Ivan Bilibin artist. Illustrations for fairy tales

Ivan Bilibin is widely known, first of all, as an illustrator of Russian folk tales. He developed his own art style based on the then popular Art Nouveau and Russian folk arts and crafts. This style, called “Bilibinsky”, is still popular in our time. He is unique business card Russian illustration. Very many contemporary artists strive to imitate his graphic style.

Biography of Ivan Yakovlevich Bilibin: early years

The artist was born on August 4 according to the old style or August 16 according to the new style in 1876 in the village. Tarkhovka near St. Petersburg. The Bilibin family has very ancient roots. Their surname is mentioned in documents from the 17th century. And the portraits of Bilibin’s great-grandfathers, famous merchants, occupy a place of honor in the Hermitage. His father was a naval doctor and privy councilor, and his mother was a composer.

Bilibin showed a penchant for drawing even in childhood. In parallel with his studies at the gymnasium, he studied at the school of the Imperial Society for the Encouragement of the Arts. However, contrary to the urge young Ivan to creativity, the father wanted to see his son become a lawyer. Obedient Ivan, following his father’s will, enters the law faculty, but does not give up painting. After graduating from university, the artist went to Germany to study in the studio of the painter A. Ashbe. Students came here from all over the world. After a short study, he returned to St. Petersburg and attended classes in Ilya Repin’s workshop as a free student. A few years later he entered the art school at the Academy of Arts. He soon becomes an honorary member creative organization"World of Art".

First illustrations

Interest in folk style at young artist appeared under the influence of Viktor Vasnetsov’s painting “Bogatyrs”, which he saw at one of the exhibitions. The atmosphere of Russian antiquity charmed him so much that he went on a journey through the rural hinterlands. Walks there dense forests, draws old wooden huts, ornaments and in every possible way imbues himself with the spirit of antiquity. After this, he begins to create drawings in his unique style. Ivan Bilibin draws his first book illustrations for fairy tales from the collection of Alexander Afanasyev.

“The Frog Princess”, “Ivan Tsarevich”, “Sister Alyonushka and Brother Ivanushka” are the most of them. These books instantly became popular thanks not only to their unusual stylization, but also to their special vision of folk fairy tale images Baba Yaga, Snake Gorynych, heroes, Ivan Tsarevich. Bilibin not only drew the characters, but also enclosed each illustration in a decorative frame with an ornament that corresponded to the character of the fairy-tale characters. He also designed book covers and wrote titles in a font stylized as ancient Slavic writing.

A trip to the north

However, the decisive role in the biography of Ivan Bilibin and his formation as an illustrator was played by trips to the Arkhangelsk and Vologda provinces, and from there to Karelia, where he was sent on a so-called business trip by the World of Art society. There the painter discovered the life of the Russian north, its architecture, and art. Time seemed to stand still in those places. The artist saw people in national costumes with embroidery, became acquainted with the popular print style of painting kitchen utensils and objects household items, lived in a hut with carved shutters, painted old wooden churches. All this will subsequently be reflected in the paintings of Ivan Bilibin. These trips were very productive. The artist brought with him many drawings, sketches, photographs, and then wrote several articles based on his notes. This material helped him in his work on theatrical scenery, as well as on the next series of illustrations, this time for Pushkin’s fairy tales.

Design of the works of the great poet

Bilibin began work with the famous and beloved "Tales of Tsar Saltan." He worked with high precision not only the environment of the characters, but also the costumes of the heroes, as well as the ancient architecture.

In these tales he allowed himself some experiments with style. For example, in the painting by Ivan Yakovlevich Bilibin, depicting a stormy sea, the wave is very similar to the work of the Japanese Katsushika Hokusai. And in “The Tale of the Golden Cockerel” the popular print style is clearly visible. All illustrations for this work were purchased by the Tretyakov Gallery.

Bilibin's picture books were very popular with the public. They were distinguished by the beauty and harmony of both the design and design, pleasing to the eye. color combinations, colorful characters, detailed colorful outfits. The stylized font was also a highlight.

Behind all this was hidden the enormous work of the artist. He began work with a sketch, then transferred it to tracing paper, then drew it on paper, and only then traced the contours of the drawing with ink. At the final stage of work, he filled in the colors with watercolors. Moreover, he used exclusively local colors without a gradient. It is amazing how carefully he reproduced numerous ornaments and painted out small details.

Revolution and the double-headed eagle

During the heyday of Bilibin’s popularity, a revolution was brewing in the country. The artist begins to draw cartoons on revolutionary themes. He receives an order from the Provisional Government to design a coat of arms. Bilibin painted a fabulous double-headed eagle, which was destined to go down in history, because since 1992 it has been depicted on all Russian banknotes. In addition, Goznak owns the copyright to some of the artist’s sketches and designs.

Working in advertising

The illustrator also managed to work in the field of commercial illustration. He created advertising posters and brochures for the New Bavaria brewery. He also designed the covers of popular magazines and almanacs: " The Golden Fleece", "Rose Hip", "Moscow Publishing House". Bilibin also painted theater posters, sketches for postage stamps. He was published with pleasure, and products with his pictures were in great demand.

