Sergei Zakharov artist. Watercolorist Zakharov Sergey Efimovich

The founder of the Murzilki art group, artist SERGEY ZAKHAROV became widely known for drawing caricatures of terrorist leader Igor Strelkov (Girkin), and also created an installation for a Motorola militant in occupied Donetsk. For this, he spent a month and a half in captivity with the militants. In a conversation with Apostrophe journalist YAROSLAV ZHARENOV, the artist spoke about his interactions with the so-called "militias", how he managed to wage an underground cultural war against the invaders in the captured city, and also shared his predictions about the future of Donbass.

Sergey, you became famous after you started drawing caricatures of the leaders of the DPR. How did you manage to overcome fear and start such an underground struggle?

I had an idea. If I hadn't done it, I would have regretted it for the rest of my life. You get positive emotions from what you draw, and when you place it somewhere, it's generally a complete delight. And then, when you see reviews on social networks, it gives strength. Of course, there was fear, I understood that it could end in anything, especially if you run away and they shoot at you. Having now experience of the underground struggle, I understand that at certain moments I behaved carelessly. Now I would probably act differently in some cases.

How exactly did you get captured?

Then I thought that during the hostilities no one would take care of you, because no one needed it. I figured that if you didn't get caught in the hot, no one would be looking for you. Now I already know that professionals worked there the highest level from the FSB and the GRU. They lead you on a phone signal, everything is monitored, everything is involved. I was most likely tracked when I spoke on the phone with Russian journalist from Rain. After that, they took me right away. Some say that he (the journalist) ratted me out, while others say that they just "grazed" me. I cannot directly blame this journalist.

- The militants came to your house?

Not really. This happened on August 6, 2014. That day I left my workshop, it is not far from home. Near the exit, two expensive jeeps were already waiting for me. Only the separatists had such cars at that time. Two men got out of the cars, one of whom pointed a gun at me. I was pushed into a car and taken to the SBU building, where they began torturing me. Then there was a search at my house. For the sake of such an event, the militants even cordoned off almost the entire block - they took away the car, equipment, took away my work.

- When was the most difficult period in captivity?

The first 10-12 days were the hardest. I was severely beaten and tortured. For the first interrogation, I was taken to one of the offices, where, as I immediately noticed, all the walls were spattered with blood, and bandages and rubber sticks were lying on the floor.

Judging by the way I speak, it seems to me that the Russians tortured me. There was one woman in a balaclava, who was especially laid out at "work", she was called an executioner. She put a gun to the back of my head and said that she always wondered what people think about before they die. I advised her to read Fyodor Dostoyevsky.

- It seems that there was another moment when they put a gun to your head?

I was brought to the Proletarian military commissariat and kept there. One evening, the jailers were drinking, and one of the local commanders of the "militia" came out to us and began to brandish a pistol. And that moment was one of the scariest. It was impossible to talk to them, we stood in front of them completely beaten. My "partner" at that moment even pissed himself, I myself do not know how I survived. In the eyes of a terrorist with a pistol there was not even a fraction of adequacy. Then it turned out that they were having so much fun.

- How did you manage to get out of captivity?

One day I was taken outside and asked if I could paint the Gazelle in camouflage colors. Naturally, I agreed, because it became an opportunity to remove the handcuffs at least for a while. Earlier, my "partner" and I were shackled with one pair of handcuffs, for 10 days we went everywhere together - to the toilet, to sleep, to eat, just to sit. At some point, one of the jailers casually said: "Finish it - you'll go home." I was surprised, but they really let me go. Moreover, they gave me five hryvnias for travel and a shirt to change my bloody T-shirt.

- And what about the documents?

The documents were not given to me. They told me to come the next day to the SBU building. Then I thought that if they had already released me, they would not be taken away again, but I was wrong. After that, I spent another month in captivity. We were allowed to go to the toilet twice a day and fed twice. The second time I was not beaten.

- What were the conditions in captivity?

The first time we actually slept on a concrete floor with some cardboard boxes lying on it. But it was not so much cold as stuffy. Everywhere - dirt, the smell of sweat. This is the second time I was held with the arrested "militias". I met and talked with them - we became comrades in misfortune.

- What did you talk about with the arrested militants?

