RED MAN: Where were you born?

MIKHAIL ZLATKOVSKY: My parents are Red Army officers and they got married in 1942. When my mother got pregnant, she had to leave the army and found that she had nowhere to go. Both father and mother are orphans. Mom remembered a distant relative and wrote her a letter asking her to accept her. Not empty handed, but two officer certificates (food coupons). In 1944, I was born in the remote village of Cristoforovka in central Europe, Russia. (At that time, there was no electricity or kerosene in the village, so the stove was burned with peat because all the trees were cut down during the war.) My mother and I stayed with a family of 12 relatives on these coupons.

RED MAN: What was your childhood like? Are there any events related to art?

MIKHAIL ZLATKOVSKY: In August 1945, my mother came with me to the town of Lignitz, which had just become a Polish from the German city of Lignitz. We lived there until 1951 and it was a fantastic time: my father held a high position and we had a huge villa with a janitor, maids. (00). I was collecting abandoned weapons in ruined houses, there was a huge collection of rifles, machine guns, and even had my own car, a beaten red Bugatti convertible.  (01) True, without wheels, with broken glass, with cut seats. It was pulled by soldiers from the landfill of trophy equipment. You could take toys and a beaten tank, but the soldiers could not pull the tank without equipment. ..

00

01

We lived in the atmosphere of rich Germany, with a lot of medieva l castles, where there were many artifacts - paintings, tapestries. I was most interested in the armor of knights, swords, cannons, guns of executioners ...And one day this fabulous life ended – my father was transferred to Moscow, where there was no housing for us at first. For the first six months, my father slept in three chairs. And on the first day of my new life, the boys in the yard broke my glasses.

The transition from one prosperous world to the dirty, horrible atmosphere of the poor and bandit Moscow of the early 1950s was perhaps the greatest trauma of my psyche. I have adapted to reality for a long time.

RED MAN: When did you start drawing?

MIKHAIL ZLATKOVSKY: He has been drawing since childhood. Starting from the age of four. Of course, just like every boy drawing cars, tanks, planes, our soldiers fighting against fascism.

RED MAN: Have you ever studied at an art school?

MIKHAIL ZLATKOVSKY: I never learned to draw anywhere. I am an absolute autodidact. At the age of 12, he began drawing cartoons on classmates, for which he was beaten many times. Later he painted in transport and studied anatomy on the beaches, and for this he was also beaten many times.  

I watched many albums of artists, often went to museums. The first album he bought at the age of 14 with his own money was his favorite Henri Toulouse-Lautrec.

RED MAN: Did you start creating cartoon at that time?

MIKHAIL ZLATKOVSKY: He started drawing cartoons at the age of 18. In the wall newspapers and in the small print newspaper of the Institute. But he only started painting professionally in 1968. But not printed. Newspapers and magazines rejected such drawings (2). This was published in 1974 in the Polish magazine "Spilky". For the first time such drawings appeared in the Soviet mass media only in 1988. These 20 years of forced silence have taught me a lot. First of all, do not chase the popularity, the desire to publish in whatever it is. He said to himself, "If society does not accept me into its world, I will create my world."

2

The restructuring gave me the opportunity to draw political satire, but only until 2008. Then again, silence in the media.  

Publishing satire in the foreign press is dangerous. They can go to jail.

RED MAN: We would like to know when you decided to become an artist? Is your family full of artistic atmosphere?

MIKHAIL ZLATKOVSKY: My father supported my interest in painting and bought me a new photo album and pencils when he noticed they were being drawn. But when he chose his future career, he firmly opposed painting. He told me that in this country, you only need to deal with bombs. Even if you are imprisoned, you will still survive. Artists are dangerous - nothing can save you.  

In my third year of physics, nuclear physics was my main subject, and I realized that it was not my profession. I must graduate from college. Otherwise, one would have to become a soldier in the military.

I was still hoping to gain interest in the work after graduation, but realized that I was losing my "I" among hundreds and thousands of physicists and engineers. So in 1971 I gave up my work on the particle accelerator and went “nowhere” wanting to be an artist.

It was difficult to get a job as an artist, but I was lucky to be in Moscow, where there were many scientific and technical publishers, where I got work with drawings of parts of machines and mechanisms.

