The article is devoted to the analysis of the image of the folk hero Svyatogor in the works of professional Russian artists and illustrators of the 19th and 21centuries: N.I. Sokolov’s, K.O. Brozh’s, A.P. Ryabushkin’s, I.V. Simakov’s, N.K. Roerich’s, I.Y. Bilibin’s, K.A. Vasiliev’s, R. Papsuev’s, as well as in modern animation. At the beginning of the article a brief description of the folklore image of Svyatogor is given, the themes of fate and continuity as main characteristic of him are especially emphasized, the point of view that Svyatogor is not really of giant growth is disputed.When analyzing illustrations by N.I. Sokolov notes that Svyatogor is depicted as approximately human growth, but in one piece it is still a giant, therefore, the illustrator is inconsistent. Looking at the vignette of K.O. Brozh the author concludes that it already contains the main elements that will be common for further images of Svyatogor. In the illustration by A.P. Ryabushkinis highlighted the main motive of doom and slow dying. For I.V. Simakov’s illustration on the contrary the motive of the struggle stands out, albeit character there is also doomed. Next, a comparative of the paintings by N. Roerich and I.Y. Bilibin is analyzed, the author concludes that Roerich depicts the lofty ideal of a warrior, while Bilibin depicts an old and disproportionate giant. A stable tradition of depicting Svyatogor, which was formed in the middle - the second half of the 20th century, is described. This tradition is interrupted by Vasiliev's painting in which a plot of epic poetry is used to express the author's independent position. There is a tendency in the 21st century to humanize and deconstruct the image of Svyatogor, the first presents in the works of R. Papsuev, the second is in the animated film "Alyosha Popovich and Tugarin the Serpent". It is concluded that the artists interpret the image of Svyatogor in their own way but at the same time retain certain features that originate from the folklore tradition.
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