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Léon Bakst
Léon (Lev) Samoylovich Bakst (Russian: Леон (Лев) Самойлович Бакст), born Leyb-Khaim Izrailevich Rosenberg (8 February [O.S. 27 January] 1866 – 27 December 1924), was a Russian painter and scene and costume designer of Jewish origin. He was a member of the Sergei Diaghilev circle and the Ballets Russes, for which he designed exotic, richly coloured sets and costumes. He designed the décor for such productions as Carnaval (1910), Spectre de la rose (1911), Daphnis and Chloe (1912), The Sleeping Princess (1921) and others.
Leyb-Khaim Izrailevich (later Samoylovich) Rosenberg was born in Grodno, Grodno Governorate of the Russian Empire (now Belarus) into a middle-class Jewish family. As his grandfather was an exceptional tailor, the Tsar gave him a very good position, and he had a huge and wonderful house in Saint Petersburg. Later, when Leyb's parents moved to the capital, the boy Leyb would visit his grandfather's house every Saturday. He said that he had been very impressed as a youth by that house, always returning with pleasure. At the young age of twelve, Lejb won a drawing contest and decided to become a painter. However, the parents disapproved of it and even threw away his paints.
In several years the parents divorced and started new families, it became impossible to live with a step-mother, so the four siblings separated and rented their own place. As the eldest, Lejb was in charge of two sisters and brother, he 'took all kinds of painting work'. After graduating from gymnasium, he studied at the St. Petersburg Academy of Arts as a noncredit student, because he had failed the entry. He also worked part-time as a book illustrator, gaining admission into the Imperial Academy in 1883.
At the time of his first exhibition (1889) he took the surname of Bakst, though the origin of the pseudonym is still unclear. There are at least three versions, according to the main one, his mother's grandmother had the maiden name Bakster. Alexander Benois, a life-long friend of Leon, recalled that 'Leo gave a prolonged and confusing explanation that the surname was taken after some of distant relatives'.
At the beginning of the 1890s, Bakst exhibited his works with the Society of Watercolourists. From 1893 to 1897 he lived in Paris, where he studied at the Académie Julian. He still often visited Saint Petersburg. After the mid-1890s, Bakst became a member of the circle of writers and artists formed by Sergei Diaghilev and Benois, who in 1899 founded the influential periodical Mir iskusstva, meaning "World of Art". His graphics for this publication brought him fame.
Bakst continued painting, producing portraits of Filipp Malyavin (1899), Vasily Rozanov (1901), Andrei Bely (1905), Zinaida Gippius (1906). He also worked as an art teacher for the children of Grand Duke Vladimir Alexandrovich of Russia. In 1902, he took a commission from Tsar Nicholas II to paint Admiral Avellan and Russian sailors arriving in Paris, a painting he started there, during the celebrations from the 17 to 25 October 1893. However, it took him 8 years to finish this work.
In 1898, he showed his works in the Diaghilev-organized First Exhibition of Russian and Finnish Artists; in World of Art exhibitions, as well as the Munich Secession, exhibitions of the Union of Russian Artists, etc. During the Russian Revolution of 1905, Bakst worked for the magazines Zhupel, Adskaya Pochta, Mir Iskusstva (magazine), and Satirikon, then for an art magazine called Apollon.
Beginning in 1909, Bakst worked mostly as a stage-designer, designing sets for Greek tragedies. In 1908, he gained attention as a scene-painter for Diaghilev with the Ballets Russes. He produced scenery for Cléopâtre (1909), Scheherazade (1910), Carnaval (1910), Narcisse (1911), Le Spectre de la Rose (1911), L'après-midi d'un faune (1912) and Daphnis et Chloé (1912). During this time, Bakst lived in western Europe because, as a Jew, he did not have the right to live permanently outside the Pale of Settlement in the Russian Empire [needs references as inconsistent with his full ability to live and work in St Petersburg and other areas of the Empire. (Masters and specialists with skills were usually exempted from such limitations)].