After 2-3 years I began to order art illustrations in popular science magazines, and I gave up technical drawings.  

RED MAN: What do your family and friends think of your choice to "make a living through art"? To what extent do they support you?

MIKHAIL ZLATKOVSKY: No one understood why I gave up such a prestigious job in nuclear physics. My father was especially angry at my choice. After that, the relationship with him deteriorated. For several years he broke ties not only with his father, but also with former friends. Gradually, friends and friends from the artistic environment appeared.

RED MAN: What is your family background?

MIKHAIL ZLATKOVSKY: My mother is an uneducated rural woman. This is the paradox of war and her happiness as the wife of a colonel, professor, and doctor.

His father often reads literature, writes poetry and music, and is familiar with classical painting, but does not accept modern art, jazz and youth fashion.  

RED MAN: When did you start creating international cartoon works and participating in international cartoon competitions? Did any special issues or events ignite your inspiration and start a new creative path?

MIKHAIL ZLATKOVSKY: His father knew Polish and brought home a large number of Polish magazines, where many cartoons were printed. It was my first encounter with a cartoon other than Crocodile. A special impression was made by the satirical magazine "Spilky", where there were many reprints of foreign humor. There I saw the work of French, English and American artists for the first time, but I was particularly impressed by Polish authors Bronislaw Wojciech LINKE (5) and Andrzej Czechot (6). Completely different in the manner of artists, but deep in the content of messages, thoughts.

5

6

7

For the first time he submitted drawings to Poland in 1971. But it turned out that this competition was only for Polish authors. I was given a special prize. He's the most important to me.  (see Figure 7)

It was possible before (since 1968) to participate in competitions, but colleagues because of the competition kept the address of the competitions secret.

RED MAN: We understand that your work looks very spectacular, with profound artistic skills, full and rich images, free and unrestrained lines, prominent themes, and profound meanings. It stands out among other works and can be said to stand out from the crowd. How did you develop your own style?

MIKHAIL ZLATKOVSKY: I tried to draw what I wanted without imitating any other way. This is the most common question I ask: "How did I draw it The answer is simple: I draw for myself to like. For me, it is important to pay attention to the performance style - painting skills. Yes, of course it's an idea, a message.

Not liking others' wishes, 'not following the team' - this has been around since childhood. I am known as the 'lone wolf' in the professional environment.

RED MAN: What is on your mind when you are painting?

MIKHAIL ZLATKOVSKY: Only one task is to try as deeply as possible, more accurately convey your thoughts in the picture.

RED MAN: There is no text in your work. Do you oppose the use of text? Do you think there is always a way to convey information or ideas purely from images?

MIKHAIL ZLATKOVSKY: A good picture is enough to be understood by the viewer without signatures. It is often a mystery, rebus for the viewer - whether he can guess the author's intention. But I do not deny the signatures of other authors, sometimes it is funny, funny, sometimes the signature complements the drawing.

RED MAN: What artists or works have influenced you in the process of forming your unique style? You can give an example, for example, show the two or three works that you think have had the greatest impact on you to everyone.

MIKHAIL ZLATKOVSKY: Above I mentioned Bronislav Vojciech LINKE and Andrzej Chechot. I attach their drawings. (00)

I like many authors. Often these are authors with completely different styles of drawing.  Adolf Born (8), Miroslav Bartak (9), Bred Holland (10), Agim Sulaj (11), Riber Hansson (12), Per Marquard Otzen (13),

8

8

9

10

11

12

But first of all Albreht Durer. He was very close to the serious, philosophical caricature of Rene Magritte.

I came up with the law of great caricature – “You have to draw like Albreht Durer and think like Kant.” As a result of this law, there is a scale for eva luating the importance of a drawing: from 1 to 5 points for the idea and for the technique of execution. For example: Adolf Born-5+5.

RED MAN: When did Russia cartoon originate? What are the representative cartoonists? You can tell us about them.

