Fairytale world of A. S.

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 execution by I. Ya. Bilibin graphic drawing looked like 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 to this plant that he created advertising posters and pictures by Ivan Yakovlevich Bilibin. In addition, the artist created posters, addresses, sketches 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 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 heroic defenders Leningrad. Bilibin died of hunger in the first winter of the siege and was buried in mass grave professors of the Academy of Arts near the Smolensk cemetery.

From methodological tips for the textbook Literature. 5th grade.
Since fifth-graders rarely pay attention to the names of illustrators, we will ask them to read the names of the artists whose illustrations are included in the textbook. It would be nice to bring several illustrated collections of Russian fairy tales to class. As a rule, children like illustrations by Ivan Bilibin most of all. Children say that this artist best conveys the mystery and antiquity of Russian folk tales.

BILIBIN, IVAN YAKOVLEVICH (1876–1942), Russian artist. Born in the village of Tarkhovka (near St. Petersburg) on ​​August 4 (16), 1876 in the family of a military doctor. He studied at the school of A. Azhbe in Munich (1898), as well as with I. E. Repin at the school-workshop of M. K. Tenisheva (1898–1900). He lived mainly in St. Petersburg and was an active member of the World of Art association. Having set off on the instructions of the ethnographic department of the Russian Museum on a trip to the northern provinces (1902–1904), he was greatly influenced by medieval wooden architecture, as well as peasant artistic folklore. He expressed his impressions not only in images, but also in a number of articles ( Folk art Russian North, 1904; and etc.). He was also significantly influenced by the traditional Japanese print on the tree.

Since 1899, creating design cycles for editions of fairy tales (Vasilisa the Beautiful, Sister Alyonushka and Brother Ivanushka, Finist the Clear Falcon, the Frog Princess, etc., including Pushkin’s fairy tales about Tsar Saltan and the Golden Cockerel), he developed - using the technique of ink drawing, highlighted watercolor, - a special “Bilibino style” of book design, continuing the traditions Old Russian ornament. However, despite his artistic “nationalism”, the master adhered to liberal-anti-monarchist sentiments, clearly expressed in his revolutionary caricatures of 1905–1906 (published in the magazines “Zhupel” and “Hell Mail”). Since 1904 he was successfully engaged in scenography (including in the enterprise of S.P. Diaghilev).

In the summer of 1899, Bilibin went to the village of Egny, Tver province, to see for himself the dense forests, clear rivers, wooden huts, and hear fairy tales and songs. Impressions from the recent exhibition of Viktor Vasnetsov came to life in my imagination. The artist Ivan Bilibin began to illustrate Russian folk tales from Afanasyev’s collection. And in the fall of the same year, the Expedition for Procurement of State Papers (Goznak) began publishing a series of fairy tales with Bilibin’s drawings.

Over the course of 4 years, Bilibin illustrated seven fairy tales: “Sister Alyonushka and Brother Ivanushka”, “White Duck”, “The Frog Princess”, “Marya Morevna”, “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf” , "Feather of Finist Yasna-Falcon", "Vasilisa the Beautiful". Editions of fairy tales are of the type of small, large-format notebooks. From the very beginning, Bilibin's books were distinguished by their patterned designs and bright decorativeness. Bilibin did not create individual illustrations, he strove for an ensemble: he drew the cover, illustrations, ornamental decorations, font - he stylized everything to resemble an old manuscript.

The names of the fairy tales are written in Slavic script. To read, you need to look closely at the intricate design of the letters. Like many graphic artists, Bilibin worked on decorative type. He knew the fonts of different eras well, especially the Old Russian ustav and semi-ustav. For all six books, Bilibin draws the same cover, on which there are Russian fairy-tale characters: three heroes, the bird Sirin, the Serpent-Gorynych, the hut of Baba Yaga. All page illustrations are surrounded by ornamental frames, like rustic windows with carved frames. They are not only decorative, but also have content that continues the main illustration. In the fairy tale “Vasilisa the Beautiful,” the illustration with the Red Horseman (sun) is surrounded by flowers, and the Black Horseman (night) is surrounded by mythical birds with human heads.

The illustration with Baba Yaga's hut is surrounded by a frame with toadstools (what else could be next to Baba Yaga?). But the most important thing for Bilibin was the atmosphere of Russian antiquity, epic, fairy tale. From authentic ornaments and details, he created a half-real, half-fantastic world.

• Therefore, when preparing questions about illustrations, you can ask:
• What do you see in the ornament of the illustration?

What role does ornament play and how does it relate to the image? Ornament was a favorite motif of ancient Russian masters and art of that time. These are embroidered tablecloths, towels, painted wooden and pottery, houses with carved frames and piers. In his illustrations, Bilibin used sketches of peasant buildings, utensils, and clothing made in the village of Yegny.

• What household items and buildings characteristic of the life of a peasant do you see in the illustrations?
• How does an artist show us how our ancestors lived?

From methodological tips for the textbook Literature. 5th grade. Fairy tale "The Frog Princess"

Framed illustrations by Bilibin floral ornament very accurately reflect the content of the tale. We can see the details of the heroes’ costumes, the expressions on the faces of the surprised boyars, and even the pattern on the kokoshniks of the daughters-in-law. Vasnetsov in his picture does not dwell on the details, but perfectly conveys the movement of Vasilisa, the passion of the musicians, who seem to be stamping their feet to the beat of a dance song. We can guess that the music to which Vasilisa dances is cheerful and mischievous. When you look at this picture you feel the character of a fairy tale.