They remembered the past peaceful life. What can people of this mindset talk about? These are stories about their adventures in a drunken case. There was even one young guy who managed to be drunk for four days while in captivity. It was in the nightclub at the Liverpool Hotel (before the war it was a themed music hotel and The Beatles, - "Apostrophe"). The club was occupied by militants who had left Slavyansk. We were kept with them. The second time, frankly speaking, I felt more or less comfortable, if I can say that about being in captivity at all. In this nightclub there were niches where London Vodka stood under glass, we took it from there, drank 50 grams after work and recalled a peaceful life. They also watched TV, though only Russian and separatist channels.

- How did you manage to get out of captivity for the second time?

My girlfriend helped me, who before the war worked in the penitentiary service, and with the advent of the DPR, she left her job. She somehow contacted the head of the prison where I was imprisoned. At that time, I had already served a month and a half instead of 10 days, which I supposedly had to stay there. They let me go.

- The artist's opinion: what is the appearance of the war in the Donbass?

Much easier than in thrillers and action movies. A person gets used to the fact that somewhere a corpse may lie, and somewhere a shell may explode. A person adapts to the situation, and it is no longer shocking. These are the days of war. Any Donetsk resident who is faced with hostilities already knows what war is, and in terms of his state he no longer differs from a soldier who is fighting. Because it's all around him. He doesn't shoot, but he takes it all.

But at some point this war will end. What are your predictions about the future of Donbass?

First, it is a house. I can't stop wanting to visit my home. Therefore, there is hope that there will be a Ukrainian flag, Ukrainian territory. Of course, it will be a little different. But I continue to hope that the situation will change, and there are prerequisites for this.

The second option provides that this could be the patrimony of the same Rinat Akhmetov, but under the Ukrainian flag. One thing is clear, the end of this conflict will not come soon. Right now, Putin is trying to shove this land disfigured by Russia back into Ukraine so that we can also restore it.

By the way, after your release from captivity, you moved to Kyiv. Do you often see your Donetsk comrades now? How has their life changed?

The people of Donetsk that I meet in Kyiv have work, they have rest, the authorities constantly bend them down, but they endure it. From fellow countrymen who live here, I constantly heard that they would visit native home when Donetsk returns to Ukraine. But this will already be nostalgia, and I think most of the Donetsk people will prefer to stay in the new equipped places.

How do you feel about the trips of journalists to the occupied Donetsk? Are they accelerating peace in eastern Ukraine?

I am categorical in this regard: I do not see the benefit and sense in such trips. Arriving in Donetsk, you will see a clean, beautiful and peaceful city. But how they live in reality, you will not know. This can only be done from within.

- That is, they will not see all the features of life in Donetsk?

Certainly. This is, first of all, social disorder: problems with work, high prices compared to the pre-war level. Neither dress nicely, nor go to the movies, but stupidly survive - buy the most necessary things. And besides, in relation to people there is no openness, frankness. Everyone is on his own mind, and understands that if he shares his thoughts and revelations, this can end badly.

The city is completely different. None of the visiting journalists will be able to give a correct assessment of the situation, they simply will not be shown everything. The journalist will go there with the thought that he will go to hell. But in reality, he will see that everything is fine. This rating does not serve as any indicator, because if you take it objectively, that it is "better than I expected" - it means trying to see some positive nuances that are not really there.

Then let's look at the Crimea. Crimean Tatars together with the "Right Sector" began a commodity blockade of the peninsula. Is there any sense in such actions?

I can answer on the example of Donetsk. Now to get into the city from Ukraine, you have to pay crazy money, go through Russia, breaking the law. Now Donetsk is a Russian enclave. In stores, they pay in rubles, that is, economically, we gave away Donbass. Therefore, the commodity blockade of Crimea further separates the peninsula from the mainland of the country, providing an opportunity to fill the local market with Russian goods. On the other hand, why the hell do we still carry food there ?!

Let's talk about art. One of your installations - "House of Cards" - has become very popular abroad. What is its essence?

On big playing cards the leaders of the militants who seized power in the DPR and LPR are depicted. The basis is the image. Russian President Vladimir Putin. When you knock out Putin's card, which is shown as a joker in this deck, with your foot, the whole house instantly falls.

"House of Cards" was made for Paris, but I didn't go there because I was officially wanted as a missing person. In general, I do not consider this composition a special hit, but there was a time when it turned out to be very useful.