Teaching activities and personal life

Ivan Bilibin successfully combined work on illustrations and teaching students. He taught graphics at the Drawing School for the Encouragement of Arts, where he himself once studied. His students were artists Konstantin Eliseev, Nikolai Kuzmin, Georgy Narbut, as well as his two future wives.

Around that period, Bilibin got married, and his first wife was Maria Chambers, a graphic designer. She also graduated from the mentioned school. They had two sons. However, the marriage was not happy and after a few years they separated. After which Maria and her sons went to live in England.

Ivan married for the second time one of his students, Renee O'Connell. After training, she began working as an artist at a porcelain factory. There were no children in this marriage. Five years later they divorced.

His third and last wife was Alexandra Shchekatikhina-Pototskaya. She was also his former student and porcelain artist, like his previous wife. Alexandra will accompany Bilibin on all his travels and will remain with him until the very end.

Ivan Yakovlevich actively participated in the revival of artistic traditions and decorative and applied arts of Rus'. The following lines belong to him: “The old artistic Rus' was discovered quite recently, like America. Although it is covered with a thick layer of dust and is all moldy, it is still beautiful.” His activities contributed to interest not only in ancient Russian creativity, but also to everyday life, customs, and cultural heritage.

Moving to Crimea

Already a well-known and recognized illustrator, Ivan Yakovlevich acquired a plot of land on the southern coast of Crimea in Batiliman Bay. According to historical data, together with the painter, several other representatives of the intelligentsia bought a large plot of land, among whom were writers Alexander Kuprin, Vladimir Korolenko, artist Vladimir Derviz and professor Vladimir Vernadsky. They divided the land among themselves by drawing lots. Bilibin was given a plot of land on the seashore with a small fishing hut, which he turned into a workshop. There he settled for several years.

Life in Egypt

In the early 20s, Bilibin went to live in Egypt. One of the reasons for such a sharp change of residence could be disagreements with the Soviet government after October revolution.

He settled with his wife Alexandra in Cairo. There he lives and works on frescoes for temples in the Byzantine style, and also studies local art and architecture. At that time he traveled a lot around Cyprus and Syria. Having abandoned book graphics for a while, he creates mainly portraits and landscapes in a realistic manner. Then he decides to move with his family to Alexandria. The first personal exhibition of paintings by Ivan Yakovlevich Bilibin took place there.

Work in Paris

Five years later, the painter left Egypt for Paris, where he showed himself as a talented theater decorator and costume designer, using the knowledge and experience gained in his homeland. He creates sets for operas and performances, such as the ballet by composer Stravinsky “The Firebird”, the opera “Boris Godunov”, “The Tale of Tsar Saltan”. Ivan Bilibin also returns to illustrations and works on French fairy tales. In Paris, the painter created charitable foundation in support of emigrant artists.

Shortly before returning home, he works on a large mural "Mikula Selyaninovich" at the Soviet embassy in Paris.

Homecoming

Despite successful work in France, the artist decides to return to hometown, now Leningrad. This was a very risky act, since in his homeland he could well have expected severe repression from the Soviet authorities, to which they subjected many artists, writers, actors and other members of the intelligentsia who returned from emigration. But Bilibin was lucky, and this fate passed him by. Apparently, his achievements in the field of culture were of decisive importance.

He now begins cooperation with Soviet publishing houses and theaters. Designs the performances "Commander Suvorov", "About Tsar Saltan". Latest works Ivan Yakovlevich Bilibin became the illustrations for the “Song about Tsar Ivan Vasilyevich and the merchant Ivan Kalashnikov” and the novel “Peter the Great”, in which he tried to adhere to his style, despite the strict limiting framework of the Soviet system.

Death

The fact is that to return after all Bad sign, can be seen from the example of the sad death of the great artist. Five years after his return, the war began and the city was besieged. It is unknown whether he was unable to leave besieged Leningrad or whether he voluntarily refused to do so. But even at this time hard times he continued creative activity. Deeply worried about his war-torn homeland, he wrote an ode in verse, which was published after his death.

The artist Ivan Bilibin died in besieged Leningrad in winter in 1942 from hunger. He was buried in a common grave along with the professors of the Art Academy.

The work of Ivan Yakovlevich made an incredible shift in Russian art in general and in illustration in particular. His paintings are stories in miniature, from which it is quite possible to study ancient Russian life, culture and customs. At the same time, the popularity of the Bilibin style has spread far beyond the borders of his homeland. Books with the artist’s works continue to be published in our time. His artistic heritage contains hundreds of illustrations not only for Russian fairy tales, but also for foreign ones, as well as many unique sets and costumes for plays and theatrical productions, numerous sketches of frescoes and wall panels. Ivan Bilibin revived the original creative traditions of the peoples of Rus', adapted them and made them accessible to his contemporaries.

Ivan Bilibin was born on August 4 (16), 1876 in the village of Tarkhovka (near St. Petersburg), in the family of a military doctor. In 1888 he entered the 1st St. Petersburg Gymnasium, from which he graduated with a silver medal in 1896. He graduated from the Faculty of Law of St. Petersburg University.

In 1898 he studied in the studio of the artist A. Ashbe in Munich, then studied for several years under the guidance of Ilya Repin at the school-workshop of Maria Tenisheva. Lived mainly in St. Petersburg. After the formation of the art association “World of Art”, it becomes an active member.

