1899
Aleksandr Deyneka is born into the family of a railroad worker in Kursk on 20 May (8 May by the old calendar).

1914
He attends the city's First Primary School and frequents a studio run by painters V. Golikov, M. Jakimenko-Zabuga and A. Poletiko.

1916
He concludes his primary education at the School Institute in Kursk. 
He is admitted to the Art School in Char'kov (Ukraine), where he studies under M. Pestrikov and A. Ljubimov, students of the Imperial Academy of Fine Art in St Petersburg.  After the February Revolution (27 February by the old calendar), all activity at the school ceases.

1918
He returns to Kursk.  He works as a teacher in the Governatorate Department for the People's Education and is put in charge of the Art Section as a photographer for the forensic police; he teaches drawing at the local girls' school and helps to organize the so-called "Propaganda Trains".
He travels to Moscow on several occasions.

1919 
He wins two first prizes in a competition for the best sketches for the Soviet Theater in the city of Kursk, one for "The Tempest" by Aleksandr Ostrovskiy and the other for the Hans Christian Andersen fairy tale "Ole-Luk-Oie".
He takes part in the defense of Kursk.
General A. Denikin's White Army occupies Kursk.
Starting in November, he takes part in several "Propaganda Actions" following the liberation of Kursk.
He works with the Kursk branch office of Russian Telegraph Agency ROSTA.

1920
He works as an instructor and teacher in the Proletarian Art Studio for Adults (until early 1921).
He works as director of the Worker-Peasant Theater Office.
He takes an airplane for the first time in his life.

1921
He begins to study at the Higher Art and Technical Studio (VChUTEMAS) in Mosow, at the Graphic Art (Polygraphics) Faculty under Vladimir Favorskiy and Ignatiy Nivinskiy.
He takes part in the production of a performance based on Mayakovsky's piece entitled Misterija Buff (Funny Mystery).
He returns to Kursk in the summer and continues to manage the local office of the Governatorate Soviet for the People's Education.
In the fall he goes back to studying at the VChUTEMAS.

1922
He pursues his studies at the VChUTEMAS, which exempt him from having to enlist in the Red Army until 19 July 1922.
He produces illustrations for Ivan Krylov's fables "The Cat and the Cook", "The Peasant" and "Death" for the VChUTEMAS' own publishing house.

1923
He helps to design the pavilions for the First Agriculture Fair in Moscow.
He begins to cooperate with the magazine Bezbožnik u stanka (The Atheist on the Machine).
He was to continue to pursue his graphic work until the early 1930s.
He paints the pictures: "Portrait of the Painter K. A. Vjalov" and "Two Models".

1924
He takes part in the "First Exhibition-cum-Debate of the Revolutionary Art Associations" in Moscow in his capacity as a member of the "Association of Three" (Aleksandr Deyneka, Andrey Goncarov, Juriy Pimenov).
He goes on an educational trip to Donbass, Kiev and Ekaterinoslav (known today as Dnepropetrovsk).
He produces a cycle of graphic works and prints entitled "To Donbass".
He paints the pictures: "Football" and "Girl Seated on a Chair".

1925
He is one of the founder members of the OST society (Society of Easel Artists), together with Petr Vil'yams, Konstantin Vyalov, Andrey Goncarov, Nikolay Denisovskiy, Aleksandr Labas, Juriy Pimenov and David Šterenberg.
He takes part in the first exhibition of the ?S? society.
He leaves the VChUTEMAS after completing a full study cycle, but without gaining a diploma.
He takes part in the "Exhibition of Soviet Caricature" in Paris, at the 7th Salon d'Araignée.
He paints the picture:  "Before Going Down the Mine".

1926
He takes part in the OST's second exhibition.
He joins the Association of Graphic Artists of the Press House in Moscow.
Along with Juriy Pimenov, he takes part in a performance based on F. Gladkov's novel "Cement" for the 4th Workshop of the MChAT (Moscow Art Theater).
He starts to work with the Krasnaja niva (Red Field) and Prožektor (Projector) publishing houses.
He paints the picture: "New Shops on the Building Site".