- What was that moment?

We (the Izolyatsia Foundation, which previously functioned in Donetsk - Apostrophe) traveled to the cities of the Donetsk region, for example, to Slavyansk and Kramatorsk. These are the two cities where the war started. They have experienced a lot of grief and are at a distance outstretched hand from the line of conflict. And yet, the inhabitants of these cities live differently. In Kramatorsk, we immediately ran into obstacles when implementing the idea of ​​holding an exhibition on the main street. The City Council did not approve of our idea and, despite the invitations, did not attend the event. Later, our colleague in charge of communications received almost threatening calls. In the same place, we had the idea to hold a flash mob - to walk around the city with these cards. The reaction of people was amazing: someone hid his eyes, trying not to notice us, someone spat. And only once, from a passing car, we heard words of approval and a horn horn. I could not even imagine then - they were under the "power" of terrorists, don't they really see what is happening now in Donetsk?

- How did everything go in Slavyansk?

Although the cities are only 20 km apart, the situation in Sloviansk was the opposite. People actively participate in pro-Ukrainian movements: every week there is a run with Ukrainian flags, the mayor holds a weekly report to the residents of the city, despite the fact that the composition of power has changed little after the attempts to capture the city.

- Which creative plans for the future?

My goal is to sketch every day for a graphic novel that everyone will call comics. I want to be done by the end of the year. On October 1, I was invited to Slavyansk. There they give me any wall that can be painted. I probably won’t be able to deny myself the pleasure and go there. On Vozdvizhenka in Kyiv, they will put up a "torture chamber in which they tortured abstract art". It seems funny, but in fact it is a serious thing. It used to be in Spain. I was offered to connect the history where art is tortured and our history, where they are tortured for art. Let's create.

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Sergey Efimovich Zakharov was born on September 10, 1909 in the Tavrichanka farm in a peasant family. His father died during the First World War, when Sergei was only 6 years old.

In 1929, when collective farms began to be organized, the Zakharov family was one of the first to join the collective farm. Joint labor". Sergei Efimovich took an active part in public life artels and quickly gained prestige among collective farmers. In 1930 he was elected a member of the Cossack village council.

In 1932, members of the joint labor collective farm unanimously elected Sergei Efimovich chairman of the collective farm.

Soon the Zakharov family moved to the Krasny Oktyabr farm. However, at that time it was still called New Israel: this name was given to the farm by the first settlers-sectarians who returned after October revolution from Uruguay. And it was under Zakharov collective farms Farms Progress, Tavrichanka and New Israel united in the collective farm "Red October".

In 1939, the collective farmers of the agricultural artel "Red October" elected Zakharov chairman of the collective farm.

The war cut short a measured working life. In 1941, together with other residents of the Veselovsky district, Sergei Efimovich went to the front. He went through all four years of the war, had injuries and awards: two Orders of the Red Star, the Order of Glory 3rd degree, medals "For Courage" and "For Victory over Germany".

Returning from the front, Sergei Efimovich goes headlong into restoring the collective farm devastated by the war. Farms are being rebuilt, livestock are being raised, and the horse farm is also expanding - and wonderful horses have been raised on it! Himself a passionate lover of horse racing, S.E. Zakharov certainly wanted the Red October horses to take part in the races. Farm boys were sent to train as jockeys.

It was for the development of horse breeding that by the decree of the Presidium of the Supreme Soviet of the USSR on July 23, 1948, Sergei Efimovich Zakharov was awarded the title of Hero of Socialist Labor with the award of the Order of Lenin and the Hammer and Sickle gold medal "for exceptional services to the state, expressed in growing in 1947 with a stable maintenance 38 foals from 38 mares". This became the highest assessment of the work of the chairman, a source of pride for the entire region.

In 1950, by decree of the Presidium of the Supreme Soviet of the USSR "On awarding orders and medals to workers of the Rostov region who distinguished themselves in the development of virgin and fallow lands, in harvesting and grain procurement" S.E. Zakharov was awarded the Order of Lenin.

Under the leadership of Sergei Efimovich Zakharov, the Krasny Oktyabr collective farm turned into a diversified and profitable economy. He willingly shared his experience in increasing grain production and livestock productivity. His articles have appeared not only in local press but also in the center. In 1957, the book "Rice on the Don" was published in Moscow.

