Land marine painter Alexander Zaikin
Our neighbor when we were children was an old, gray-haired sailor.
He often went to the sea, where the surf foamed.
He could sit there day and night on a rock by the sand
And the seagulls did not fly away when they saw the old man.
One day I asked him: “Who are you waiting for, sailor?”
First he lit his pipe, then he answered like this:
“The sea calls me, the sea beckons!
Do you hear how it splashes and sings?
The sea is a powerful and formidable magnet, the sea is calling!
Many years have passed since then, and I myself became a sailor.
I have traveled all around the world, and I know every port.
Friends, now I am old and gray, I have parted with the ship.
Dawn doesn't find me on duty behind the wheel.
It's probably time to retire. It's about time, old man!
But no, I sit over the sea map all night without sleep.
"The Sea Calls." A song from the Soviet-era radio show "The Club of Famous Captains"
He often went to the sea, where the surf foamed.
He could sit there day and night on a rock by the sand
And the seagulls did not fly away when they saw the old man.
One day I asked him: “Who are you waiting for, sailor?”
First he lit his pipe, then he answered like this:
“The sea calls me, the sea beckons!
Do you hear how it splashes and sings?
The sea is a powerful and formidable magnet, the sea is calling!
Many years have passed since then, and I myself became a sailor.
I have traveled all around the world, and I know every port.
Friends, now I am old and gray, I have parted with the ship.
Dawn doesn't find me on duty behind the wheel.
It's probably time to retire. It's about time, old man!
But no, I sit over the sea map all night without sleep.
"The Sea Calls." A song from the Soviet-era radio show "The Club of Famous Captains"
Stories about creative people… We continue our series of articles dedicated to creative people. Today we will tell you about a marine artist who passed away last fall, Alexander Zaikin, who lived and created his marines in the exclusively landlocked city of Penza. His biography, one might say, was quite ordinary and not particularly connected with the sea. He was born on February 23, 1954. Until 1977, he lived in the Urals, where he graduated from the Ural School of Applied Arts (Design Department). Then in 1977, he came to Penza and worked for 15 years in the industrial graphics department of the Research Institute of Local Industry of the RSFSR. As part of the creative group "Plakat" since 1982, he took an active part in numerous international, republican and zonal exhibitions, and during that time he also held 10 personal exhibitions, where he exhibited 65-75 works. In 1987 he became a member of the Union of Artists of the USSR, and since 1988 – a member of the Union of Designers.
Well, as a marine artist, he first exhibited his works in Moscow in 1983, followed by exhibitions in Leningrad and Odessa. Readers of VO, if not all, then many, of course, know such a magazine as "Gangut". So, for many years A. Zaikin collaborated with the publishing houses "Gangut" (St. Petersburg) and "EKSMO" (Moscow), it was his paintings with ships that adorned the covers of this magazine. In total, he owns more than 200 magazine and book covers on stories Naval fleet. More than 200! A. Zaikin was also awarded very rare medals: in honor of the 300th anniversary of the Russian fleet and a jubilee medal in memory of the commander of the cruiser "Varyag" Captain XNUMXst Rank V. F. Rudnev. Many works are in private collections not only in Russia and abroad, but also in the Directorate of Exhibitions of the Union of Artists.
He, of course, took his creative secrets and how he came to depict the sea and ships with him. But fortunately, Alexander left us his notes on how to… become a marine artist, if, of course, you were suddenly “called by the sea”. And this is such an interesting “story about the path to creativity” that we present it in full!
If you suddenly want to paint a sea picture (colloquially, a "marina"), in the center of which there should be a ship, and thus boldly and decisively join the ranks of domestic marine artists, then, I assure you, you will not face any great difficulties along the way. First, you need to go to the nearest "Stationery", buy a sheet of Whatman paper, a set of school gouache, buttons, brushes and a pencil. Consider that the first step towards the cherished goal has been taken.
The second step is to find a natural setting. If your house is on the coast and your window looks out directly onto the sea, then you are very lucky. And for those whose view from the window is completely land-based, I advise you to hang a reproduction of Aivazovsky's painting on the wall. So to speak, for the mood and inspiration.
The third step is choosing an object that should be placed in the center of the stormy water element. You pick up a photo of a ship, start looking at it and... become deeply thoughtful. What are these piles of incomprehensible sticks, strings, iron or wooden things? Any ship or vessel is a very complex object, and you suddenly begin to understand that it would be desirable to have some professional knowledge as well. A marine artist needs not only to be able to mix paints, but also to have an idea of the ship's design, to know where the masts "grow" from, where each of the "ropes", that is, the rigging, begins and ends. And that the tablespoons sticking out of the deck are actually deflector pipes... And if you want to depict a real plot, a certain event, then it would be nice to know, at least within certain limits, the history of the fleet, shipbuilding and the specific ship that is to become the hero of your picture.
