Artist Ivan Bilibin paintings. Ivan Yakovlevich Bilibin
The descendant of an old merchant race, lawyer, in love with the visual arts, Ivan Bilibin is long and stubbornly built his creative line. Drawing school Society for the promotion of art, School-workshop Anton Ashbe in Munich, classes in the Tenishevskaya workshop at Ilya Repin gave Bilibin a professional foundation, but he became an original master thanks to a carefully built individual program. The artist has repeatedly participated in archaeological expeditions in the Russian North, made sketches of wooden lines and temples, costumes, embroidery, utensils, collected icons, cheeks and gingerboards, knew quite a few folk songs and chastushki. No wonder the authoritative art critic of the silver century Alexander Benoit, noting the natural talent of Bilibin, noticed: "His hard study of folk motives gives him healthy food: at the same time, its colorfulness develops in it and its technique is developing."
"Only quite recently, exactly America, opened the old artistic Russia, Vandali crippled, covered with dust and mold. But she was beautiful for dust ... ", - I wrote at the beginning of the twentieth century Ivan Bilibin (1876-1942), calling for domestic masters to revive the high culture of the past and based on it to create a new "big style".
Boris Kustodiev. Portrait I.Ya. Bilibina, 1901.
Petersburg Estet, a passionate collector of the objects of antiquity and art, a person artistic by nature, sociable and witty, Ivan Yakovlevich gained the glory of a book illustrator not only in the demanding artistic elite, but also at the low-voltage manual. Weed-based notebooks "Tale of Ivan-Tsarevich, Fire-Bird and Gray Wolf", "Vasilisa Lovely", "Tsarevna-Frog", "Mary Morne Sokol", "Mary Mornevna", " Sister Alenushka and Brother Ivanushka "," White Duck "," Wolga "(1901-1903) surprised an unusual large format and thought out to the smallestly system" beautiful book ". Russian fairy tales and epics, decorated in the "Bilibinsky" style gained a special attractiveness, the viewer was conquered by the spectacular flow of images and colorful power.
The artist freely transmitted a gloomy atmosphere of the magical world, the spherical irreality and ironiness of household scenes. Sacred significance neighboring funny jokes in the folk spirit. Russian Nature with all the recognition gained monumentality and meaningfulness. The admirers were noticed in the compositions of "crystal purity" of visual solutions and the title of folk motifs, thoroughness of finishing and love for details. "All works of Ivan Yakovlevich Bilibina - whether it is the smallest ending - always made with love, mind, culture and with great fiction and skill", - responded about Comrader on the art of Ostrumov-Lebedev. Art historians analyzed the clarity and rigidity of the contour pattern, the evidence of the compositions, the emotional tension of the color spots, the conciseness of the shape, the election of stylization and the ornamenika craving.
Illustration of Ivan Bilibin to the "Tale of Tsar Saltan" A.S. Pushkin, 1904-1905
Gravis "Big Wave in Canhanwa" Katsusiki Hokusaya, 1829-1832
External simplicity of his creative method deceptive. The insightful viewer will mark in the style of Ivan Bilibin of the influence of the Russian Lumpy Picture and Japanese engraving, picturesque works of Viktor Vasnetsov, drawings of Obry Burdsley and William Morris. As a man of the era of Modern Bilibin, could not pass by the synthesis of decorative and visual arts, and as a member of the Art Association "World of Art" wished to experience his strength in a variety of creative activities. He was ingenious and sought to professional impeccability, as if playing designed the complex ornaments, which were framed by its graphic compositions. A tireless in work, Ivan Yakovlevich made the books, worked in the field of theatrical and scenery art, performed drawings for magazines, created sketches of posters and advertising prospectuses, playing cards, postcards, postage stamps, labels, exjibers. The popularity of the "Bilibinsky" style spawned a lot of epigal, but among the students of the artist turned out to be Georgy Narbut, who managed to develop a mentor's techniques in the original creative manner.