In 1899, Bilibin accidentally arrived in the village of Egny, Vesyegonsky district, Tver province. Here he for the first time creates illustrations in what later became the “Bilibin” style for his first book “The Tale of Ivan Tsarevich, the Firebird and the Gray wolf».

In 1902, 1903 and 1904, Bilibin visited the Vologda, Olonets and Arkhangelsk provinces, where he was sent by the ethnographic department of the Museum Alexandra III wooden architecture.

Bilibin's artistic talent was clearly demonstrated in his illustrations for Russian fairy tales and epics, as well as in his work on theatrical productions. From 1899 to 1902, he created a series of six “Fairy Tales” published by the Expedition for the Procurement of State Papers, then the same publishing house published Pushkin’s fairy tales with illustrations by Bilibin. In particular, “The Tale of Tsar Saltan” (1905) and “The Tale of the Golden Cockerel” (1910) appeared. In 1905, the epic “Volga”, illustrated by Bilibin, was published, and in 1911, Roslavlev’s fairy tales were published by the publishing house “Public Benefit”. In addition to the “fairy-tale” style with ancient Russian ornamental motifs is the production of the opera “The Golden Cockerel” designed by Bilibin in 1909 at the Zimin Theater in Moscow.

In the spirit of the French mystery, he presented “The Miracle of St. Theophilus" (1907), recreating a medieval religious drama; The costume designs for Lope de Vega's drama "The Spring of the Sheep" and Calderon's drama "The Purgatory of St. Patrick" - a theatrical production of the "Ancient Theater" in 1911. A humorous caricature of the same Spain emanates from F. Sologub's vaudeville "Honor and Revenge", staged by Bilibin in 1909.

Splashes, endings, covers and other works by Bilibin are found in such magazines of the early 20th century as “World of Art”, “Golden Fleece”, in the publications of “Rosehipnik” and “Moscow Book Publishing House”.

During the revolution of 1905, the artist creates revolutionary caricatures.

In 1915 he participated in the founding of the Renaissance Society artistic Rus', along with many other artists of his time.

After the October Revolution of 1917, Bilibin left Russia. From 1920 he first lived in Cairo, then in Alexandria, and in 1925 settled in Paris. At this time, he was preparing brilliant sets for productions of Russian operas; the artist was invited to design Stravinsky’s ballet “The Firebird” in Buenos Aires and a number of operas in Brno and Prague. Over the years he comes to terms with Soviet power. In 1935-1936 he participated in the design of the Soviet embassy in Paris, creating the monumental panel “Mikula Selyaninovich”.

In 1936, the artist returned to his homeland on the ship “Ladoga” and settled in Leningrad. Bilibin teaches at the All-Russian Academy of Arts and continues to work as an illustrator and theater artist.

Bilibin died in besieged Leningrad on February 7, 1942 in a hospital at the All-Russian Academy of Arts. Last job famous artist became preparatory illustration to the epic “Duke Stepanovich” in 1941. Buried in mass grave professors of the Academy of Arts near the Smolensk cemetery.

Bilibino style

Bilibin's drawing is characterized by graphical representation. Starting work on the drawing, Bilibin sketched future composition. Black ornamental lines clearly limit the colors, set volume and perspective in the plane of the sheet. Filling watercolor paints black and white graphic drawing only emphasize given lines. Bilibin generously uses ornament to frame his drawings.

Family

First wife - Maria Yakovlevna Chambers (Chambers-Bilibina) (1874-1962). Artist, book chart, theater artist. She studied at the Drawing School of the Society for the Encouragement of the Arts. Since 1900 she worked as a book graphic artist. Exhibited since 1909. Sister theater artist, graphics by Vladimir Chambers (1877-1934; lived in England since 1917). Bilibin's wife from 1902 to 1911, mother of his sons Alexander (1903-1972) and Ivan (1908-1993). In 1914 she left with her children for England; I haven’t returned to Russia since then.

Second wife - Renee Rudolfovna O'Connel-Mikhailovskaya (nee O'Connell; 1891-1981). Porcelain artist, graphic artist. The artist’s grandfather is the Irish patriot Daniel O’Connell. Born in Paris, she came to Russia around 1910. She studied with Bilibin at the Drawing School of the Society for the Encouragement of the Arts; After graduating from school, she taught there. She worked as an artist at the Imperial Porcelain Factory (State. porcelain factory). Bilibin's wife from 1912 to 1917. From her second marriage, with Sergei Nikolaevich Mikhailovsky, she had two children, a son and a daughter. In the mid-1930s. was repressed. After the war she lived in Leningrad.