Assignments on illustrations for "The Frog Princess"

Students work with illustrations by I. Bilibin, determine which episode the artist illustrated, which of the illustrations most accurately conveys Magic world fairy tales, the characters of the heroes, determine how I. Bilibin’s illustrations differ from the paintings on fairy tale plot V.M. Vasnetsova. This way children learn comparative analysis illustrations and paintings, gain image matching skills literary heroes with those that artists create.

Assignments for the fairy tale "Vasilisa the Beautiful"

Consider I.Ya. Bilibin’s illustrations for the fairy tale “Vasilisa the Beautiful.” Select appropriate captions from the text for them.

What signs fairy tale Did you notice while reading "Vasilisa the Beautiful"?

How do I.Ya. Bilibin’s illustrations convey the magical world of fairy tales?

Consider the illustration by I.Ya. Bilibin to the final episode of the fairy tale "Vasilisa the Beautiful". Describe Vasilisa's appearance. Does your idea of ​​the heroine match the way the artist depicted her?

Consider the illustration depicting Baba Yaga. How did you imagine this witch?

Illustrations for fairy tales by A. S. Pushkin

Bilibin's passion for ancient Russian art was reflected in the illustrations for Pushkin's fairy tales, which he created after a trip to the North in 1905-1908. Work on fairy tales was preceded by the creation of sets and costumes for Rimsky-Korsakov’s operas “The Tale of the Golden Cockerel” and “The Tale of Tsar Saltan” by A. S. Pushkin.

Bilibin achieves special brilliance and invention in his illustrations for the fairy tales of A. S. Pushkin. The luxurious royal chambers are completely covered with patterns, paintings, and decorations. Here the ornament so abundantly covers the floor, ceiling, walls, clothes of the king and boyars that everything turns into a kind of unsteady vision, existing in a special illusory world and ready to disappear.

And here is a drawing where the king receives shipbuilders. In the foreground, the king sits on the throne, and the guests bow before him. We can see them all. The final scene of the feast: in front of us are the royal chambers, in the center there is a table covered with an embroidered tablecloth. Everyone is sitting at the table royal family.

In the watercolor illustrating Saltan’s reception of the shipmen, the space of the “stage” perspective goes into depth, and in the foreground the king and his entourage are decorously seated on the throne. The guests bow before him in a ceremonial bow. They move from right to left, one after another, so that not so much for the king as for us to look at them, they move to the middle of the stage. Their brocade, velvet outfits, large ornaments of precious fabrics transform foreground into some moving carpet.

Also in to a greater extent theatrical illustration for final scene feast Its center is the plane of the tiled floor of the royal refectory. Streltsy with reeds stand in converging lines in depth. The background is closed with an embroidered tablecloth and a table at which the entire royal family sits. Only the boyar sitting on the floor and playing with a cat attracts attention. Perhaps this is the image of the storyteller who concludes the tale with a traditional ending.

I was there: honey, drank beer -
And he just wet his mustache.)

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. And a few years later he enters 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. First book illustrations Ivan Bilibin draws 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 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 the winter of 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 includes 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.

Do you love fairy tales as much as I do?
I loved fairy tales as a child, and I still love fairy tales now. As a child, I loved listening to them and then reading them myself. And also, I really loved looking at illustrations for fairy tales. One of my favorite artists is Bilibin Ivan Yakovlevich

Much later I learned about his fate, and it is interesting and worthy of attention, just like his work.

Ivan Bilibin was born on August 4 (16), 1876 in the village of Tarkhovka (near St. Petersburg), in the family of a military doctor. 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”, he became an active member of it. In 1899, Bilibin accidentally arrived in the village of Egny, Vesyegonsky district, Tver province. Here he created illustrations for the first time, 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 for collecting ethnographic materials and photographing monuments of ancient Russian wooden architecture.
Baba Yaga. Illustration for the fairy tale "Vasilisa the Beautiful"

White Rider. Illustration for the fairy tale "Vasilisa the Beautiful"

Black horseman. Illustration for the fairy tale "Vasilisa the Beautiful"

Red Rider. Illustration for the fairy tale "Vasilisa the Beautiful"

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” (1907) appeared

and "The Tale of the Golden Cockerel" (1910).

In 1905, the epic Volga, illustrated by Bilibin, was published.

and in 1911 - Roslavlev’s fairy tales in the publishing house “Public Benefit”.
Screensaver for the fairy tale "White Duck"

Illustration for the fairy tale "White Duck"

Illustration for the fairy tale "Marya Morevna"

Illustration for the fairy tale "The Feather of Finist the Bright Falcon"

Illustration for the fairy tale “Go there, I don’t know where”

Illustration for the fairy tale "The Frog Princess".

Illustration for the fairy tale "Sister Alyonushka and Brother Ivanushka"

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 G. 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”.
King Pea. Cover of the magazine "Bug"

During the revolution of 1905, the artist creates revolutionary caricatures. 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”. After this, in the same 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. He was buried in the mass grave of professors of the Academy of Arts near the Smolensk cemetery.