S.E. Zakharov was repeatedly elected a member of the Bureau of the District Committee of the CPSU, a deputy of the district and regional Council of Workers' Deputies, invited to the All-Union Exhibition of Achievements National economy in Moscow.

The Zakharov family had three children. Daughter Lidia Sergeevna became a doctor and long years worked in the Veselovskaya district hospital; son Anatoly Sergeevich lived all his life in Krasny Oktyabr, worked as a driver; younger son, Alexey Sergeevich, lived in Armavir, served in the army.

In 1969, Sergei Efimovich turned 60 years old, he retired.

People remember S.E. in different ways. Zakharov. This is not surprising. Any person, and especially the leader, causes an ambiguous assessment. But, speaking of Zakharov, everyone invariably emphasizes: "He was a real master." And this means that he has never been indifferent: neither to work, nor to people. He knew too well the value of peasant labor.

It is said about some people that they do not think of themselves outside the team, work. Probably, Sergei Efimovich Zakharov was from this category. He lived only four years after his retirement: he died on June 8, 1973. But the trace left by this man on our land will remain forever.

List of publications

S. E. Zakharova:

1. We raise frisky and hardy Donchaks / S.E. Zakharov // Socialist agriculture. - 1948. - July 31. - p. 3.

2. Increase productivity and profitability public economy/ S.E. Zakharov // Agriculture. - 1953. - September 3. - p. 3.

3. Cultivation of rice in the Manych floodplain / S.E. Zakharov // Hammer. - 1956. - October 18. - S. 2.

1. On conferring the title of Hero Socialist Labor to the chairman of the collective farm "Red October" of the Veselovsky district of the Rostov region Zakharov S.E .: Decree of the Presidium of the Supreme Soviet of the USSR of July 23, 1948 // Vedomosti of the Supreme Soviet of the USSR. - 1948. - August 1. - S. 3; Hammer. Rostov n / a, 1948. - July 25. - S. 1.

2. Ilyin, M. On Manych: About the collective farm "Red October", headed by the Hero of Socialist Labor S.E. Zakharov / M. Ilyin. - Rostov n / a: Rostov regional publishing house, 1949.

3. Frolov, S. Sergey Efimovich Zakharov: Candidate for deputies of the Rostov Regional Council for the 88th Veselov constituency / S. Frolov // For irrigated agriculture. - 1955. - February 11. – P. 3.

4. Our candidates: Zakharov S.E., chairman of the collective farm named after Stalin in the Veselovsky district, registered as a candidate for deputies of the Rostov Regional Council of Workers' Deputies in the 88th Veselovsky constituency // For irrigated agriculture. - 1955. - February 16. – S. 2.

5. Sergei Efimovich Zakharov: Candidate for deputies of the Rostov Regional Council of Workers' Deputies in the 87th Veselovsky constituency // For irrigated agriculture. - 1957. - February 3. – S. 2.

6. Board of honor: The collective farm named after Stalin (Chairman - S.E. Zakharov) was entered on the district board of honor of the leaders of harvesting for the delivery of grain to the state // For Irrigated Agriculture. - 1958. - July 25. – S. 1.

7. Their names are entered in the district book of honor: Sergey Efimovich Zakharov, Chairman of the Stalin Collective Farm // For Irrigated Agriculture. - 1958. - November 7. – S. 2.

8. Sergey Efimovich Zakharov: Our candidates // For irrigated agriculture. - 1959. - February 22. - S. 2.

10. Cherevkov, A. Stages of the path of "Red October": The history of the collective farm "Red October" / A. Cherevkov // Bright path. - 1977. - October 4. - S. 2-3. (Continued in the issues of the newspaper for October 6 - P. 2-3; October 8 - P. 1, 3; October 13. - P. 2-3).

11. Ilyin, M. Chairman of the collective farm: About the Hero of Socialist Labor S.E. Zakharov / M. Ilyin // Zori Manycha. - 1981. - 1 Oct. – P. 2. Continued in subsequent issues.

12. Cherevkov, A. Zakharov stone: The legend of the Hero of Socialist Labor S.E. Zakharov / A. Cherevkov // Zori Manycha. - 1983. - May 1. – P. 4.

