Lev
Samoilovich Bakst (Rosenberg)

Real name Rosenberg, Leib Chaim Izrailevich. He was born in Grodno, April 27 (9 may), 1866 in the family of a Rabbi. In 1883 he entered on the advice of M. M. Antokolsky auditor at the St. Petersburg Academy of arts, where he studied until 1887. Since 1889 he signed his work "Bakst" (Baxter – the name of the grandmother on the maternal side). In 1890 he continued his studies at Alberta, along the way becoming acquainted with his brother Alexander. Traveled to several countries of Europe (1891), 1893-1899 took lessons at private academies in Paris. Became one of the founders of the society "World of art" (1898). The characteristic style of Bakst, modern and graphic, full of an acute sense of the theatrical (that's funny, sinister) unreality surrounding existence, was formed at the turn of the century in the design of the magazine "World of art", "Yearbook of the Imperial theatres" magazine "Art treasures of Russia", "Scales", etc., as well as in the design of books (snow mask Alexander Blok, 1907; etc.). Working in different techniques, Bakst proved himself as a highly gifted painter, including master strexpression portrait (V. V. Rozanov, 1901, Tretyakov gallery; S. P. Diaghilev with his nanny, 1906, Russian Museum, St Petersburg – painting, which is the best portrait of the great entrepreneur). Having been together with V. A. Serov in Greece (1907), created a number of landscapes as well as murals Ancient horror (1908), where antiquity is represented in its frightening, the Dionysian-"Nietzschean" appearance. Just organically Bakst's talent was evident in the set design. From 1902 he worked for the Hermitage and Alexandrinsky theatres. A close associate of Diaghilev since 1911, and was the artistic Director of his "Russian seasons". In 1911-1913 he participated in the productions of the I. Rubinstein and Anna Pavlova. Decor Bakst (Russian seasons ballets, Cleopatra A. S. Arensky, 1909; the Firebird by I. F. Stravinsky, 1910; Daphnis and Chloe by M. Ravel; etc.) – his "co-directing", and has concentrated imaginative play in the exotic-a fabulous spectacle; the tradition of the picturesque theatre reached their peaks. From 1910 Bakst lived mostly in Paris. In the later years of life remains always acted as a theatre designer and has lectured on contemporary art and costume. In 1920-e years he wrote a large loop panels on the theme of the story Sleeping beauty to D. Rothschild mansion in London. Their creativity contributed to the formation of the foundations of the style "art Deco". Bakst died in Paris on 27 December 1924.

To join a volunteer at the Academy of Arts, Ls Bakst had to overcome the resistance of his father, small businessman. He studied for four years (1883-87), but became disillusioned with academic training and left the school. Began to paint independently, studied watercolor techniques, earning a living by illustrating children's books and magazines.

In 1889, the artist first exhibited his work, taking the name - the abbreviated name of the maternal grandmother (Baxter). 1893-99 years he spent in Paris, often bumping into Petersburg, and worked hard to find your own style. Having become acquainted with A. N. Benoit, K. Somov and S. P. Diaghilev, Bakst was one of the initiators of the Association "World of art" (1898).

The Bakst fame brought his graphic work for the journal "World of art". He continued and easel art - has performed a great graphic portraits of I. I. Levitan, F. A. Malyavin (1899), A. White (1905), and 3. N. Gippius (1906) painting the portraits of V. V. Rozanov (1901), Sergei Diaghilev with his nanny (1906).

Fierce disputes critics called his painting "Dinner" (1902), which became a kind of Manifesto of art Nouveau in Russian art. Later a strong impression on the audience made his painting "Ancient horror (Terror Antiquus)" (1906-08), which embodies the symbolist idea of the inevitability of fate.

During the first Russian revolution, Bakst worked in the satirical magazine "Bogey", then in the magazines "Satyricon", "the Golden fleece", "Apollo", successfully engaged in book graphics and the decorative arts (decorated interiors, exhibitions). But by the end of the 1900s, confined themselves, occasionally making exceptions for graphic portraits of people close to him, and went down in history as the preeminent theatre artist of the modern era.