Third wife - Alexandra Vasilievna Shchekatikhina-Pototskaya (nee Shchekotikhina; 1892-1967). Porcelain artist, painter, graphic artist. Born in Aleksandrovsk (Zaporozhye). Since 1908 she lived in St. Petersburg. She studied at the Drawing School of the Society for the Encouragement of the Arts in 1908-1913. Since 1915 she has participated in exhibitions. From 1918 and throughout her life (with interruptions) she worked as an artist at the Imperial Porcelain Factory (State Porcelain Factory). From her first marriage, with lawyer Nikolai Filippovich Pototsky (1881-1920), she had a son, Mstislav. Bilibin's wife since 1923. From that time on she lived with him in France; in 1936 she returned with him to Leningrad. Widowed in 1942

Works

1899 - “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf”
1899-1900, 1902 - “Vasilisa the Beautiful”
1899 - “The Frog Princess”
1900 - “Feather of Finist Yasna-Falcon”
1900-1901 - “Marya Morevna”
1901-1902 - “Sister Alyonushka and brother Ivanushka”
1902 - “White Duck”
1903 - epic “Volga”
1904-1905 - “The Tale of Tsar Saltan” by A. S. Pushkin
1906 - “The Tale of the Golden Cockerel” by A. S. Pushkin
1908 - “The Tale of the Fisherman and the Fish” by A. S. Pushkin
1909 - opera “The Golden Cockerel” by N. Rimsky-Korsakov
1911 - “The Tale of the Three Tsar’s Divas and Ivashka, the Priest’s Son” by A. S. Roslavlev
1919 - “Go there - I don’t know where, bring that - I don’t know what...”

Marya Morevna 1900-1900

Vasilisa the Beautiful 1899-1900, 1902

Golden Cockerel 1909

Golden Cockerel 1909

A Word about Igor's Campaign

Red Horseman 1899

Ivan Tsarevich and the Firebird 1899
Buyan Island 1905

Nikitich

Ilya Muromets and Nightingale the Robber

Alkonost

Court during Russian Pravda

White duck

Kikimora 1934

Ruslan and Ludmila

Draft police uniform on behalf of Bilibin in the “Russian” style. Odessa caricature. 1917

Addresses

From 1937 to 1942 he lived and worked in house No. 25 on Gulyarnaya Street in Leningrad (current Liza Chaikina Street), as evidenced by the memorial plaque on this house.

Bibliography

Ivan Yakovlevich Bilibin: Art., letters, memories of the artist / Comp. S. V. Golynets. L., 1970;
Golynets G.V.I.Ya. Bilibin. M., art. 1972. P.5
Semenov O. S., Ivan Bilibin, M., Children's literature, 1986
Golynets G.V. Ivan Bilibin, Leningrad, Aurora, 1988
Ivan Yakovlevich Bilibin, 1876-1942 (Album). Auto-stat. T. F. Verizhnikova. St. Petersburg, 2002
I. Ya. Bilibin in Egypt (1920-1925): Letters, documents and materials / Compiled, preface. and note. V. V. Belyakov. M.: House of Russian Abroad named after. Alexandra Solzhenitsyn / Russian Way, 2009
Sudeikina V.A. Diary 1917--1919./ Prepared. text, introductory article, commentary by I.A. Menshova. M.: Russian way, 2006

Bilibin Ivan Yakovlevich
Born: August 4 (16), 1876.
Died: February 7, 1942.

Biography

Ivan Yakovlevich Bilibin (August 4 (16), 1876 - February 7, 1942) - Russian artist, book illustrator and theater designer, member of the World of Art association.

Ivan Bilibin was born on August 4 (16), 1876 in the village of Tarkhovka (near St. Petersburg), in the family of a naval doctor Yakov Ivanovich Bilibin. In 1888 he entered the 1st St. Petersburg Classical Gymnasium, from which he graduated with a silver medal in 1896. In 1900 he graduated from the Faculty of Law of St. Petersburg University.

In 1895-1898. studied at the drawing school of the Society for the Encouragement of the Arts. In 1898 he studied for two months in the studio of the artist Anton Aschbe in Munich. For several years (1898-1900) he studied under the guidance of Ilya Repin at the school-workshop of Princess Maria Tenisheva, then (1900-1904) under the guidance of Repin at the Higher art school Academy of Arts.

Lived mainly in St. Petersburg. After the formation of the art association “World of Art”, it becomes an active member.

In 1899 Bilibin accidentally arrives in the village of Egny, Vesyegonsky district, Tver province. Here he first created illustrations in what later became the “Bilibino” style for his first book, “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf.”

In 1902, 1903 and 1904, Bilibin visited the Vologda, Olonets and Arkhangelsk provinces, where he was sent by the ethnographic department of the Museum of Alexander III to study wooden architecture.

Bilibin's artistic talent was clearly demonstrated in his illustrations for Russian fairy tales and epics, as well as in his work on theatrical productions. From 1899 to 1902, he created a series of six “Fairy Tales” published by the Expedition for the Procurement of State Papers, then the same publishing house published Pushkin’s fairy tales with illustrations by Bilibin. In particular, “The Tale of Tsar Saltan” (1905) and “The Tale of the Golden Cockerel” (1910) appeared. In 1905, the epic “Volga”, illustrated by Bilibin, was published, and in 1911, Roslavlev’s fairy tales were published by the publishing house “Public Benefit”. The same “fairytale” style with ancient Russian ornamental motifs includes the production of the opera “The Golden Cockerel” designed by Bilibin in 1909 at the Zimin Theater in Moscow.