13. Prikhodko, L. Hero of Labor: About the Hero of Socialist Labor S. E. Zakharov / L. Prikhodko // Zori Manycha. - 2004. - February 11 - S. 5.

14. Zakharov Sergey Efimovich // Heroes of Labor of the Don: on the occasion of the 70th anniversary of the establishment of the title "Hero of Socialist Labor": a bio-bibliographic reference book. - Rostov n / D, 2008. - S. 34-36.

15. Zakharov Sergey Efimovich // Donskoy Vremennik [Electronic resource]: Access mode

Sergey Zakharov was born on November 26, 1900 in the city of Aleksandrovsk-Sakhalinsky, Sakhalin Region. There his father was military service as a clerk at a military hospital. In 1910 the family moved to Novosibirsk. In the same year, Zakharov entered the Novosibirsk real school, from which he graduated in 1917.

In 1917 - 927 he studied at the Tomsk Institute of Architecture and Civil Engineering. At the same time, in 1917 - 1922, he studied at the Tomsk Art School.

After graduating from the institute, in 1927 - 1931, he lived in Sverdlovsk, was a member of the Sverdlovsk branch of the Academy of Arts. In the same place in 1927 he began to participate in exhibitions of the Academy of Arts. He painted still lifes, genre compositions, landscapes, portraits, worked in watercolor and tempera painting, was engaged in monumental painting and interior design.

Since 1931, he lived in Leningrad, where he was sent by Uralzhilstroy to improve his skills at the Research Institute of Public Utilities. In 1933 he went to work in the Leningrad Regional Trade Union Council, where he participated as an architect in the design of the Theater Lenin Komsomol and public buildings.

In 1935, he moved to work in workshop No. 7 of the Lenproekt, where he was engaged in the design of school buildings. In the same place, in 1936, he joined the team for designing the building of the Opera and Ballet Theater in Stalinabad. In 1938 he was accepted as a member of the Leningrad Union Soviet artists.

In 1938 - 1939, Zakharov worked as the chief artist of the Cotton pavilion at the All-Union Agricultural Exhibition in Moscow. In 1940, in connection with the completed project interior decoration the theater building in Stalinabad went to the construction site to complete the working drawings.

In May 1941, he again went to Stalinabad to carry out architectural supervision of the implementation of the project for the interior decoration of the theater and painting the ceiling. auditorium. After the completion of construction in 1942, he went to work in the Union of Artists of Tajikistan, was a member of the board and deputy chairman of the Union. In 1945, two landscapes of mountainous Tajikistan by Zakharov were acquired by the Tretyakov Gallery.

After returning to Leningrad in 1945 - 1946, he participated in the restoration of the building of the Leningrad City Executive Committee, for which he was awarded the medal "For Valiant Labor in the Great Patriotic war". In 1947, Zakharov was again invited to Tajikistan to develop a project for the interior decoration of the Government House in Stalinabad, as well as to make sketches and paint the walls and plafonds in nature. In 1951, for this work, Zakharov was awarded the honorary title of Honored Artist of the Tajik SSR.

At the same time, Zakharov developed projects for the interior decoration of Soviet transatlantic motor ships in the architectural and artistic workshops of Lenizo. In 1954 he was awarded the Order of the Badge of Honor for his activities in the development of architecture and visual arts Tajik SSR.

As an easel painter, he worked mainly in watercolor and tempera painting. Outstanding watercolorist. The artist's still lifes, made in the technique of watercolor filling, received universal recognition. The free, broad manner of writing did not prevent the artist from convincingly conveying beauty and materiality. objective world, making almost palpable the transparency of grapes or the juiciness of a cut ripe melon. He worked at the creative base of Leningrad artists in Staraya Ladoga. Personal exhibitions of the artist were held in Leningrad, Kirov, Moscow and St. Petersburg.

Sergei Efimovich Zakharov died on January 24, 1993 in St. Petersburg at the ninety-third year of his life. His works are in the State Russian Museum, museums and private collections in Russia, Italy, France, Great Britain, Tajikistan, USA, Germany and other countries.

Architect, artist of monumental and decorative art, painter, graphic artist

He studied at the Tomsk Institute of Architecture and Construction (1917–1927) and the Tomsk Art College (1917–1922).