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Léon Bakst
Léon (Lev) Samoylovich Bakst (Russian: Леон (Лев) Самойлович Бакст), born Leyb-Khaim Izrailevich Rosenberg (8 February [O.S. 27 January] 1866 – 27 December 1924), was a Russian painter and scene and costume designer of Jewish origin. He was a member of the Sergei Diaghilev circle and the Ballets Russes, for which he designed exotic, richly coloured sets and costumes. He designed the décor for such productions as Carnaval (1910), Spectre de la rose (1911), Daphnis and Chloe (1912), The Sleeping Princess (1921) and others.
Leyb-Khaim Izrailevich (later Samoylovich) Rosenberg was born in Grodno, Grodno Governorate of the Russian Empire (now Belarus) into a middle-class Jewish family. As his grandfather was an exceptional tailor, the Tsar gave him a very good position, and he had a huge and wonderful house in Saint Petersburg. Later, when Leyb's parents moved to the capital, the boy Leyb would visit his grandfather's house every Saturday. He said that he had been very impressed as a youth by that house, always returning with pleasure. At the young age of twelve, Lejb won a drawing contest and decided to become a painter. However, the parents disapproved of it and even threw away his paints.
In several years the parents divorced and started new families, it became impossible to live with a step-mother, so the four siblings separated and rented their own place. As the eldest, Lejb was in charge of two sisters and brother, he 'took all kinds of painting work'. After graduating from gymnasium, he studied at the St. Petersburg Academy of Arts as a noncredit student, because he had failed the entry. He also worked part-time as a book illustrator, gaining admission into the Imperial Academy in 1883.
At the time of his first exhibition (1889) he took the surname of Bakst, though the origin of the pseudonym is still unclear. There are at least three versions, according to the main one, his mother's grandmother had the maiden name Bakster. Alexander Benois, a life-long friend of Leon, recalled that 'Leo gave a prolonged and confusing explanation that the surname was taken after some of distant relatives'.
At the beginning of the 1890s, Bakst exhibited his works with the Society of Watercolourists. From 1893 to 1897 he lived in Paris, where he studied at the Académie Julian. He still often visited Saint Petersburg. After the mid-1890s, Bakst became a member of the circle of writers and artists formed by Sergei Diaghilev and Benois, who in 1899 founded the influential periodical Mir iskusstva, meaning "World of Art". His graphics for this publication brought him fame.
Bakst continued painting, producing portraits of Filipp Malyavin (1899), Vasily Rozanov (1901), Andrei Bely (1905), Zinaida Gippius (1906). He also worked as an art teacher for the children of Grand Duke Vladimir Alexandrovich of Russia. In 1902, he took a commission from Tsar Nicholas II to paint Admiral Avellan and Russian sailors arriving in Paris, a painting he started there, during the celebrations from the 17 to 25 October 1893. However, it took him 8 years to finish this work.
In 1898, he showed his works in the Diaghilev-organized First Exhibition of Russian and Finnish Artists; in World of Art exhibitions, as well as the Munich Secession, exhibitions of the Union of Russian Artists, etc. During the Russian Revolution of 1905, Bakst worked for the magazines Zhupel, Adskaya Pochta, Mir Iskusstva (magazine), and Satirikon, then for an art magazine called Apollon.
Beginning in 1909, Bakst worked mostly as a stage-designer, designing sets for Greek tragedies. In 1908, he gained attention as a scene-painter for Diaghilev with the Ballets Russes. He produced scenery for Cléopâtre (1909), Scheherazade (1910), Carnaval (1910), Narcisse (1911), Le Spectre de la Rose (1911), L'après-midi d'un faune (1912) and Daphnis et Chloé (1912). During this time, Bakst lived in western Europe because, as a Jew, he did not have the right to live permanently outside the Pale of Settlement in the Russian Empire [needs references as inconsistent with his full ability to live and work in St Petersburg and other areas of the Empire. (Masters and specialists with skills were usually exempted from such limitations)].
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