In the spirit of the French mystery, he presented “The Miracle of St. Theophilus" (1907), recreating a medieval religious drama; The costume designs for Lope de Vega's drama "The Spring of the Sheep" and Calderon's drama "The Purgatory of St. Patrick" - a theatrical production of the "Ancient Theater" in 1911. A humorous caricature of the same Spain emanates from Fyodor Sologub's vaudeville "Honor and Revenge", staged by Bilibin in 1909.

During the 1905 revolution artist creates revolutionary cartoons.

Since 1907, Bilibin has taught the class graphic art at the school of the Society for the Encouragement of the Arts, continuing teaching until 1917. Among his students at the school were Georgy Narbut, Konstantin Eliseev, L. Ya. Khortik, A. Roosileht, Nikolai Kuzmin, Rene O'Connell, K.D. Voronets-Popova.

In 1912 he married for the second time to R. R. O'Connell. In the same year, a group of Moscow and St. Petersburg intellectuals buys a plot of land on the southern coast of Crimea in Batiliman to build dachas. Bilibin was one of the partners; other shareholders were writers Vladimir Korolenko, Alexander Kuprin, Sergei Elpatievsky, Evgeny Chirikov, artist Vladimir Derviz, professors Abram Ioffe, Vladimir Vernadsky, Mikhail Rostovtsev. By lot, Bilibin got a piece of land near the sea, on which a fisherman’s house already stood. A workshop was attached to the house. After this, every year, at the end of classes at the OPH school, Bilibin went to Batiliman and returned to St. Petersburg in the fall at the start of classes.

In 1915, he participated in the establishment of the Society for the Revival of Artistic Rus', along with many other artists of his time.

After February Revolution Bilibin created a sketch of a double-headed eagle, which was used as a temporary symbol of the Russian Republic. Since 1992, this image has been the basis of the Bank of Russia emblem.

In 1917, Bilibin separated from his second wife Renee O'Connell. After the October Revolution, Bilibin left for Crimea to Batiliman, where he lived until September 1919. Until December 1919, he was in Rostov-on-Don, then with the retreat of the White Army he ended up in Novorossiysk.

In exile

On February 21, 1920, Bilibin sailed from Novorossiysk on the steamship Saratov. Due to the presence of sick people on board, the ship did not disembark people in Constantinople or Famagusta in Cyprus, but arrived in Egypt, where Russian refugees were placed by the British authorities in a camp at Tel el-Kebir. Since 1920 he has lived in Cairo. In Egypt, Bilibin is working on sketches of panels and frescoes in the Byzantine style for the mansions of wealthy Greek merchants. He studies Egyptian art, first Muslim and Coptic, then the art of Ancient Egypt.

In February 1923, Bilibin married the artist Alexandra Vasilievna Shchekatikhina-Pototskaya, who came to him in Cairo with her son Mstislav. In the summer of 1924 he traveled with his family through Syria and Palestine. In October 1924 he settled in Alexandria.

In August 1925, Bilibin moved to Paris. At this time, he was preparing brilliant sets for productions of Russian operas; the artist was invited to design Stravinsky’s ballet “The Firebird” in Buenos Aires and a number of operas in Brno and Prague.

Creates illustrations for Russian fairy tales, fairy tales of the Brothers Grimm, and the Arabian Nights.

Over the years, Bilibin came to terms with Soviet power. In 1935-1936 he participates in the design of the Soviet embassy in Paris, creates the monumental panel “Mikula Selyaninovich”.

IN THE USSR

From 1937 to 1942 he lived and worked in house No. 25 (apt. 46) on Gulyarnaya Street in Leningrad (current Liza Chaikina Street), as evidenced by the memorial plaque on this house.

Bilibin died in besieged Leningrad on February 7, 1942 in a hospital at the All-Russian Academy of Arts. The last work of the famous artist was a preparatory illustration for the epic “Duke Stepanovich” in 1941. He was buried in the mass grave of professors of the Academy of Arts near the Smolensk cemetery.

Bilibino style

Bilibin's drawing is characterized by a graphic representation. Starting work on the drawing, Bilibin sketched a sketch of the future composition. Black ornamental lines clearly limit the colors, set volume and perspective in the plane of the sheet. Filling a black and white graphic design with watercolors only emphasizes the given lines. Bilibin generously uses ornament to frame his drawings.

Family

First wife - Maria Yakovlevna Chambers (Chambers-Bilibina) (1874-1962). Artist, book graphic artist, theater designer. She studied at the Drawing School of the Society for the Encouragement of the Arts. Since 1900 she worked as a book graphic artist. Exhibited since 1909. Sister of theater artist and graphic artist Vladimir Chambers (1877-1934; lived in England since 1917). Bilibin's wife from 1902 to 1911. Mother of his sons Alexander (1903-1972) and Ivan (1908-1993). In 1914 she left with her children for England; I haven’t returned to Russia since then.

