From February 1, an exhibition dedicated to the memory of Igor Ivanovich Gnevashev will be held in the White Hall of the Lumiere Brothers Center for Photography. The winner of the Golden Eye of Russia award, a master whose name is listed in the world encyclopedia Modern Photographer, Gnevashev came to photojournalism at the time of the thaw. Even for the time when Igor Gnevashev began to shoot - and this is 1964 - there was perhaps too much truth in his photographs than the editions for which he worked then could “digest”. Neither the “Soviet Union”, nor “Twinkle”, nor “Komsomolskaya Pravda” were ready for the “unkempt” heroes of Gnevashev. And then one of the friends brought Gnevashev to the cinema. For almost twenty years he worked for the magazines Soviet Screen and Soviet Film. The directors of the films on the set of which he worked were Bondarchuk, Tarkovsky, Ryazanov, Shukshin, Mikhalkov, Gaidai, Soloviev and many other masters of Russian cinema. Most of his work is the life of domestic cinema, full of "emotions and intonations." His photographs from the filming of films became the hallmark of future masterpieces.

Sometimes, as on the set of the film "Ivan Vasilievich Changes the Profession", the photographer’s frame anticipated the director’s find. Many people remember how in the picture the formidable Tsar Ivan, who was transferred to the Soviet 1970s by the will of screenwriters, sits on an ottoman, twirling a cassette recorder in his hands - an unusual thing and desired at that time not only for characters recently arrived from the 16th century. Meanwhile, this episode appeared in the film almost by accident. The artist Yuri Yakovlev in royal makeup rested between episodes of filming, listening to the cassette. Photographer Igor Gnevashev could not resist - took this moment. Director Leonid Gaidai, who adored improvisation, appeared just in time to announce: “This is what we will fix!” Today this work is already on the cover of the book “Icons 1960-1980”, and the author’s name is included in the Anthology of Russian Photography of the 20th Century.

His many years of work in the cinema received international recognition and was especially awarded the prize of the professional guild of photographers and the Golden Eye of Russia Journalists Union - for the photographic record of Russian cinema and his contribution to neorealism for the good of Russia.

Rolan Bykov called the skill of Igor Gnevashev "the skill of simplicity."

The report, especially the real one, without staging is Igor Gnevashev’s difficult but beloved genre. Most of all, his shots look like motion pictures. Among the works included in the golden fund of domestic photography are the famous photographs “Father and Son” (1960), where the baby grabbed his father’s leg as the most reliable support, and “Firstborn” (1963), in which the father, holding a parcel with newborn, walks along a country road, leaving far behind busy women.

Igor Gnevashev’s photographs are life itself as it is: without varnishing, embellishment and shocking admiration - the very photograph that always remains in the history of photography.

Or maybe it’s love