Illustration of George Narbet to the Russian Fairy Tale "Wooden Eagle", 1909
Life did not indulge Bilibin, there were periods of failures and creative disappointments, there were agile years of revolution and civil war, when the artist, having lost everything, was in a foreign province without livelihood. In the emigration, he managed not just to survive, but found the "second breath", new topics and expressive means. In his works of the 1920s-1930s, the mysterious Egypt and the exotic east, knightly culture and carnival pomp baroque appear. The artist uses the elements and stylistics of Ar Deco in his works. Having achieved recognition from the Declaring European Spectator, he returned to his homeland, taught, worked as an artist of the theater, illustrated books. Thoughts about creativity did not leave him until the last days, to death in the blockade Leningrad.
The works of Bilibin were popular in the Soviet Union, for many, he today is the perfect artist of the book, the best illustrator of Russian folk fairy tales. And let the researchers talk about the contradictions and limitations of the "Bilibinsky" style, the fans of creativity Ivan Yakovlevich do not become less. And this means that the model has been operating created by the master, in which together carefully collected ethnographic materials, the principles of paperwork as a single ensemble, aesthetics of modern, clarity of style techniques and the originality of the copyright decisions were integrated. And, undoubtedly, the sincere love of the artist to folk art, his faith in the "voice of blood", which will help to find the power and expressiveness of "big-style".
", The author of paintings and colorful illustrations to Russian fairy tales and epics in a decorative-graphic ornamental manner based on the stylization of the motives of Russian folk and medieval art; One of the largest masters of the national-romantic direction in the Russian version of Modern style.
Who did not read the books of fairy tales with his magnificent illustrations? The work of the master is the immersion in the world of childhood, fairy tales, epics. He created his world, so not like the surrounding, allowing you to retake in his fantasy and go after heroes in dangerous and exciting travel.
In 1895-1898 he was engaged in the drawing school of the Society for the promotion of art.
In 1898, two months studied at the artist's workshop Anton Ashbe in Munich. It is here that the study of the figure attached a special meaning and produced from students the ability to find an individual art manner.
Being in Munich, 22-year-old Bilibin meets the tradition of European painting:
In the old Pinakotek - with the work of classics: Durera, Golbien, Rembrandt, Rafael.
In the new Pinakotek - with modern currents, in particular with the symbolism of Arnold Böklin and Franz
Seen was highly timely for a novice artist. And it was at the school Ashbe Bilibin learned his corporate line and graphic techniques. At first he threw the sketch on paper, said the composition in all parts onto the tank, then translated into Watman, after which the chatted brush with a cropped end was performed by a pencil drawing a clear wire contour of the car.
The development of Bilibin, as a book schedule, influenced the other Western Book Masters: William Maurice, who one of the first reflected the slender architecture of the book-synthesis of literature, graphics and typography, and his "Beautiful Book";
Graphs Walter Crane and Obey Berdsley;
Inspiration of the curved line in the style of ar-nouveau Charles Ricketts and Charles Shannon;
Expressive game of black and white spots Felix of Wallotone; Thomas Heine's acuity; Lace Lines Heinrich Fogeler.
And also noticeably influence (as in general, on the representatives of Modern style) of the Japanese engraving of the 17th and 19th centuries, from which the tones of the pouring, contours, isometry of the space; the ancient Russian icon and the Byzantine painting.
For several years (1898-1900) was engaged in the leadership of Ilya Repin at the School-workshop of Princess Mary Tenisheva, then (1900-1904) under the leadership of Repin in the Supreme Art School of the Academy of Arts.
At the time of studying Bilibin in the Supreme Art School of the Academy of Arts, where the young man made a repin, the exhibition of Viktor Vasnetsov, who wrote in a unique romantic manner on the topics of Russian myths and fairy tales in a unique romantic manner. The viewers of the exhibition were many artists famous in the future. Bilibin Ivan Yakovlevich was among them. Vasnetsov's work struck the student in the very heart, he confessed later that he saw here what was unknowingly rushed and what his soul gave birth.