Second wife - Renee Rudolfovna O'Connel-Mikhailovskaya (nee O'Connell; 1891-1981). Porcelain artist, graphic artist. The artist's grandfather is the Irish patriot Daniel O'Connell. Born in Paris, she came to Russia around 1910. She studied with Bilibin at the Drawing School of the Society for the Encouragement of the Arts. After graduating from school, she taught there. She worked as an artist at the Imperial Porcelain Factory (State Porcelain Factory). Bilibin's wife from 1912 to 1917. In 1922-1932. worked at the Leningrad Porcelain Factory named after. M.V. Lomonosov. From her second marriage, with Sergei Nikolaevich Mikhailovsky (1885-1927), she had two children, daughter Eva (1920-1942) and a son who died on the way from Leningrad to his mother in Siberia. In the mid-1930s. was repressed and was in exile until 1953. In exile, she married for the third time. After the war she lived in Leningrad. She also worked in porcelain in the 1950s.

Third wife - Alexandra Vasilievna Shchekatikhina-Pototskaya (nee Shchekatikhina; 1892-1967). Porcelain artist, painter, graphic artist. Born in Aleksandrovsk (Zaporozhye). Since 1908 she lived in St. Petersburg. She studied at the Drawing School of the Society for the Encouragement of the Arts in 1908-1913. Since 1915, she has participated in exhibitions. From 1918 and throughout her life (with interruptions), she worked as an artist at the Imperial Porcelain Factory (State Porcelain Factory). From her first marriage to lawyer Nikolai Filippovich Pototsky (1881-1920) she had a son, Mstislav (1916-1998). Bilibin's wife since February 1923. From that time on she lived with him in Egypt, then in France; in 1936 she returned with him to Leningrad and continued working at the plant. Widowed in 1942

Book graphics

1899 - “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf”
1899-1900, 1902 - “Vasilisa the Beautiful”
1899 - “The Frog Princess”
1900 - “Feather of Finist Yasna-Falcon”
1900-1901 - “Marya Morevna”
1901-1902 - “Sister Alyonushka and brother Ivanushka”
1902 - “White Duck”
1903 - epic “Volga”
1904-1905 - “The Tale of Tsar Saltan” by A. S. Pushkin
1906 - “The Tale of the Golden Cockerel” by A. S. Pushkin
1908 - “The Tale of the Fisherman and the Fish” by A. S. Pushkin
1908 - “Ruslan and Lyudmila” by A. S. Pushkin
1911 - “The Tale of the Three Tsar’s Divas and Ivashka, the Priest’s Son” by A. S. Roslavlev
1919 - “Go there - I don’t know where, bring that - I don’t know what...”
1931 - Contes de l'Isba
1932-1933 - Tales of Russian Grandmother
1932 - Contes de la couleuvre
1934 - Le Tapis Volant (The Magic Carpet), Arabian Tales, Flammarion, Paris
1936 - Le farouche Abd-el-Kader

Theatrical and decorative arts

1904 - Sketches and costumes for the opera “The Snow Maiden”. Prague National Theatre.
1907 - Sketches of scenery and costumes for the miracle “The Act of Theophilus”. Ancient theater. Petersburg.
1908 - Sketches of Russian costumes for the opera “Boris Godunov” by Diaghilev’s enterprise in Paris.
1908 - Sketches and costumes for the comedy “Honor and Revenge.” Theater "Lukomorye".
1909 - Sketches and costumes for the opera The Golden Cockerel. Opera theatre Zimin in Moscow.
1911 - Sketches and costumes for the comedy “Fuente Ovejuna”. Ancient theater.
1911 - Sketches and costumes for the drama “The Purgatory of St. Patrick.” Ancient theater.
1913 - Sketches and costumes for the opera “Askold’s Grave.”
1913 - Sketches of scenery and costumes for the opera “Ruslan and Lyudmila”.
1914 - Sketches and costumes for the opera “Sadko”. St. Petersburg People's House.
1928 - Sketches of scenery and costumes for the opera “The Tale of Tsar Saltan.” Theater of the Champs Elysees. Paris.
1930 - Sketches and costumes for the opera “Prince Igor”.
1930 - Sketches and costumes for the opera “The Tsar’s Bride”.
1931 - Sketches and costumes for the opera “Boris Godunov”.
1931 - Sketches and costumes for the ballet “The Firebird”. Teatro Colon. Buenos Aires.
1934 - Sketches and costumes for the opera “The Tale of the Invisible City of Kitezh and the Maiden Fevronia.” Brno.
1936 - Sketches and costumes for the opera “The Tale of Tsar Saltan.” Leningrad Opera and Ballet Theater named after S. M. Kirov.
1939 - Sketches and costumes for the play “Commander Suvorov.” Leningrad Drama Theater named after Pushkin.

Panels and paintings

1913 - Sketches for painting the halls of the Nizhny Novgorod branch of the State Bank.
1915 - Sketches of lampshades for the Kazansky railway station in Moscow (paintings were not carried out).
1922 - Panel “Boris and Gleb on the ship”
1922 - Panel “Horseman”
1925 - Sketches of frescoes and iconostasis for the Syrian Orthodox church in Alexandria.
1927 - Sketches of frescoes and iconostasis for the Church of the Assumption Holy Mother of God at the Olsany Cemetery in Prague.
1935 - Panel “Mikula Selyaninovich” in the Soviet embassy in Paris.

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Biography, life story of Ivan Yakovlevich Bilibin

Bilibin Ivan Yakovlevich is a Russian artist, book illustrator and theater set designer.