Debuted in the theater in 1902, issuing a pantomime "Heart shades". Then there was the ballet "the Fairy doll" (1903), which had success mainly because of its scenery. He has designed a few plays, made some costumes for actors, particularly Anna Pavlova in the famous "Swan" by Fokine (1907). But the real talent Bakst turned in ballet productions of "Russian seasons", and then "Russian ballet of Diaghilev." "Cleopatra" (1909), "Scheherazade" and "Carnival" (1910), "the Vision of rose" and "Narcissus" (1911), "Blue God", "Daphnis and Chloe" and "Afternoon of the Faun" (1912), "Games" (1913) were struck by the blase Western audience decorative fantasy, wealth and power of color, and designed by Leon Bakst design techniques marked the beginning of a new era in the ballet scenography.

Name Bakst, the leading artist of the "Russian seasons", thundered along with the names of the best performers and famous choreographers. He had received interesting orders from other theatres. All these years Bakst lived in Europe, only occasionally returning home. This was due not only to reside in ballet, but also with the fact that he, as a Jew, did not have the so-called rights of residence, could not stay long in St. Petersburg. However, in 1914, he was elected to the AH and got this right, but the First world war finally cut him from the country. He continued to work with Diaghilev's troupe, but between him and the S. P. Diaghilev gradually increased conflict, and in 1918 left the company Bakst. He worked tirelessly, but failed to create anything new. Death from pulmonary edema caught Bakst at the time of his fame, the truth begins to fade, but still brilliant.

Bibliography:

1. Leikind O. L., D. Y. Severyukhin artists of the Russian emigration (1917 – 1941). Biographical dictionary. Saint-Petersburg. 1994

2. Chugunov, G. I., Leon Bakst. Exhibition of works to mark the 125th anniversary of the birth of. Directory. Leningrad. 1991

3. Hoffmann I. (author). Russian symbolism. Blue rose. Moscow. 2005

4. Avtonomova N. B., Dudakov V. A., and others (authors and compilers). Masters of the "Union of Russian artists". The 100th anniversary of the Association. Paintings and drawings from the collection of the Pushkin Museum

them. A. S. Pushkin and private collections of Moscow. Moscow. 2003

5. Kruglov P., Petinova E., Karpova E., and others (authors and compilers). Symbolism in Russia. Saint-Petersburg. 1996

6. Borisov N.. Leon Bakst. Moscow. 1978

7. Sarabianov, D. V. et al. (the authors of the TSA. articles). Russian theater and decorative art 1880 – 1930. Catalogue of the exhibition from the collection of Nikita and Nina Lobanov-Rostovsky. Moscow. 1988

8. Titova, L. O. (author). Artists circle "World of art". Catalogue of the exhibition from private collections of St. Petersburg. Saint-Petersburg. 1997

9. Petrakov, V. V. I. Catalogue of paintings with forged signatures. Vol. 2. Moscow. 2007. P. 9

10. The Firebird. Vol. 7. Berlin. 1922

11. The Firebird. Vol. 9. Berlin. 1922

12. The Firebird. Vol. 13. Berlin. 1925

13. Boult, E. J., Lobanov-Rostovsky N. D. The artists of the Russian theater 1880 – 1930.

Catalog-reason. Moscow. Art. 1994

14. Barashkov E. V. (author-compiler). State Art Museum of the Moldavian SSR. Chisinau. Timpul. 1982

15. Svetlov, V. Ya Contemporary ballet. Saint-Petersburg. 1911

16. Makowski, S. K. Silhouettes of Russian artists. Moscow. Republic. 1999

17. Makedonskaya E. I., Yu. Martsevich P. (compilers). Exhibition catalogue of book marks. From the collection of the national artist of the USSR B. M. Tenin Moscow. Science. 1985

18. Kozyrev N. (by the TSA. article). Drawing and watercolours in Russia. Of the twentieth century. Timing. Saint-Petersburg. 2008