V.vasnets three heroes
He lived mainly in St. Petersburg. After the formation of the artistic association "The World of Art" becomes an active member.
Group portrait of artists of the Society "World of Art" Kustodiev
This is what the Bilibin writes one of his associations of the Association "World of Art" Mustislav Dobuzhinsky:
"He was a funny, witty interlocutor (stuttered that she attached a special charm of his jokes) and possessed talent, especially under the influence of wine, writing comic high-nesting OD to Lomonosov. He took place from the famous St. Petersburg merchant family and was very proud of the brush of Levitsky's brush belonging to him by two portraits, one-young knitter, another - a bearded merchant with a medal. Bilibin himself wore a Russian beard a la Moujik and once on the bet went through Nevsky in the noodles and a high felt hat-buckwheat ... "
So with a sense of humor and charisma order)
Bilibin himself once said:
"I, the following, I give a solemn promise that I would never like to artists in the spirit of Gallen, Vrubel and all impressionists. My ideal-semiradsky, Repin (in youth), Shishkin, Orlovsky, Bonna, Mason and the like. If we do not fulfill this promise, I will go to someone else's camp, then let my desponder leave and send it to the Medical Academy! "
Epoch of the stroke of ages-\u003e END 19-beginning of the 20th century-\u003e Silver Age of Russian Culture-\u003e Modern Style-\u003e Association and Magazine "The World of Art", to which Bilibin was approached.
This approximate scheme brings us to the creative method of the artist. Bilibin, as it can not be possible at the right time in the right place.
Russian Modern (European Analogues: "AR-Nouveau" in France, "Secession" in Austria, "Yighd-style in Germany", "Style Orta" in Belgium, "New Style" in England, etc.) organically combines Search for new, modern forms with a drawback to national cultural and historical sources. The characteristic features of modernity is the aesthetization of the environment, decorative detailing and ornamentation, orientation of culture, style is filled with a poetic symbolism.
Modern has a fundamental impact on the art of Bilibin. The skill who possessed the artist, the plots he loved and used were entirely relevant and modernly in this period in two primary reasons.
Firstly, the MODERN (more precisely of one of the directions, there were others) to the national epic, fairy tales, to have both to sources of topics and plots, and a formal rethinking of the heritage of ancient Russia, pagan art and folk art.
And secondly, the exit of such areas of art as book graphics and set design on a completely new aesthetic highest level. Also, it was necessary to synthesize, create an ensemble of books and theater. This was done from 1898. The union and magazine "World of Art".
Most of those who were born in the USSR began to comprehend this world with Russian fairy tales "Vasilisa Lovely", "Sister Alyonushka and Brother Ivanushka", "Mary Morrevna", "Pryronist-clear Sokol", "White Duck", "Tsarevna- frog". Almost every child knew the fairy tales of Alexander Sergeevich Pushkin - "Tale of Fisherman and Fish", "Tale of Tsar Saltan", "Tale of the Golden Cockerel."
The first books with bright, beautiful illustrations of artists open the window to the world of living images in the world of fantasy. An early child's child emotionally reacts, seeing colorful illustrations, he presses the book to himself, strokes his hand in the picture, talking with a character painted by the artist, like alive.
This is a huge force of influencing graphics on a child. It is concrete, accessible, is understandable to children of preschool age and has a huge educational impact on them. B.M. Heat, characterizing the features of the perception of works of art, writes that if scientific observation is sometimes called "thinking perception", then the perception of art is "emotional".
Psychologists, art historians, teachers noted the originality of the perception of graphic images: a colorful figure, and with age, more preference are given to real color, the same is also noted in relation to the requirements of children to the realism of images.