MIKHAIL ZLATKOVSKY: It is a difficult matter of time. Russian ironic painting made a serious claim in the early 20th century with the publication of satirical magazines after the Freedom Manifesto of 1905. Since October 1905, more than 400 magazines have been published in St. Petersburg, many in only 1-2-3 issues. The main significance was "Jupel" (14), where gathered outstanding artists Dobuzhinsky (15), Bilibin (16), Kardovsky (17), Lancere (18), Remizov (19) and others. The journal existed in only 3 issues and was closed by censorship. Then there were "Satyricon" and "New Satyricon" with the same authors.

14

15

17

18

Unfortunately, after the revolution of 1917, these artists fled the new power.

They were replaced by second-rate authors ready to serve the Bolshevik authorities. And the most terrible period in Soviet satire began. The new authors made every effort to please the authorities and participated in all provocations, in the so-called “struggle against the enemies of the people”. But it was not a “struggle against the enemies of the people,” but a struggle against the people. As we know from 1917 to 1953. In the USSR about 100 million were destroyed. On the hands of the artists "Crocodile" the same blood as the real executioners.  

A new Russian caricature called "humor of the young" began in the late 1960s under the great influence of the satirical magazines of the Warsaw Pact countries. It begins with the publication of simple outline pictures in youth magazines. It exists in parallel to Crocodile and is essentially "underground", as most of the main works of "youth humor" are not published in the press, but only refer to international competitions. I mean,

Soviet audiences could not see the artist's main works, and were only familiar with small pictures in newspapers.

In the West, the prizes and celebrity "humor of young people" have sparked the anger of crocodiles and begun the struggle to eliminate "humor of young people". Even one author was imprisoned - Slav Sysoyev.

But with the beginning of reform, the prosperity of freedom, openness, and 'young humor' began, and crocodiles died without government subsidies.

22

23

24

25

26

23-2

The most talented artists of the new generation are "young people's humor": Vladimir Ivanov (1944-1978), (22), Oleg Tesler (1938-1996), (23), Sergei Turnin (1942), (24), Viktor Bogorad (1947), (25), Viktor Skrilev (1952), (26), Yuri Kosobkin (1950-2013), (23 a, 23 a 2).

RED MAN: Where do you think the world's cartoon originated from? When is the origin time?

MIKHAIL ZLATKOVSKY: Professional caricature begins at the end of the 18th century – English satire, from the middle of the 19th century – French, from the end of the 19th – German.

RED MAN: Around 2000, American cartoon websites conducted a survey on the influence of comic artists worldwide. Among thousands of outstanding comic artists, you ranked first and could share your feelings with readers. What advantages did you have that helped you win the championship?

MIKHAIL ZLATKOVSKY: My wish has helped me, I don't want to draw a typical outline of mass media, but rather try to make a graphic as serious as etching. The so-called 'rack diagram'. Of course, there are also some extraordinary ideas.

In addition, at this time, there is an opportunity to publish one's own pictures around the world. Because before the reform, my paintings had never been published anywhere.

I was surprised by the first place. I don't really value this, but my colleagues reacted quickly - two or three colleagues congratulated me, dozens of colleagues were jealous, jealous, and still hated me. The second time of hatred and jealousy happened when France awarded me the Medal of Honor.

In the United States, when I ask American artists to help me find a job, everyone says, 'You come first, we come later.'. What can we help you with? We should learn from you! ».

RED MAN: We know that Russia art is very distinctive. How has the development of Russia cartoon been? Are there many professional cartoonists in Russia? How is their living condition?

MIKHAIL ZLATKOVSKY: I don't think Russian comics are too different from another world. But it has more drama than Russia's tragic history.

In the 1970s, there were approximately 100 manga artists published in newspapers in the Soviet Union.

Now it's about 10-20. Because there is absolutely no possibility of publication - it's just that there are no newspapers or magazines with comics.

All satirical artists nowadays live a miserable life. They work as designers and occasionally decorate books, but most of them fall asleep.

RED MAN: Are there many cartoon publications, magazines, and newspapers in Russia? How did they reach the hands of the readers?

MIKHAIL ZLATKOVSKY: There's nothing. Everything has been dying since the 2000s. There are annual exhibitions for a week in Moscow and St. Petersburg, but no one visits them. Only at the opening all the artists are going to drink vodka and talk.

RED MAN: What is people's definition of cartoon? Do people like cartoon? Especially do schools and parents allow children to read cartoon?