1927
He starts to work with the magazine 30 dnej (30 Days).
He paints the picture:  "Textile Workers".

1928
He leaves the OST society and becomes one of the founder members of the "October" cultural association.
He starts teaching drawing at the Vchutein (Higher Art and Technical Institute) and also at the Polygraphic Institute in Moscow.
He becomes a consultant for artistic issues with the State Publishing Company and with the State Publishing Company for the Figurative Arts, where he remains until 1930.
He begins to work with a children's magazine called Iskorka (Small Spark) and with the magazine Smena (Change).
He takes part in an exhibition of works of art organized to mark the 10th anniversary of the October Revolution.
He takes part in the 16th Biennale in Venice.
He paints the picture: "The Defense of Petrograd".

1929
He starts to work with the magazines Daësh' (Give), Pioner (The Pioneer), Roman-gazeta dlja rebjat (Story Paper for Boys) and Cudak (The Eccentric).

1930
In Vladimir Mayakovsky's play "The Bathhouse" - which premiered at the Mejerchol'd Theater - Aleksandr Deyneka is called by director Vsevolod Mejerchol'd to play the role of one of the painters.
He takes part in the "October" association's first exhibition.
He takes part in the 17th Biennale in Venice.
He paints the picture:  "The Cross-Country Race".
He produces the illustrations for several children's books: N. Aseyev, "Top-Top-Top"; A. Deyneka, "In the Clouds" and "Red Army Parade"; and B. Ural'skiy, "The Electrician"; he produces the posters entitled: "We Mechanize Donbass", "Udarnik, (Record Worker) Be a Sport! ", "We Are Building the First Soviet Airship, Klim Vorošilov", "China on the March Toward Liberation from Imperialism, and  "Record Shops and Factories Towing the Laggards Along! "

1931
He leaves the "October" association and joins the "Russian Proletarian Painters' Association".
He paints the pictures:  "On the Balcony", and "Mercernary Invaders".

1932
He is confirmed in his post as professor at the Polygraphic Institute.
He breaks off virtually all cooperation with magazines.
He takes part in an exhibition held in Leningrad to celebrate the "15th Anniversary of the Artists of the RFSFR".
He takes part in the 18th Biennale in Venice.
He produces a panel painting entitled "Civil Aviation" for the kitchen factory in Fili.
He paints the pictures:  "Unemployed in Berlin", "Ball Game", "Mother", "Morning Exercise", "Sleeping Boy with Cornflowers", and "The Soccer Player".

1933
He is appointed to the Chair of Poster Art at the University's Polygraphic Institute .
He takes part in two exhibitions held in Moscow:  "Painters of the RSFSR Celebrate the 15th Anniversary of the Revolution" and the "15th Anniversary of the Workers and Peasants' Red Army".
He paints the pictures:  "Bathing Girls", "Landscape at Night", "A Sunny Day", and "Communists under Interrogation (In the Staff of the White Army) ".

1934
He is sent to the Crimea, where he visits the Soviet Navy fleet in Sevastopol and the Military School of Aerial Warfare in Kaca, in the company of  Fedor Bogorodskiy.
He meets Serafima Ivanovna Lycëva, who becomes his companion and model.
He takes part in the International Exhibition of Contemporary Art at the Carnegie Institute in Pittsburgh; his picture "On the Balcony" wins the prize for the painting most appreciated by the public.
He takes part in the 19th Biennale in Venice.
He is sent to the United States at the end of the year.
He paints the pictures:  "The Goalkeeper", "A Parachuter above the Sea", and "Portrait of a Girl with a Book".
He produces the sketches for a large mural for the new building of the People's Commissariat for Agriculture.

1935
A major personal exhibition of Aleksandr Deyneka's work tours over 20 cities in the United States from January through March of this year.
He visits France and Italy in the spring.
He travels to the Crimea in the summer.
The first personal exhibition of his work in USSR is held in the "Vsekochudožnik" factory complex in Moscow.
He paints the pictures:  "Lunch Break in Donbass", "Road in Mount Vernon", "Baseball", "Night", "Paris. In a Café", "La Parisienne", "Rome.  An Alley", and "Roman Road".

1936
He departs for Sevastopol in the company of Georgiy Nissk and Fedor Bogorodskiy.
He produces two panel paintings on sporting themes for the gymnasium of the Red Army House in Minsk (destroyed in World War II).
1936-1946:  He directs the Workshop of Monumental Painting in the Moscow Institute of Figurative Arts (which was to be renamed the "V. I. Surikov" Art Institute of Moscow in 1948).
A personal exhibition of his work is held at the Academy of Fine Arts of the Soviet Union in Leningrad.
He paints the picture:  "The Model".