In a senior preschool age, children negatively relate to the conventionality of the form. The perception of works of graphic art can achieve varying degrees of complexity and completeness. It largely depends on the preparedness of a person, on the nature of its aesthetic experience, the circle of interests, psychological state. But most of all it depends on the work of art itself, its artistic content, ideas. The feelings that it expresses.
Fairy tales read parents, grandparents from children's books with drawings. And we knew each fairy tale by heart and every picture in your favorite book. Pictures from books with fairy tales were one of the first of our images that we absorbed in childish naturally. It is like in these pictures, we also imagined Vasilis beautiful.
And most of these pictures belonged to the brush of Ivan Yakovlevich Bilibin. Imagine what influence on our worldview, our perception of Russian myths-epic and fairy tales did this artist? Meanwhile, these illustrations are more than a hundred years.
Illustrating fairy tales and epics since 1899, "Vasilisa Lovely", "Sister Alenushka and Brother Ivanushka", "Finist Clear Sokol", etc., Pushkin tales about Tsar Saltan and Golden Cockerel), Ivan Bilibin created in the technique of a drawing of carved watercolor , your "Bilibinsky style" of a book design, based on the motives of folk embroidery, Lubka, wood threads, ancient Russian miniature.
These graphic cycles, impressive with their ornamental wealth, are still very popular among children and adults thanks to numerous reprints.
Focusing on the traditions of the Old Russian and folk art, Bilibin has developed a logically consistent system of graphic techniques, which remained at the base throughout its work. This graphic system, as well as the inherent bilibin of the originality of the interpretation of epic and fabulous images, made it possible to talk about a particular bilibino style.
The process of execution I. Ya. Bilibin graphic drawing was similar to the work of engraving. Bilibin books are similar to painted boxes. It was this artist for the first time who saw a children's book as a holistic artistically decorated organism. His books are like an old manuscript, because the artist thinks not only drawings, but also all decorative elements: fonts, ornaments, decorations, initials and everything else.
"Strict, purely graphic discipline [...]," the artist emphasized, it draws his attention not only to the drawing and on the difference of the forces of individual spots, but also on the line, on the nature of it, to the direction of the course of a number of neighboring lines, on their slide Form and, thus, to underline, explanation and identifying this form by these conscious lines that are currently covered with it. These lines can sometimes be likened by fabrics fitting the form, where the threads or bands acquire the direction that is dictated by this form. "
I. Ya. Bilibin has developed a system of graphic techniques that have given the opportunity to combine illustrations and design in one style, subjugate their plane of the book page. Characteristic features of the Bilibino style: the beauty of the patterned pattern, the exquisite decorativeness of the color combinations, the subtle visual incarnation of the world, a combination of bright fabulousness with a sense of people's humor and others.
The artist sought to ensemble decision. The plane of the book page, he emphasized the contour line, lack of illumination, colorful unity, conditional division of space on plans and the association of different points of view in the composition.
Ivan Yakovlevich illustrated fairy tales so that the children seem to be sent with the heroes of fairy tales into dangerous and exciting adventures. All the fairy tales known to us are made with a special understanding of the People's Spirit and Poetry.
Interest in the Old Russian art awakened in the 20s - 30s of the XIX century. In the following decades, expeditions were organized to study the monuments of Dopererovsky architecture, albums of vintage Russian clothes, ornaments, Lubk were published. But most scientists approached the artistic heritage of ancient Russia only from ethnographic and archaeological positions. The surface understanding of its aesthetic value is characterized by a pseudorussian style, widely spreading in architecture and applied art of the second half of the XIX century. In a new old Russian and folk art perceived in the 1880s - 1890s V. M. Vasnetsov and other artists of the Mamontov Mug, whose national distortions were distinguished by greater identity and creative originality. These artists should be addressed to the words of Bilibina:
"Only quite recently, exactly America, opened the old artistic Russia, Vandali crippled, covered with dust and mold. But she was beautiful under dust, so beautiful that the first minute gust of those who opened it was completely understood: Return! return!"