Lived in Sverdlovsk (1928–1931), Leningrad (1931–1940, since 1945), Dushanbe (1940–1945). Participated in the design of the Magnitogorsk plant (late 1920s), a number of public buildings in Sverdlovsk (until 1931), the Theater. Lenin Komsomol (1933–1935) and public buildings (1930s) in Leningrad. supervised decoration Pavilion "Cotton" at the VSHV in Moscow (1938).

From the late 1930s to the 1950s, he worked extensively in Tajikistan; participated in the development of projects for the Tajik Opera and Ballet Theater (1936–1940), the Government House of the Tajik SSR (1947–1948), public library them. Firdousi (1948–1951) in Dushanbe and others; created sketches for the decoration of these buildings, we will use them to paint (tempera) plafonds in the Tajik Opera and Ballet Theater (1940–1942, in collaboration with other artists), walls and plafonds in the Government House (“Industry, Agriculture and cattle breeding”, 1946–1951; Khirman, 1948–1949; together with M. A. Zubareva), the Public Library (“Firdousi and the heroes of his poem “Shahnameh”, “Motherland”, 1952–1956; together with M. A. Zubareva). He was deputy chairman of the Union of Artists of the Tajik SSR. Managed the studio of amateur artists in Dushanbe.

Participated in the restoration of the building of the Leningrad Executive Committee (Mariinsky Palace) in Leningrad; created for the reception hall a panel "Victory Salute in Leningrad" (1945-1946, together with M. A. Zubareva).

Carried out projects for interior decoration of Soviet transatlantic motor ships (late 1940s - 1950s): "Nakhimov" (composition "The Battle of Gangut", portraits of P. S. Nakhimov and other great naval commanders), "Crimea", "Soviet Union".

Engaged in easel painting and graphics. He painted mainly landscapes and still lifes; worked extensively in watercolor. Completed a series thematic works: "Performance by artists at the front" (1943), "Rafting on a mountain river" (1944), "Bread harvest" (1945-1946). Together with M. A. Zubareva, he created the paintings “A Herd in the Mountains of Tajikistan” (1944), “Leningrad. Day Navy"(1957), watercolor "Silk Breeders of Tajikistan" (1958), panels "Autumn in the mountains (In a mountain village)" and "Gifts of Tajikistan" (both - 1947), a series of "Landscapes of mountainous Tajikistan" (1954, tempera).

Since 1928 - a participant in exhibitions (Regional exhibition of creativity of artists of the Urals in Sverdlovsk). Member of the Sverdlovsk branch of the Academy of Arts (1927–1931), Leningrad Union of Artists (since 1938). Exhibited at exhibitions: works of artists of the Union republics, autonomous republics and regions of the RSFSR in Moscow and Leningrad (1946), All-Union art exhibitions(1946, 1947, 1950, 1957, 1961), works by artists of the Uzbek SSR, KazSSR, KirgSSR and TadzhSSR (1956), fine art of the TadzhSSR (1957), "Soviet Russia" (1960), "Flourish, collective farm land" (1964), All-Union exhibitions of watercolors (1965, 1969), Still Life (1974) in Moscow, Soviet graphics in Tartu (1947), works by Leningrad artists (1947, 1948, 1958, 1960, 1961, 1964), autumn exhibitions of works by Leningrad artists (1956 , 1958, 1968, 1970, 1971, 1973), watercolors and drawings (1959, 1965), "Leningrad" (1964) in Leningrad and others. He exhibited his works at foreign exhibitions: in Romania, Yugoslavia (1965), Czechoslovakia (1966), Poland (1974) and others. Held solo exhibitions in Leningrad (1937, 1951, 1980, 1984), Kirov (1938), Moscow (1962, 1965).

In 1951 he was awarded the title of Honored Artist of the TadzhSSR.

A memorial exhibition of Zakharov's works was held in St. Petersburg (1996).

Creativity is represented in a number of museum collections, among them - the State Tretyakov Gallery, State Russian Museum, National Museum Tajikistan in Dushanbe.

Outstanding Watercolorist.

The artist's still lifes, made in the technique of watercolor filling, received universal recognition.
He also painted genre compositions, landscapes, portraits, worked in watercolor and tempera, was engaged in monumental painting and interior design.