But don't lose heart, educate yourself. As they used to say, "a book is the best gift" to yourself, and you would rush to the bookstore hoping to find books about ships and the history of the fleet there. Now it's easier: the Internet will help you! A month or two - and you will already have basic knowledge of the "naval part". It's time to pick up the brush.
If it didn't work out right away, don't get upset. Start over or "write down" the unsuccessful place. Remember that Leonardo da Vinci himself, before becoming great, used up more than one pack of Xerox paper. The author of these lines started out in much the same way, although he first (he's a sly one, though!) spent many years collecting materials about the fleet and ships. But, even with a special art education, he soiled many canvases before the clippers, cruisers, or trawlers fit into the sea and acquired a realistic appearance.
Since ancient times, all daily events that took place on and around a ship were recorded in a logbook, and the duties of the ship's chronicler were assigned to the navigator. The rules for filling out the logbook did not allow for any mental fantasies and sounded extremely simple: "We write what we see, and what we do not see, we do not write." The author of this parting article slightly altered this postulate and made it his working motto: "We write what we know, and what we do not know, we do not write." For example, the category of "unknown to me" includes marine navigational signs. I am ashamed to admit, but over many years of work I have never managed to study the system of these signs, so you will not find them in any of my paintings. And there are about a thousand paintings. Battles, campaigns, anchorages and anchorages on barrels, storms, hurricanes, calms - everything is in stock, but not a single buoy, not a single milestone. "What we don't know, we don't write about." Often at personal exhibitions, inquisitive viewers, looking at old sailing ships, ask a puzzled question: "And people went sailing on these frail little vessels?! Are you crazy!" Answering such questions, the thought involuntarily arose: "But in fact, it was sailors, and it was on these little vessels, who discovered the planet Earth." And with all due respect and love for Yuri Alekseyevich Gagarin, who saw the entire planet from space, the brave and desperate sailors of the Middle Ages should still be recognized as the first conquerors of space, a kind of "astronauts." I think this would be fair. Without them, people would continue to believe in the "fairy tale of three elephants"...
And between these exhibitions there are more and more new paintings with ships of all countries and eras, from galleys and frigates to battleships and nuclear submarines. "We write what we know."
The second step is to find a natural setting. If your house is on the coast and your window looks out directly onto the sea, then you are very lucky. And for those whose view from the window is completely land-based, I advise you to hang a reproduction of Aivazovsky's painting on the wall. So to speak, for the mood and inspiration.
The third step is choosing an object that should be placed in the center of the stormy water element. You pick up a photo of a ship, start looking at it and... become deeply thoughtful. What are these piles of incomprehensible sticks, strings, iron or wooden things? Any ship or vessel is a very complex object, and you suddenly begin to understand that it would be desirable to have some professional knowledge as well. A marine artist needs not only to be able to mix paints, but also to have an idea of the ship's design, to know where the masts "grow" from, where each of the "ropes", that is, the rigging, begins and ends. And that the tablespoons sticking out of the deck are actually deflector pipes... And if you want to depict a real plot, a certain event, then it would be nice to know, at least within certain limits, the history of the fleet, shipbuilding and the specific ship that is to become the hero of your picture.
But don't lose heart, educate yourself. As they used to say, "a book is the best gift" to yourself, and you would rush to the bookstore hoping to find books about ships and the history of the fleet there. Now it's easier: the Internet will help you! A month or two - and you will already have basic knowledge of the "naval part". It's time to pick up the brush.
If it didn't work out right away, don't get upset. Start over or "write down" the unsuccessful place. Remember that Leonardo da Vinci himself, before becoming great, used up more than one pack of Xerox paper. The author of these lines started out in much the same way, although he first (he's a sly one, though!) spent many years collecting materials about the fleet and ships. But, even with a special art education, he soiled many canvases before the clippers, cruisers, or trawlers fit into the sea and acquired a realistic appearance.