The dream of artists of the late XIX century on the revival of the high culture of the past, about creating a new "big style" was utopian, but she enriched art with bright images and expressive means, contributed to the development of its "non-interest" species, for a long time considered secondary, In particular, theatrical scenery and design of the book. It is not by chance that it was in the Mammoth Montamian Mug that began to develop new principles of decorative painting. It is not by chance that the same craftsmen constantly communicated with the works of Old Russian art, enthusiastic with the idea of \u200b\u200breviving ancient crafts.
The book and theater turned out to be the areas where art directly served as the satisfaction of modern social needs and where at the same time the stylistic techniques of past centuries found the most natural use where it was possible to achieve that synthesis, which in other types of artistic creativity remained unattainable.
In 1899, Bilibin accidentally arrives in the village of Egor Egyptary County of Tver Province. Here, for the first time, he creates illustrations in the later "Bilibino" style to his first book "Tale of Ivan-Tsarevich, Fire-Bird and Gray Wolf".
In 1902, 1903 and 1904, Bilibin visits the Vologda, Olonetsk and Arkhangelsk province, where he is commanded by the ethnographic department of the Alexander III Museum for studying wooden architecture.
In 1899-1902, the Russian expedition of the preparation of state securities released a cycle of books, equipped with excellent illustrations to folk tales. Here were graphic paintings to the fairy tales "Vasilisa beautiful", "White Duck", "Ivan Tsarevich and the Firebird" and to many others. The picture author of the drawings was Bilibin Ivan Yakovlevich. Illustrations for folk fairy tales His understanding of the National Spirit and Poetry, which the Russian folklore breathes, was not only influenced by the vague attraction to folk creativity. The artist passionately wanted to know and studied the spiritual component of his people, his poetic and life. From travel Bilibin brought a collection of works of folk artists, photos of wooden architecture.
His impressions were poured into journalistic works and scientific reports on folk art, architecture and national costume. An even more fruitful result of these travels became the original works of Bilibin, in which the Master addiction to the schedule and a completely special style were found. In Bilibin there were two bright talent - researchers and artist, and one gift Pital was another. Ivan Yakovlevich worked on the details of the details, not allowing himself to fill in a single dash.
Folk art presented the master and some techniques: ornamental and chesting ways of designing the artistic space, which Bilibin brought in their creations to perfection.
His illustrations to the epic and fairy tales are surprisingly detailed, alive, poetic and not devoid of humor. Taking care of the historical accuracy of the image, which manifested itself in the drawings in the details of the costume, architecture, utensils, the master could create an atmosphere of magic and mysterious beauty. This is very close in spirit to the creative union "World of Art". They all had an interest in the culture of the past, to the entry charms of the old days.
The artistic talent of Bilibina brightly manifested itself in his illustrations to Russian tales and epics, as well as in works on theatrical productions. In addition, the "fabulous" style with ancient Russian ornamental motives includes the formulation of the decorated Bilibin of the "Golden Cockerel" opera in 1909 at the Zimin Theater in Moscow.
In the spirit of French Mysteries, they are represented by the "Miracle of St. Theophila "(1907), recreation of a medieval religious drama; Spain XVII century inspired sketches of costumes to the drama Lope de Vega "Ovechi source", to the Calderon drama "Purgatory St. Patricks "- theatrical production of the" Ancient Theater "in 1911. The humorous caricature on the same Spain fes the "Honor and Revenge" Sologub, delivered by Bilibin in 1909.
Screensavers, endings, covers and other works of Bilibin are found in such magazines of the beginning of the 20th century, as the "world of art", "Golden Fleece", in the publications of "Rosehovnik" and "Moscow publishers".
