubinsky connects the first light pattern with a solid black fill ink - this technique sharpens the composition of the illustrations and contributes to a more dynamic perception of the book as a whole. The drawings of this time are expressive, they concentrate in themselves most acute, nodular situation. At the turn of 1940-50-ies Dubinsky starts to work in technique of the black watercolor, which gives wide possibilities for creating tonal-spatial illustration of where the image is based on the subtle gradations of tones. Dubinsky sequentially, with deep authenticity and reveals the stories of the works of A. P. Gaidar, S. P. Antonov, I. S. Turgenev, Chekhov, etc. Sharp, grotesque works of the first years gave place to the illustrations, characterized by psychological insight and subtle emotion. The artist seeks to abandon the narrative system of illustrating, but often resorted to narrative and visual, like creating a separate graphic sheets. Serious success has brought Dubinsky to work on editions of novels and short stories And P. Gaidar "Chuk and GEK" (1950), "PBC" (1951), "the Far country" (1953), "Blue Cup" (1957). The combination of sober simplicity and romantic pathos in his drawings match the style of the works of this writer. A significant place in the artist took also the cycles of illustrations to works of A. P. Chekhov. In the drawings to the story "the house with the mezzanine" (1954) and "Man in a case" (1957), "Motley stories" (1958) minor, seemingly through episodes of the text create a sense of smooth flow of life. Master is committed to communicating General mood, state of characters through their surroundings, actively showing environment - landscapes, interiors. So, in the illustrations to "the House with the mezzanine" nature is echoed by the people and their feelings, and in the drawings to the story by I. Ilf and E. Petrov "Tonya" (1958), the artist, on the contrary, opposes a cold, aloof environment, the image of the heroine of the piece. The last two years of his life Dubinsky had been working on a large series of illustrations to the novel by Alexander Kuprin "Duel", published after his death (1962). In this brilliant cycle of psychological tension action is enhanced by the color (illustration made with tempera). The basic idea of this previous work was a reverent depiction of the human pursuit of happiness. The same idea permeated many of easel graphic work of Dubinsky, in particular a series of "love".