Nina Alexandrovna Vinogradova-Benoit

In 1956, she married Ilya Sergeevich GlazunovIlya Sergeevich Glazunov[COM 1], becoming for him the closest like-minded person and assistant in all creative and social endeavors. I. S. Glazunov created a number of pictorial and graphic portraits of N. A. Vinogradova-Benois in 1955, 1956, 1958, 1961, 1968, 1980 years.

Nina AlexandrovnaNina Alexandrovna was born on July 15, 1936 in Leningrad in a family of architects.

In 1941, during the Great Patriotic War, together with her sister Maria, she was evacuated to UzbekistanUzbekistan. After the lifting of the blockade in 1944, she returned to Leningrad. She graduated from school with a gold medal and entered the History Department of Leningrad University (Department of Art History). In 1957, she graduated from Leningrad State University and moved with her husband from Leningrad to Moscow, where she entered the Graphic department at the Polygraphic Institute.

In 1941, during the Great Patriotic War, together with her sister Maria, she was evacuated to Uzbekistan. After the lifting of the blockade in 1944, she returned to Leningrad. She graduated from school with a gold medal and entered the History Department of Leningrad University (Department of Art History). In 1957, she graduated from Leningrad State University and moved with her husband from Leningrad to MoscowMoscow, where she entered the Graphic department at the Polygraphic Institute.

Glazunov I. S. Images of F. M. Dostoevsky in illustrations by Ilya Glazunov : [photo album / comp. N. A. Vinogradov-Benois; author of the text L. Ya. Ermilova]. - Moscow : Planeta, 1986— - 207 p.

- 2nd ed. - Moscow : Planeta, 1990. - 208 p.

Glazunov I. S. Artist and time : Ilya Glazunov : [album / comp.: N. Vinogradova ; author of the text O. Volkov]. - M. : Sov. Russia, 1984— - 263 p.

Gift of the USSR to UNESCO : [panel of the artist I. Glazunov "Contribution of the peoples of the USSR to world culture and civilization" : photobook / comp. N. Vinogradova-Benois; author of the introduction. articles by Ilya Glazunov]. - M. : Planeta, 1982— - [19] p.

Main source: RNB electronic Catalogs

Vinogradova-Benois N. A. Nina Vinogradova-Benois = Nina Vinogradova-Benois : [album of works / article: I. S. Glazunov]. - Moscow: Moscow State Art Gallery of the People's Artist of the USSR Ilya Glazunov, 2016. - 190+1 p.

Glazunov I. S. Ilya Glazunov : [album / comp.: N. A. Vinogradova; author of the text S. A. Vysotsky]. - M. : Fine Arts, 1986— - 325+2 p. + Adj. (8 p.).

Already in the sketches, the contrast noted by reviewers after the premiere of the play is visible: gold leaf and canvas, the splendor of the costumes (more than four hundred of them were made for the performance) and the severity of architectural forms, the brightness and grotesqueness of the costumes of the Tatar army and the nobility of the coloristic solution of Russian costumes. In Nina Alexandrovna's sketches, all the characters are individual: facial expressions, poses, angles of figures allow you to fantasize about the characters, moods, destinies of the depicted characters, they communicate with each other, being located on a sheet in ready-made mise en scene. Translucent watercolor in combination with gold, sometimes clear and clear, sometimes darkened and deaf, like the golden mist that hid the Great Kitezh, with glimpses of whitewash that turned into placers and threads of pearls in the workshops of the theater, create the feeling that a fairy tale, maybe not a fairy tale at all, but a true story, the fine line between historical truth and legend dissolves in a combination of gentle, ethical color and authenticity of ornaments and cut. Here is the Metropolitan standing, sadly lowering his eyes and leaning on a massive staff, here is Prince Yuri in festive attire, in a cloak with a sky-blue lining, holding his hand to his chest with hope, young Fevronia in a wedding dress with a veil fluttering in the wind takes a timid step forward, and on the next sheet Tatars Bedyai and Burundai - face masks, bodies are hidden by armor, from under which bright eastern clothes of nomadic conquerors are knocked out.The work of the artist and do not copy do not quote the work of predecessors, they are original, created to exist in a particular setting, who embodied Glazunov, but they felt the influence of Russian stage design school, which stood at the origins of the outstanding artists Vasnetsov, Korovin, N. Roerich and others: interest in historical accuracy, poesy coming from the music artworks, dynamic and picturesque groups of actors on the stage, designed at the stage of the sketch. — E. A. Churakova, chief curator of the Museum of the Bolshoi theatre of Russia.