MIKHAIL ZLATKOVSKY: Of course, the public loves comics, but now they are everywhere.

RED MAN: Are there many derivative products of cartoon in Russia, and do cartoon images often appear on products? Do people like these products?

MIKHAIL ZLATKOVSKY: Nothing like that.

RED MAN: In Russia, whether it is primary school, secondary school, or university, are there any specialized courses in cartoon? What are the ways people learn cartoon?

MIKHAIL ZLATKOVSKY: Nothing like that. There have been several attempts to offer the Ministry of Culture to introduce a course in caricature at some art institute, but we have not even received a response.

RED MAN: Is there a cartoon museum in Russia? If so, please introduce the Cartoon Museum to your readers.

MIKHAIL ZLATKOVSKY: I have tried several times to suggest that the Ministry of Culture organize a comic museum, but have not received a response.

RED MAN: We know that Russia is an important country on the Belt and Road, and there are extensive cooperation and contacts between Russia and China in trade, economy, science and technology, education, culture and art, etc. What role did cartoons play in the the Belt and Road? What role do you think cartoons can play in the future of the the Belt and Road?

MIKHAIL ZLATKOVSKY: It would be great to organize a joint exhibition, a competition on this topic, but the initiative should come from China, as we will not have the power to help. The authorities are afraid of humor, jokes, satire. It's the worst weapon against power.

RED MAN: What cultural heritage is there in Russia? Do government departments and people attach great importance to these cultural heritages? What is people's understanding of these cultural heritages? What impact does cultural heritage have on you?

MIKHAIL ZLATKOVSKY: The state pays great attention to this topic. This is Russia’s cultural heritage and it is very important to me.

RED MAN: What have people done to protect these cultural heritages? (Specific measures and promotion methods.) What role has cartoons played in cultural heritage protection? What role do you think cartoons can play in the protection of cultural heritage in the future?

MIKHAIL ZLATKOVSKY: It must have a great influence, but – I repeat – there are no cartoons in Russia right now.

RED MAN: This year marks the 80th anniversary of the victory of the world anti fascist movement. What is the understanding of Russia youth towards the 80th anniversary of the victory of the world anti fascist movement? What educational measures does Russia have in this regard? What are the excellent anti Japanese war themed cartoon works by Russian cartoonists over the past 80 years?

MIKHAIL ZLATKOVSKY: Victory Day has always been of great importance to the Russians. There are many events related to Victory Day.

There was a bit of satire against Japanese militarism in the late 1940s, early 1950s. But there was much satire against Gomindan (27).

27

RED MAN: Are there any commemorative facilities in Russia for the victory of the anti fascist movement? What are the regular commemorative activities?

MIKHAIL ZLATKOVSKY: Yes, there are many. But people's attention has disappeared, they are tired of the rumbling sounds of the Stone Age and the victorious parades. They pay more attention to price increases and quality of life.

RED MAN : What other hobbies do you have in your life?

MIKHAIL ZLATKOVSKY: History, movies, literature, uniforms and badges, tennis.

RED MAN: If you weren't an artist, what would you do?

MIKHAIL ZLATKOVSKY: A writer or an artist. True, I have already published several books on the history of satire in Russia. (29)

RED MAN: What do you want to say to people who like your work?

MIKHAIL ZLATKOVSKY: Thank you so much for understanding me and for being with me in my joys and sorrows about this world.

RED MAN: What advice do you have for young cartoon artists who respect you and take you as an example? What would you say to your respected colleagues? What would you say to readers who like your work? What would you say to readers who don't understand humor? Besides, what advice do you give yourself? What advice do you give me?

MIKHAIL ZLATKOVSKY: Don't try to imitate the style of your favorite artist, try to think difficult. Draw as much as possible, and you will gradually develop your own style.

Thank you for your understanding and good opinion of my work.

Try to understand humor, because the only way to deal with the foolishness of the world.

Michael, live as long as you can.

Let me take a look at your work, and then I can give you some advice.

RED MAN: Without a doubt, you have succeeded. I know you are happy with what you have done.

Lastly, thank you for your trust and support in our interview!

MIKHAIL ZLATKOVSKY: I am not always satisfied with my job. There is a saying in Russia: 'I am not a magician, I am just learning.'.