Watercolor by S. E. Zakharova is an absolutely unique phenomenon of painting, giving the viewer the opportunity, with all the lightness and airiness of the technique, to feel the plasticity, rhythm and volume of color as a means of artistic influence.

The painting of his still lifes is multi-layered, polyphonic and with these qualities resembles the effect of art glass in Halle's products.

Sergey Efimovich was born on November 26, 1900 in the city of Aleksandrovsk, Sakhalin Region, where the artist's father was serving his military service as a clerk at a military hospital. In 1910 the family moved to Novosibirsk. In the same year, S. Zakharov entered the Novosibirsk real school, from which he graduated in 1917.

In 1917-1927 he studied at the Tomsk Institute of Architecture and Civil Engineering. At the same time, in 1917-1922, he studied at the Tomsk Art School. After graduating from the institute in 1927-1931 he lived in Sverdlovsk, was a member of the Sverdlovsk branch of the Academy of Arts. In the same place in 1927 he began to participate in exhibitions of the Academy of Arts. He painted still lifes, genre compositions, landscapes, portraits, worked in watercolor and tempera painting, was engaged in monumental painting and interior design. Working in Sverdlovsk in Uralgiprozem and Uralzhilstroy, he took part in the design of the Magnitogorsk plant and a number of public buildings in Sverdlovsk. Since 1931, he lived in Leningrad, where he was sent by Uralzhilstroy to improve his skills at the Research Institute of Public Utilities. In 1933 he went to work in the Leningrad Regional Trade Union Council, where he participated as an architect in the design of the Lenin Komsomol Theater (1933-1935) and public buildings. In 1935, he moved to work in workshop No. 7 of the Lenproekt, where he was engaged in the design of school buildings. In the same place, in 1936, he joined the team for designing the building of the Opera and Ballet Theater in Stalinabad. In 1938 he was accepted as a member of the Leningrad Union of Soviet Artists.

In 1938-39, S. Zakharov worked as the chief artist of the Cotton pavilion at the All-Union Agricultural Exhibition in Moscow. In 1940, in connection with the completed project for the interior decoration of the theater building in Stalinabad, he went to the construction site to complete working drawings. In May 1941, he again went to Stalinabad to carry out architectural supervision on the implementation of the project for the interior decoration of the theater and the painting of the ceiling of the auditorium. After the completion of construction in 1942, he went to work in the Union of Artists of Tajikistan, was a member of the board and deputy chairman of the Union. In 1945, two landscapes of mountainous Tajikistan by S. Zakharov were acquired by the Tretyakov Gallery.

After returning to Leningrad in 1945-46, he participated in the restoration of the building of the Leningrad City Executive Committee (the former Mariinsky Palace), for which he was awarded the medal "For Valiant Labor in the Great Patriotic War." In 1947, Zakharov was again invited to Tajikistan to develop a project for the interior decoration of the Government House in Stalinabad, and then to carry out architectural supervision, as well as to make sketches and paint walls and plafonds in nature (together with the artist M. A. Zubreeva). In 1951, for this work, S. Zakharov was awarded the honorary title of Honored Artist of the Tajik SSR.

At the same time, S. Zakharov developed projects for the interior decoration of Soviet transatlantic motor ships in the architectural and artistic workshops of Lenizo. In 1954 he was awarded the Order of the Badge of Honor for his work in the development of architecture and fine arts in the Tajik SSR. As an easel painter, he worked mainly in watercolor and tempera painting. Outstanding watercolorist. The artist's still lifes, made in the technique of watercolor filling, received universal recognition. The free, broad manner of writing did not prevent the artist from convincingly conveying the beauty and materiality of the objective world, making the transparency of grapes or the juiciness of a cut ripe melon almost palpable.

Participant of watercolor exhibitions in Romania and Yugoslavia (1965), Czechoslovakia (1966), Norway (1968), Cuba (1971). Personal exhibitions of the artist were held in Leningrad (1937, 1951, 1980, 1984), Kirov (1938), Moscow (1962, 1965) and St. Petersburg (1996).

Sergei Efimovich Zakharov died on January 24, 1993 in St. Petersburg at the ninety-third year of his life. His works are in the State Russian Museum, museums and private collections in Russia, Italy, France, Great Britain, Tajikistan, USA, Germany and other countries.