Moor (Orlov) Dmitriy

03.11.1883 - 24.10.1946

Cartoonist, illustrator, poster artist, teacher, art theorist

Honored Art Worker of the RSFSR He was born on October 22, 1883 in Novocherkassk. He studied at the studio of PI Kelin (1910). Member of the association “October” and chairman of the Association of workers of the revolutionary poster. Collaborated in the magazines “Alarm Clock”, “Atheist at the Machine”, “At the Machine”, “You Give”, “Crocodile”, in the newspaper “Pravda”. He taught at the Moscow Vkhutemase-Vkhutein and at the Moscow Polygraphic Institute (1922-1932), at the Surikov Institute (1939-1943). Among his pupils – AM Kanevsky, Kukryniksy, BII Prophekov, VN Goryaev, AV Kokorin, F.P. Reshetnikov. Author of the book: “I am a Bolshevik”, Moscow, 1967.

The largest poster artist, Dmitry Moore entered the history of Soviet art as a cartoonist, book illustrator, a wonderful teacher, and finally an original theoretician, who left work on the formal and imaginative specificity of campaigning types of artistic culture. While still a student, Moore worked in the printing house, and the professional knowledge acquired there was useful to him later for comprehending the creative possibilities provided to the artist by newspaper and magazine production. Not having a special artistic education, he already in the early period of his creative work knew how to organically associate the skill of the draftsman with the tasks of the printing business. While working in the Moscow “Alarm Clock” magazine, a young artist Dmitry Orlov adopted the pseudonym Moore, as the character of the main hero of Schiller’s “Robbers” Karl Moore perfectly corresponded to the creative temperament of the master, passionate and consistent in his “romantically violent” quest for art, politically topical, actively influencing the viewer. Moore immediately manifested himself in the field of political satire and in no small measure contributed to the fact that the Moscow “Alarm Clock” in the fight against tsarist censorship surpassed the dexterity and energy of even the acknowledged leader of liberal graphic journalism, the St. Petersburg almanac “Satyricon”.

Moore carefully studied the experience of the best foreign periodicals. He was particularly influenced by the famous German magazine Simplicissimus – and by the mock-up itself, where new methods of combining images and words were applied, and the individual manner of the strongest of his artists (first of all, O. Gulbranson).
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