Since ancient times, all daily events that took place on and around a ship were recorded in a logbook, and the duties of the ship's chronicler were assigned to the navigator. The rules for filling out the logbook did not allow for any mental fantasies and sounded extremely simple: "We write what we see, and what we do not see, we do not write." The author of this parting article slightly altered this postulate and made it his working motto: "We write what we know, and what we do not know, we do not write." For example, the category of "unknown to me" includes marine navigational signs. I am ashamed to admit, but over many years of work I have never managed to study the system of these signs, so you will not find them in any of my paintings. And there are about a thousand paintings. Battles, campaigns, anchorages and anchorages on barrels, storms, hurricanes, calms - everything is in stock, but not a single buoy, not a single milestone. "What we don't know, we don't write about." Often at personal exhibitions, inquisitive viewers, looking at old sailing ships, ask a puzzled question: "And people went sailing on these frail little vessels?! Are you crazy!" Answering such questions, the thought involuntarily arose: "But in fact, it was sailors, and it was on these little vessels, who discovered the planet Earth." And with all due respect and love for Yuri Alekseyevich Gagarin, who saw the entire planet from space, the brave and desperate sailors of the Middle Ages should still be recognized as the first conquerors of space, a kind of "astronauts." I think this would be fair. Without them, people would continue to believe in the "fairy tale of three elephants"...
And between these exhibitions there are more and more new paintings with ships of all countries and eras, from galleys and frigates to battleships and nuclear submarines. "We write what we know."
Well, now let's take a look at the "exhibition" of his paintings. There are only 20 of them, although in reality there are about 2000, so it was quite difficult to select. This exhibition of paintings has one plot: the sea and ships. And what's more, the sea? And the ships are painted with such skill that both the sea itself and the ships floating on its waves and fighting them - the creations of human hands - are truly beautiful! It remains only to add that A. Zaikin's story about the "path to creativity" and copies of his paintings are taken from an album published by his friends in memory of him: Alexander Zaikin. TIME SEA SHIPS. Album. Penza, 2021, p. 160. Authors: Natalya Zaikina, Igor Zeynalov, German Feoktistov. Photographer - Andrey Skorobogatov. Printed in the printing house of IP Sokolova A. Yu.
1. Vikings going on a raid. Canvas, tempera, acrylic, 50x60 cm. 2016.
2. This is what he was like, Alexander Zaikin
3. To the Spice Islands. The squadron of Fernand de Magalhães near the Canary Islands. 1519. Canvas, tempera, acrylic, 60x90 cm. 2019.
4. "The Spaniard off the Coast!" The ship of the pirate Francis Drake "Golden Hind" off the Chilean coast. 1579. Canvas, tempera, acrylic, 55x70 cm. 2018.
5. "Short Shirt". "Cutty Sark" and "Thermopylae" in the ocean. 1871. Canvas, tempera, acrylic, 99x99 cm. 2019.
6. Bark "Tovarisch" in the North Sea. 1927. Canvas, tempera, 70x100 cm. 2006.
7. Clipper "Leilu" going into the half-length. Canvas, tempera, acrylic. 44,5x58,3 cm. 2007.
8. Frigate Pallada sailing into the Atlantic. Canvas, tempera, acrylic, 60x80, 2007.
9. Squadron battleship "Eagle" 1905. Paper, tempera, gouache, 43x39, 2005.
10. Askold and Novik off the coast of Primorye. May 1903. Paper, tempera, gouache, 43x56 cm. 2015.
11. "Retvizan" and "Pallada" in the Indian Ocean. 1903. Paper, tempera, gouache, 36x53,5 cm. 2009.
12. Wintering on the rocks of Gogland. The battleship General-Admiral Apraksin, which ran aground on the rocks near Gogland Island on November 13, 1899. Photographed on April 13.4.1900, 30. Paper, tempera, gouache, 40x2011 cm. XNUMX.
13. "Tsarevich" in the battle of Port Arthur, 28.7.1904. Paper, tempera, gouache, 43x54 cm. 2009.
14. Japanese battleships in a night battle. Paper, tempera, gouache, 30x42 cm. 1997.
15. Battleship South Dakota in a night battle near Savo Island. Paper, tempera, gouache, 30x42, 2004.
16. The Sinking of the Japanese Aircraft Carrier Kaga on June 4, 1942 near Midway. Paper, tempera, gouache, 30x42, 2001.
17. Submarine Hunters – II. Anti-submarine cruisers Moskva and Leningrad. Paper, tempera, gouache, 30x42, 2002.
18. “Look at what our arzhanushki are doing!!!” The destruction of the Turkish fleet by the Russian squadron in Chesma Bay on the night of 26.6.1770. Canvas, tempera, acrylic, 100x185 cm. 2014.
19. Medal with the profile of A. Zaikin. Work by G. Feoktistov
20. Its reverse with the inscription "WAS" is a copy of Catherine's medal for the Battle of Chesma. Photo by the author
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