The beginning of the way

Ivan was born on 04 (16 according to the new style). 08.1876 in the vicinity of St. Petersburg, in the village of Tarkhovka. Father, Yakov Ivanovich, served as a ship's doctor in the navy. Mother, Varvara Alexandrovna, was raised in the family of a marine engineer.

At the age of 12, Ivan was admitted to the First Classical Gymnasium of the capital. In 1896 he graduated from the educational institution. The student’s efforts were awarded with a silver medal.

In 1900 he became a graduate lawyer at St. Petersburg University.

From an early age, Ivan was attracted to painting, and he combined his studies at the university with attending classes at the drawing school of the Society for the Encouragement of the Arts. In 1898 he learned the basics of drawing under the supervision of famous artist Anton Azhbe. Stay in the Munich workshop of the outstanding master of the second brush half of the 19th century the century lasted only a couple of months. However, during this relatively short period, the young Russian painter learned in practice the basics creative profession and developed his own style of drawing.

Need I mention that subsequent painting lessons taught to Ivan Bilibin by the great Ilya Repin, first in the studio of Princess Maria Tenisheva, and then at the Higher Art School of the Academy of Arts, contributed to final formation at young talent skillful skills.

Working on books and in the theater

Very opportunely in St. Petersburg through the efforts of an artist and critic Alexandra Benois And theatrical figure Sergei Diaghilev founded the World of Art association. Bilibin immediately plunged headlong into his activities.

In 1899, Ivan Yakovlevich happened to visit the village of Egny, which was located on the territory of the Vesyegonsky district of the Tver province. However, as it turned out, it was not in vain. Here, hundreds of miles from his hometown, Bilibin presented numerous connoisseurs of his work with illustrations for his first book entitled “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf.”

CONTINUED BELOW

From that time on, the so-called “Bilibin style” of drawing appeared, which many performers subsequently tried to imitate. It's about about the development of Ivan Yakovlevich own method working on watercolors, which he did not change until the end of his years.

Bilibin's talent was revealed precisely in creating unique pictures for fairy tales, as well as epics.

At the beginning of the 20th century, works were published with colorful drawings by Bilibin. In particular, the well-known “The Tale of Tsar Saltan” and “The Tale of the Golden Cockerel”. Bilibin also paid attention to the artistic framing of the edition of fairy tales by the poet Alexander Roslavlev, whose work was in undeserved oblivion.

Bilibin’s works can also be found on the pages of the magazines “World of Art” and “Golden Fleece”.

The master was also famous for his participation in the design theatrical productions. The artist’s contemporaries were completely delighted when they saw the opera “The Golden Cockerel” at the Zimin Theater in Moscow.

The Russian Revolution of 1905 left its mark on Bilibin’s work: unexpectedly for his contemporaries, he began creating cartoons.

From 1907 until the next revolution in 1917, Ivan Bilibin taught at the school of the Society for the Encouragement of the Arts.

Life in exile and during the USSR

After the revolutionary events of 1917, Bilibin moved to Crimea, where he had a workshop on the southern coast. After the retreat of the White Guards, he ended up in Rostov-on-Don, then in Novorossiysk. From there he sailed with Russian refugees to Egypt and settled in Cairo. Studied art of modern and ancient egypt, prepared sketches of frescoes for the estates of the rich.

In 1925, Bilibin arrived in Paris, where he was remembered by the local intelligentsia for creating magnificent sets for opera productions.

Years have passed, and hatred of the previous regime has evaporated. In the mid-30s, Bilibin worked with inspiration on the design of the USSR Embassy in the French capital.

In 1936, the artist returned by sea to his hometown, which was already called Leningrad. He made his living by giving lectures to students of the All-Russian Academy of Arts, but did not forget drawing. In addition, he worked in the theater.

The Leningrad period of Bilibin’s life is evidenced by a memorial plaque on building No. 25, located on modern Liza Chaikina Street. Previously, the street was called Gulyarnaya.

Personal life

ABOUT family life Not as much is known about the famous artist as about his work. The first wife was the Russified Irishwoman Maria Ivanovna Chambers, a book graphic artist and theater artist. She gave her husband sons Alexander and Ivan, with whom she irrevocably left Russia in 1914 and settled in England.

The second companion turned out to be Renee O'Connell, his former student, a native of Paris. Ivan Yakovlevich broke up with her after five years of marriage.

In February 1923, Bilibin married the artist Alexandra Vasilievna Shchekatikhina-Pototskaya. Future wife I came to the Egyptian capital especially for this purpose.

Death of an Artist

Bilibin died of hunger and cold on 02/07/1942 in Leningrad, besieged by Nazi troops. He met his death in the hospital at the All-Russian Academy of Arts. The artist's apartment, damaged due to bombing, was uninhabitable at that time. He found his last earthly refuge in the grave where the professors of the Academy of Arts rest. It is located near the Smolensk cemetery.