— E. A. Churakova, chief curator of the Museum of the Bolshoi theatre of Russia.

Already in the sketches, the contrast noted by reviewers after the premiere of the play is visible: gold leaf and canvas, the splendor of the costumes (more than four hundred of them were made for the performance) and the severity of architectural forms, the brightness and grotesqueness of the costumes of the Tatar army and the nobility of the coloristic solution of Russian costumes. In Nina Alexandrovna's sketches, all the characters are individual: facial expressions, poses, angles of figures allow you to fantasize about the characters, moods, destinies of the depicted characters, they communicate with each other, being located on a sheet in ready-made mise en scene. Translucent watercolor in combination with gold, sometimes clear and clear, sometimes darkened and deaf, like the golden mist that hid the Great Kitezh, with glimpses of whitewash that turned into placers and threads of pearls in the workshops of the theater, create the feeling that a fairy tale, maybe not a fairy tale at all, but a true story, the fine line between historical truth and legend dissolves in a combination of gentle, ethical color and authenticity of ornaments and cut. Here is the Metropolitan standing, sadly lowering his eyes and leaning on a massive staff, here is Prince Yuri in festive attire, in a cloak with a sky-blue lining, holding his hand to his chest with hope, young Fevronia in a wedding dress with a veil fluttering in the wind takes a timid step forward, and on the next sheet Tatars Bedyai and Burundai - face masks, bodies are hidden by armor, from under which bright eastern clothes of nomadic conquerors are knocked outout.The work of the artist and do not copy do not quote the work of predecessors, they are original, created to exist in a particular setting, who embodied Glazunov, but they felt the influence of Russian stage design school, which stood at the origins of the outstanding artists Vasnetsov, Korovin, N. Roerich and others: interest in historical accuracy, poesy coming from the music artworks, dynamic and picturesque groups of actors on the stage, designed at the stage of the sketch.

— E. A. Churakova, chief curator of the Museum of the Bolshoi theatre of Russia.

The work of the artist and do not copy do not quote the work of predecessors, they are original, created to exist in a particular setting, who embodied Glazunov, but they felt the influence of Russian stage design school, which stood at the origins of the outstanding artists Vasnetsov, Korovin, N. Roerich and others: interest in historical accuracy, poesy coming from the music artworks, dynamic and picturesque groups of actors on the stage, designed at the stage of the sketch.

— E. A. Churakova, chief curator of the Museum of the Bolshoi theatre of Russia.

Already in the sketches, the contrast noted by reviewers after the premiere of the play is visible: gold leaf and canvas, the splendor of the costumes (more than four hundred of them were made for the performance) and the severity of architectural forms, the brightness and grotesqueness of the costumes of the Tatar army and the nobility of the coloristic solution of Russian costumes. In Nina Alexandrovna's sketches, all the characters are individual: facial expressions, poses, angles of figures allow you to fantasize about the characters, moods, destinies of the depicted characters, they communicate with each other, being located on a sheet in ready-made mise en scene. Translucent watercolor in combination with gold, sometimes clear and clear, sometimes darkened and deaf, like the golden mist that hid the Great Kitezh, with glimpses of whitewash that turned into placers and threads of pearls in the workshops of the theater, create the feeling that a fairy tale, maybe not a fairy tale at all, but a true story, the fine line between historical truth and legend dissolves in a combination of gentle, ethical color and authenticity of ornaments and cut. Here is the Metropolitan standing, sadly lowering his eyes and leaning on a massive staff, here is Prince Yuri in festive attire, in a cloak with a sky-blue lining, holding his hand to his chest with hope, young Fevronia in a wedding dress with a veil fluttering in the wind takes a timid step forward, and on the next sheet Tatars Bedyai and Burundai - face masks, bodies are hidden by armor, from under which bright eastern clothes of nomadic conquerors are knocked out.