1937
Publication of a monograph work entitled "A. Deyneka", edited by B. Nikiforov.
A. Deyneka's panel painting entitled "Shockworkers" is shown at the Exposition Universelle in Paris in 1937 on "Art and Technology in Contemporary Life".
He paints the picture "Shockworkers (Illustrious Men of the Land of the Soviets) ".

1938
A. Deyneka's panel painting entitled "Shockworkers" wins the gold medal at the Exposition Universelle in Paris in 1937.
Inauguration of the "Mayakovskaya" Metro station in Moscow, decorated with 35 mosaics on themes relating to "Daily Life in the Land of the Soviets" produced from drawings by Deyneka.
He paints the picture:  "Future Flyers".
He produces the illustrations for pilot Georgiy Baydukov's book "Our Flight to America".

1939
He starts to work as a sculptor, as well as in the fields of ceramic, majolica and porcelain.
He takes part in the 1939 New York World's Fair.
He produces the frescoes "Debate on the Limit" and "The Peasant Uprising of 1905" for the All-Union Agricultural Exhibition (VSKhV); two of his panel paintings (now lost) are displayed in the "Far East" pavilion.

1940
He is elected to the governing body of the Moscow Painters' Union and of the Moscow Sculptors' Union.
He is confirmed in his post as Professor of Monumental Painting at the Moscow State Art Institute.
He completes his ceiling paintings on the theme "Red Army Soldiers Cross-Country Running" for the foyer ceiling in the Red Army Theater in Moscow of the foyer.
He publishes his memories of Vladimir Mayakovsky in the magazine Iskusstvo (Art).
He paints the pictures:  "Nikika: The First Russian Pilot", and "People of  Zaporož'e" (a region and a city in the Ukraine).

1941  
At the outbreak of World War II, he produces a number of political posters for the Military Defense Poster Workshop called "Okna TASS" (TASS Windows); he directs the art poster group within the Moscow Art Institute.
He paints the pictures: "Mayakovsky at the ROSTA" and "Moscow Suburbs. November 1941".

1942
He is invited to the front, close to the city of Yukhnov, in the company of painter Georgiy Nissk.
He paints the pictures:  "The Defense of Sevastopol", and "The Burned Village".

1943
His paintings "Moscow Suburbs" and "Cossacks" win a Level 2 Certificate from the Committee for Artistic Activities of the Soviet of the People's Comissars of the USSR.
Inauguration of the "Paveleckaya" and "Novokyzneckaya" Moscow Metro subway stations.  Of the 16 mosaics that the artist produced for the "Paveleckaya" station, based on the theme of the construction of the railroad link between Moscow and Donbass, seven are installed in the "Novokyzneckaja" station.
He paints the picture:  "The Shot-Down Ace".

1944
The painting "The Shot-Down Ace", painted in 1943, is awarded first prize by the Moscow Painters' Association, by the governing body of the Soviet Painters' Association and by the Presidency of the Organizational Committee of the Artists' Union of the Soviet Union.
He paints the pictures:  "Under the Occupation", "Razdol'e".  Indication in lieu of picture:  name of village in the vicinity of Dagestan /  or: 'vasts open spaces'.

1945
He is appointed to the post of Director of the State Institute of Applied and Decorative Arts (MIPiDI).
He is awarded the title of "Meritorious Artist of the RSFSR".
He is sent to Berlin.
He paints the picture:  "Region of Kursk, the River Tuskar".

1946
He is appointed to the post of professor with the Chair of Monumental Painting at the MIPiDI.
He publishes an autobiographical essay in the 28th edition of the magazine Ogonëk (Small Fire).

1947
He takes part in the "Exhibition of Works by Masters of Soviet Art" in Vienna, together with Sergey Gerasimov, Aleksandr Gerasimov and Arkadiy Plastov.
He is confirmed in the post of Director of the Chair of Decorative Sculpture and Composition at the MIPiDI.
He is confirmed as an active member of the recently reorganized Academy of Fine Arts of the Soviet Union.  He travels to Donbass, Leningrad and Riga in connection with his work.
He paints the pictures:  "Donbass" and "Relay".

1948
He gives up his post as Director of the MIPiDI but stays on as Director of the Chair of Decorative Sculpture and Composition.
He paints the picture:  "Self-Portrait".

