Editing Ivan Krylov (section)

===In the arts===
In that some of the fables were applied as commentaries on actual historical situations, it is not surprising to find them reused in their turn in political [[caricatures]]. It is generally acknowledged that "The wolf in the kennel" is aimed at the [[French invasion of Russia]] in 1812, since the [[Emperor Napoleon]] is practically quoted in a speech made by the wolf.<ref>Ralston, p.15</ref> This was shortly followed up by the broadsheet caricature of Ivan Terebenev (1780–1815), titled "The wolf and the shepherd", celebrating Russia's resistance.<ref>[http://www.napoleon.org/en/special_dossier/caricatures/images/us_Img027.jpg Napoleon.org] {{webarchive|url=https://web.archive.org/web/20130121070202/http://www.napoleon.org/en/special_dossier/caricatures/images/us_Img027.jpg |date=2013-01-21 }}</ref> The fable of "The swan, the pike and the crawfish", all of them pulling a cart in a different direction, originally commented sceptically on a new phase in the campaign against Napoleon in the coalition of 1814 (although some interpreters tend to see it as an allusion to the endless debates of the [[State Council (Russian Empire)|State Council]]<ref>''[https://archive.org/details/cu31924026691612/page/n121 Kriloff's original fables]''</ref>). It was reused for a satirical print in 1854 with reference to the alliance between France, Britain and Turkey at the start of the [[Crimean War]].<ref>Ralston, p.178</ref> Then in 1906 it was applied to agricultural policy in a new caricature.<ref>{{Cite web|url=https://commons.wikimedia.org/wiki/File:Krylov-1906.jpg|title=English: Political caricature|first=E. M.|last=Bem|date=June 28, 1906|via=Wikimedia Commons}}</ref>

[[File:PopovAA DemyanovaUha.jpg|thumb|upright=1.35|left|"Demyan’s Fish Soup", by [[Andrei Andreyevich Popov|Andrei Popov]], 1857. The Russian Museum, St Petersburg]]
The fables have appeared in a great variety of formats, including as illustrations on [[postcard]]s and on matchbox covers.<ref>There were matchbox series in [https://web.archive.org/web/20150403003244/https://www.creighton.edu/aesop/artifacts/printedmaterial/matchboxlabels/russiansinglecovers/ Creighton University 1960] and [https://www.creighton.edu/aesop/artifacts/printedmaterial/matchboxlabels/russianmatchboxset 1992] {{Webarchive|url=https://web.archive.org/web/20150403201453/https://www.creighton.edu/aesop/artifacts/printedmaterial/matchboxlabels/russianmatchboxset/ |date=2015-04-03 }}</ref>). The four animals from the very popular "The Quartet" also appeared as a set, modeled by Boris Vorobyov for the [[Lomonosov Porcelain]] Factory in 1949.<ref>[https://veryimportantlot.com/en/lot-gallery/view/composition-of-porcelain-statuettes-of-the-quarte-1144 Lomonosov Porcelain factory]</ref> This was the perfect choice of subject, since the humour of Krylov's poem centres on their wish to get the seating arrangement right as an aid to their performance. The format therefore allows them to be placed in the various positions described in the fable.

Not all the fables confined themselves to speaking animals and one humorous human subject fitted the kind of genre paintings of peasant interiors by those from the emerging [[Realism (art movement)|Realist school]]. This scenario was "Demyan's Fish Soup", in which a guest is plied with far more than he can eat. Two of those who took the subject up were Andrei M.Volkov (1829-1873) in 1857,<ref>{{Cite web|url=http://www.rmuseum.ru/data/catalogue/canvas/rossiya/5120_main_foto_1_03.jpg|title=Russian museums}}</ref> and Andrei Popov (1832–1896) in 1865 (see left). Another fable, originally adapted from La Fontaine's ''"La Fille"'', was Krylov's "The Dainty Spinster", which lent itself to the social satire of [[Pavel Fedotov]]'s [[:wikimedia:File:Pawel Andrejewitsch Fedotow 001.jpg|painting of 1847]]. That depicts the aging maid accepting the proposal of a balding, hunchbacked suitor who kneels at her feet, while her anxious father listens behind a curtained doorway. In 1976, the painting was [[:wikimedia:File:Soviet stamp 1976 Tretjakovskaja Galerija Fedotov Razbortschivaja Nevesta 4k.JPG|featured on a Soviet postage stamp]].

Illustrated books of Krylov's fables have continued in popularity and at the start of the 20th century the styles of other new art movements were applied to the fables. In 1911 [[Heorhiy Narbut]] provided attractive [[Art Nouveau]] silhouettes for ''3 Fables of Krylov'', which included "The beggar and fortune" (see below) and "Death and the peasant". A decade later, when the artistic avant-garde was giving its support to the [[Russian Revolution]], elements of various schools were incorporated by [[Aleksandr Deyneka]] into a 1922 edition of the fables. In "The cook and the cat" it is [[Expressionism]],<ref>{{Cite web|url=https://arthive.com/aleksandrdeyneka/works/27458~The_Cook_and_the_cat_illustration_to_the_fable_of_Krylov|title=The Cook and the cat (illustration to the fable of Krylov) by Alexander Alexandrovich Deineka: History, Analysis & Facts|website=Arthive}}</ref> while the pronounced diagonal of [[Constructivism (art)|Constructivism]] is introduced into "Death and the peasant".<ref>{{Cite web|url=https://arthive.com/aleksandrdeyneka/works/35798~Illustration_for_I_A_Krylovs_fable_the_Peasant_and_death|title=Illustration for I. A. Krylov's fable "the Peasant and death" by Alexander Alexandrovich Deineka: History, Analysis & Facts|website=Arthive}}</ref>

When [[Socialist realism]] was decreed shortly afterwards, such experiments were no longer possible. However, "Demyan's Fish Soup" reappears as a suitable peasant subject in the traditional [[Palekh miniature]]s of Aristarkh A.Dydykin (1874 - 1954). Some of these was executed in bright colours on black lacquered [[papier-mâché]] rondels during the 1930s,<ref>An example on the [http://allrus.me/wp-content/uploads/2013/11/Demyans-fish-soup.-Plate.-1931.jpg All Russia site]</ref> but prior to that he had decorated a soup plate with the same design in different colours. In this attractive 1928 product the action takes place in three bands across the bowl of the dish, with the guest taking flight in the final one. With him runs the cat which was rubbing itself against his leg in the middle episode. About the rim jolly fish sport tail to tail.<ref>{{Cite web|url=http://palekh.narod.ru/d/dydykin/dydyk_12.jpg|title=State Museum of Palekh Art}}</ref>