Semenovich Efimov

Russia • 1878−1959

Sculptor, graphic, Nar. hood. Of the RSFSR (1958). In school E. Zvantseva arts in Moscow (1898-1901) and in MUZHVZ (1906-08, 1912-13), then the Bourdelle in Paris (1908-11). From 1906 participated in exhibitions. In 1918-30 taught in ISKCON. VKhUTEMAS. Member of the ORS (1926-31). In 1918 together with his wife painter N. I.Simonovich-Efimova, the organizer of the first owls. t-RA dolls in Moscow, the author of dolls for a number of performances that t-RA. Distinguishing animal sculpture (Rooster, 1932; fountain "Dolphins" in the River station in Moscow, 1935-37), etc.

Born in Moscow 11 (23) February 1878 in the family of official. Studied in the Studio of E. N. Zvantseva arts (1898-1901), with K. A. Korovin and V. A. Serov, as well as the School of painting, sculpture and architecture (1906-1908) S. M. Volnukhin. Among his contemporaries a special influence on him Serov, whose cousin, the painter N. I.Simonovic, he was married. Lived in Moscow, and in 1908-1911 in Paris. A member of the First world war.

Continued the tradition of modernism, with its cult of flexible, organically-inclusive line. Naturally all the talent of the painter revealed in the images of animals, exquisitely decorative, masterfully played up the possibility of different materials (including porcelain, sketches for which he created from 1910-ies). Also left a huge set of erotic graphics; twice tried to publish these sexual fantasies in the form of the album Plexus of love (1916) and illustrations rare edition of the Mordovian epos (1930-ies), but to no avail.

Fascinated (1918) puppet theater, has developed the innovative principle of "kinds", more dynamically and variably controlled puppet. Significantly increased their size, trying to make the farcical plays the elements of drama and not just slapstick. Creatively developing stories traditional "petrotechnical" addressed also to the theatre of silhouettes, toured extensively. Without having the right to own a hospital, in 1918 took part in the organization of children's theatre N.And.Sats. (See. SATS, NATALIA ILINICHNA.) His dolls were the real mobile sculptures, in the 1920-ies Efimov put forward even the revolutionary concept of "a moving monument" (which would hand every October anniversary). Witty, multi-figure installations appeared his History of Russia in the dummies of the Central Museum of Ethnology (1932-1933), silhouettes of Old and new Moscow in the Central Park of culture and rest (1936-1937) finally, the performance of the Seville seducer in the play by Tirso de Molina (Moscow music hall, 1934), where a group of classics-puppets – from the author of the plays and of Shakespeare to Pushkin – "accompanied" N. P.Smirnov-Sokolskoe.

Easy, games character distinguished his sculptures, often using the principle of "end-to-end forms" (fountain of the Dolphins from the Khimki river terminal in Moscow, forged copper, glass, 1935-1937; through-composition in bronze in a sanatorium in Tskaltubo, Georgia, 1950). Acted as a master of book graphics, mainly in the field of literature for children. His wife Simonovich-Efimova, equal co-author of all of his puppet work, released in 1925, the memoirs and theoretical notes of PetroTechnik; friend of P. A. Florensky wrote for this book of philosophical essays-Preface (however, rejected by the censorship).

Yefimov died in Moscow on 7 Jan 1959.

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