1951
He produces cartoons for the mosaics for the "M. V. Lomonosov" (MGU) Moscow State University.
He writes an article entitled "The Problems of Monumental and Decorative Painting" for an anthology published by the Academy of Fine Arts of the Soviet Union .
He paints the picture:  "The Bather".

1953
He works on the "M. I. Glinka" Opera and Ballet Theater in Chelyabinsk.
He becomes professor and chair of drawing at Moscow University's Institute of Architecture.
He paints the picture:  "In Sevastopol".

1954
He paints pictures for the ceiling plafonds of the theater in Chelyabinsk.
He paints the picture:  "Mother and Sister".

1956
He takes part in the 28th Biennale in Venice.
He paints the pictures:  "In Crimea" and "The Tractor Driver".

1957
He is appointed professor and studio director of the "V. I. Surikov" Art Institute in Moscow.
He is elected to the governing body of the USSR Artists' Union.
He meets his future wife Elena Pavlovna Volkova.
A personal exhibition of his work is held at the Academy of Fine Arts of the Soviet Union in Moscow.
He paints the pictures:  "At the Sea" and "Blacksmiths".

1958
He produces two panels entitled "For Peace Throughout the World" and "Structures of Peace" for the Soviet pavilion at the Brussels World's Fair devoted to "Mankind and Progress".
He is appointed a member of the Presidency of the Academy of Fine Arts of the Soviet Union and vice-president of the Moscow Artists' Association.
He is appointed a member of the Soviet Committee for the Defense of Peace.

1959
He is awarded the honorary title of "Artist of the People of the RSFSR".
He is appointed to the post of "First Artist" for the Congress Hall under construction in the Kremlin.
Publication of the monograph work entitled "A. Deyneka", edited by I. L. Maca.

1960
Aleksandr Deyneka holds a personal exhibition of his work in Kursk.
He is a member of the commission for the new panoramic structure entitled "The Battle of Borodino".
He takes part in the 30th Biennale in Venice.
He produces a painted sketch of his "Structures of Peace" mosaic.

1961
He is awarded the Gold Medal and a Parchment of the Academy of Fine Arts of the Soviet Union for his mosaic "A Fine Morning".
He publishes his autobiography, entitled "From My Practical Experience", and a book entitled "Learn To Draw".
Publication in Prague of a book entitled "Aleksandr Deyneka", edited by art historian Dušan Konecna.
He paints the picture:  "Conquerors of the Cosmos".

1962
He is elected to the post of vice-president of the Academy of Fine Arts of the Soviet Union.
He goes to Czechoslovakia on an educational trip.

1964
He is awarded the Lenin Prize for the mosaics that he produced between 1959 and 1962 ("A Fine Morning", "Hockey Players", "Milkmaid" and "Red Guards").
He visits Berlin.
He is elected a correspondent member of the German Academy of Fine Arts in Berlin.
Publication of a book entitled "Aleksandr Aleksandrovich Deyneka", edited by M. N. Jablonskiy.

1965
He is working in Leningrad and in Sochi.
He produces the mosaic for the façade of the sanatorium of the Council of Ministers of the Soviet Union in Sochi.
He travels to Italy.

1966
He is elected to the post of academic secretary for the Decorative and Applied Arts Section of the Academy of Fine Arts of the Soviet Union.
A personal exhibition of his work is held in  Kursk.
He paints the pictures:  "A Difficult Choice", "Portrait of a Young Engineer", and "Young Builder".

1967
A personal exhibition of his work is held in Kiev, and subsequently in Riga.
A monograph work entitled "Deyneka", edited by Aradi Nora, is published in Budapest.

1968
He produces a monumental panel entitled "Let Us Welcome All of the Flags That Fly to Our Country", for the new airport terminal building.
He is hospitalized in May.  The symptoms of a disease, which have appeared constantly throughout life, show no sign of abating.
His marriage to Elena Pavlovna Volkova is registered.

1969
His 70th birthday is officially celebrated on 21 May.
He is awarded the title of "Hero of Socialist Labor" with the Order of Lenin and the Hammer and Sickle Gold Medal.
A personal exhibition of his work is held in Budapest.
A personal exhibition of his work is held at the Academy of Fine Arts of the Soviet Union in Moscow.

He dies in hospital on the night of 11/12 June.
The artist's lying-in-repose is organized in the rooms of the Academy of Fine Arts of the Soviet Union, among paintings in the personal exhibition then being held.
He is buried in Moscow's Novodevic'e cemetery.