Illustrations talented artist Ivan Bilibin to Russian fairy tales (and not only). Before looking at his wonderful works, I suggest, friends, to read this excellent article

7 main facts from the life of the fabulous artist Ivan Bilibin

Ivan Bilibin is a modernist and lover of antiquity, an advertiser and storyteller, the author of the revolutionary double-headed eagle and a patriot of his country. 7 main facts from the life of Ivan Yakovlevich Bilibin

1. Artist-lawyer

Ivan Yakovlevich Bilibin intended to become a lawyer, diligently studied at the Faculty of Law of St. Petersburg University and successfully graduated full course in 1900. But in parallel with this, he studied painting at the drawing school of the Society for the Encouragement of Artists, then in Munich with the artist A. Ashbe, and after another 6 years he was a student of I.E. Repina. In 1898, Bilibin saw Vasnetsov’s “Bogatyrs” at an exhibition of young artists. After that, he leaves for the village, studies Russian antiquity and finds his own unique style, in which he will work for the rest of his life. For the refinement of this style, the energy of his work and the impeccable firmness of the artist’s line, his colleagues called him “Ivan the Iron Hand.”

2. Storyteller

Almost every Russian person knows Bilibin’s illustrations from the books of fairy tales that were read to him at bedtime as a child. Meanwhile, these illustrations are more than a hundred years old. From 1899 to 1902, Ivan Bilibin created a series of six “Fairy Tales” published by the Expedition for the Procurement of State Papers. Afterwards, the same publishing house published Pushkin’s fairy tales about Tsar Saltan and the Golden Cockerel and the slightly less well-known epic “Volga” with illustrations by Bilibin.

It is interesting that the most famous illustration for “The Tale of Tsar Saltan...” with a barrel floating on the sea resembles the famous “ Big wave» Japanese artist Katsushiki Hokusai. The process of I. Ya. Bilibin’s graphic drawing was similar to the work of an engraver. First, he sketched a sketch on paper, specified the composition in all details on tracing paper, and then translated it onto whatman paper. After this, using a core brush with a cut end, likening it to a chisel, I ran it along pencil drawing clear wire outline in ink.

Bilibin's books look like painted boxes. It was this artist who first saw a children's book as a holistic, artistically designed organism. His books are like ancient manuscripts, because the artist thinks through not only the drawings, but everything decorative elements: fonts, ornaments, decorations, initials and everything else.

Few people know that Bilibin even worked in advertising. Where the plant is now mineral water"Polustrovo" in St. Petersburg, formerly located " Joint-Stock Company beer and mead factory "New Bavaria". It was for this plant that Ivan Yakovlevich Bilibin created advertising posters and pictures. In addition, the artist created posters, addresses, sketches of postage stamps (in particular, a series for the 300th anniversary of the House of Romanov) and about 30 postcards for the Community of St. Eugenia. Later, Bilibin painted postcards for Russian publishing houses in Paris and Berlin.

4. Double headed eagle

The same double-headed eagle that is now used on the coins of the Bank of Russia belongs to the brush of the heraldry expert Bilibin. The artist painted it after the February Revolution as a coat of arms for the Provisional Government. The bird looks fabulous, not ominous, because he painted it famous illustrator Russian epics and fairy tales. The double-headed eagle is depicted without royal regalia and with lowered wings; the inscription “Russian Provisional Government” and the characteristic “forest” Bilibinsky ornament are written in a circle. Bilibin transferred the copyright to the coat of arms and some other graphic designs to the Goznak factory.

5. Theater artist

Bilibin's first experience in scenography was the design of Rimsky-Korsakov's opera "The Snow Maiden" for national theater in Prague. His next works are sketches of costumes and scenery for the operas “The Golden Cockerel”, “Sadko”, “Ruslan and Lyudmila”, “Boris Godunov” and others. And after emigrating to Paris in 1925, Bilibin continued to work with theaters: preparing brilliant sets for productions of Russian operas, designing Stravinsky’s ballet “The Firebird” in Buenos Aires and operas in Brno and Prague. Bilibin widely used old engravings, popular prints, folk art. Bilibin was a true connoisseur of ancient costumes different nations, he was interested in embroidery, braid, weaving techniques, ornaments and everything that created National character people.

6. The artist and the church

Bilibin also has works related to church painting. In it he remains himself, preserves individual style. After leaving St. Petersburg, Bilibin lived for some time in Cairo and actively participated in the design of a Russian house church in the premises of a clinic set up by Russian doctors. The iconostasis of this temple was built according to his design. And after 1925, when the artist moved to Paris, he became a founding member of the Icon society. As an illustrator, he created the cover of the charter and a sketch of the society's seal. There is also a trace of him in Prague - he completed sketches of frescoes and an iconostasis for the Russian church at the Olsany cemetery in the capital of the Czech Republic.

7. Return to homeland and death

Over time, Bilibin came to terms with Soviet power. He formalizes the Soviet embassy in Paris, and then, in 1936, returns by boat to his native Leningrad. Teaching is added to his profession: he teaches at the All-Russian Academy of Arts - the oldest and largest artistic institution in Russia educational institution. In September 1941, at the age of 66, the artist refused the proposal of the People's Commissar of Education to evacuate from besieged Leningrad to the rear. “They don’t flee from a besieged fortress, they defend it,” he wrote in response. Under fascist shelling and bombing, the artist creates patriotic postcards for the front, writes articles and appeals to the heroic defenders of Leningrad. Bilibin died of hunger in the first winter of the siege and was buried in the mass grave of professors of the Academy of Arts near the Smolensk cemetery.