Already in the sketches, the contrast noted by reviewers after the premiere of the play is visible: gold leaf and canvas, the splendor of the costumes (more than four hundred of them were made for the performance) and the severity of architectural forms, the brightness and grotesqueness of the costumes of the Tatar army and the nobility of the coloristic solution of Russian costumes. In Nina Alexandrovna's sketches, all the characters are individual: facial expressions, poses, angles of figures allow you to fantasize about the characters, moods, destinies of the depicted characters, they communicate with each other, being located on a sheet in ready-made mise en scene.Translucent watercolor in combination with gold, sometimes clear and clear, sometimes darkened and deaf, like the golden mist that hid the Great Kitezh, with glimpses of whitewash that turned into placers and threads of pearls in the workshops of the theater, create the feeling that a fairy tale, maybe not a fairy tale at all, but a true story, the fine line between historical truth and legend dissolves in a combination of gentle, ethical color and authenticity of ornaments and cut. Here is the Metropolitan standing, sadly lowering his eyes and leaning on a massive staff, here is Prince Yuri in festive attire, in a cloak with a sky-blue lining, holding his hand to his chest with hope, young Fevronia in a wedding dress with a veil fluttering in the wind takes a timid step forward, and on the next sheet Tatars Bedyai and Burundai - face masks, bodies are hidden by armor, from under which bright eastern clothes of nomadic conquerors are knocked out.

Already in the sketches, the contrast noted by reviewers after the premiere of the play is visible: gold leaf and canvas, the splendor of the costumes (more than four hundred of them were made for the performance) and the severity of architectural forms, the brightness and grotesqueness of the costumes of the Tatar army and the nobility of the coloristic solution of Russian costumes. In Nina Alexandrovna's sketches, all the characters are individual: facial expressions, poses, angles of figures allow you to fantasize about the characters, moods, destinies of the depicted characters, they communicate with each other, being located on a sheet in ready-made mise en scene.

at the Berlin State Opera:

the operas "Prince Igor" by A. P. Borodin (1978-1980),

A theatrical costume is not just a dress. It characterizes the one who wears it and speaks about the art of those who created it. It was necessary to do a lot of work so that the year 1185 could be recreated on the stage of the Berlin State Opera and Alexander Borodin's opera Prince Igor could delight the audience.

Nina Vinogradova-Glazunova is not actually a costume designer. She is an artist, and the artistic costumes were created by her for "Prince Igor".

- Fragment of Ilona Ryuman's article "The Prince's New Dresses" in a German magazine dated 10/27/1978

opera "The Queen of Spades" by P. I. Tchaikovsky (1981-1982);

in the Odessa Opera and Ballet Theater:

The Masquerade ballet by A. I. Khachaturian (1982);

in the Bolshoi Theater:

the opera "The Legend of the Invisible City of Kitezh and the Virgin of Fevronia" by N. A. Rimsky-Korsakov (1983).

• at the Berlin State Opera:
• the operas "Prince Igor" by A. P. Borodin (1978-1980),

A theatrical costume is not just a dress. It characterizes the one who wears it and speaks about the art of those who created it. It was necessary to do a lot of work so that the year 1185 could be recreated on the stage of the Berlin State Opera and Alexander Borodin's opera Prince Igor could delight the audience. Nina Vinogradova-Glazunova is not actually a costume designer. She is an artist, and the artistic costumes were created by her for "Prince Igor". - Fragment of Ilona Ryuman's article "The Prince's New Dresses" in a German magazine dated 10/27/1978

• opera "The Queen of Spades" by P. I. Tchaikovsky (1981-1982);
• in the Odessa Opera and Ballet Theater:
• The Masquerade ballet by A. I. Khachaturian (1982);
• in the Bolshoi Theater:
• the opera "The Legend of the Invisible City of Kitezh and the Virgin of Fevronia" by N. A. Rimsky-Korsakov (1983).