In emigration
On February 21, 1920, Bilibin was evacuated from Novorossiysk on a steamer "Saratov". Due to the presence of patients on board, the steamer did not land people in
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Ivan Yakovlevich Bilibin worked at the turn of the two centuries, it became famous as an artist, an illustrator, a magnificent master of theatrical scenery. He created his own style in the chart, who was very loved by the viewer and found a lot of imitators. The fate of this amazing master and his exquisite heritage in art invariably remains the focus of attention of a modern cultural person.
The beginning of the way
Ivan Yakovlevich Bilibin was born 4 (16) August 1876 in the village of Tarhovka, which is near Petersburg. The ancestors of the artist are famous Kaluga merchants, glorified by patronage and living interest in the fate of the Fatherland. The Father of the artist, Yakov Ivanovich Bilibin, was a military-shipped doctor, then the head of the hospital and the medical inspector of the Imperial Fleet, participated in the Russian-Turkish war. The father dreamed of seeing her son by a lawyer, and young Ivan Bilibin, graduating from the gymnasium, entered the University of St. Petersburg at the Faculty of Law.
The young man studied in good faith, listened to the full course of lectures, defended thesis. But next to this quite practical and filling brilliant legal future, another dream always lived. He since childhood painted with hobby. Simultaneously with studying at the University of Bilibin, the science of painting and graphics in the drawing school of OPH (society of the promotion of art) was compiled. One and a half months he took lessons at a private art school of the Austro-Hungarian artist Anton Azhbe in Munich. It is here that the study of the figure attached a special meaning and produced from students the ability to find an individual art manner. In the homeland of Bilibin diligently studied in the painting workshop under the leadership of Ilya Repin.
Favorite theme
At the time of studying Bilibin in the Supreme Art School of the Academy of Arts, where the young man made a repin, the exhibition of Viktor Vasnetsov, who wrote in a unique romantic manner on the topics of Russian myths and fairy tales in a unique romantic manner. The viewers of the exhibition were many artists famous in the future. Bilibin Ivan Yakovlevich was among them. Vasnetsov's work struck the student in the very heart, he confessed later that he saw here what was unknowingly rushed and what his soul gave birth.
In 1899-1902, the Russian expedition of the preparation of state securities released a cycle of books, equipped with excellent illustrations to folk tales. Here were graphic paintings to the fairy tales "Vasilisa beautiful", "White Duck", "Ivan Tsarevich and the Firebird" and to many others. The picture author of the drawings was Bilibin Ivan Yakovlevich.
Illustrations for folk tales
His understanding of the National Spirit and Poetry, which rushes Russian folklore, was not only influenced by the vague attraction to folk creativity. The artist passionately wanted to know and studied the spiritual component of his people, his poetic and life. In 1899, Ivan Yakovlevich Bilibin visited the village of Russia, which in the Tver province, in 1902 he studied the culture and ethnography of the Vologda province, a year later the artist visited Olonetsk and Arkhangelsk province. From travel Bilibin brought a collection of works of folk artists, photos of wooden architecture.
His impressions were poured into journalistic works and scientific reports on folk art, architecture and national costume. An even more fruitful result of these travels became the original works of Bilibin, in which the Master addiction to the schedule and a completely special style were found. In Bilibin there were two bright talent - researchers and artist, and one gift Pital was another. Ivan Yakovlevich worked on the details of the details, not allowing himself to fill in a single dash.
Specificity style
What is so different with his manner from other artists Bilibin Ivan Yakovlevich? Photo of his wonderful and joyful works help to understand it. On a piece of paper, we see a clear patterned graphic circuit, filled with marginal details and pestured bizarre watercolor gamut of the most cheerful shades. His illustrations to the epic and fairy tales are surprisingly detailed, alive, poetic and not devoid of humor.
Taking care of the historical accuracy of the image, which manifested itself in the drawings in the details of the costume, architecture, utensils, the master could create an atmosphere of magic and mysterious beauty. This is very close in spirit to the creative union "World of Art" Ivan Yakovlevich Bilibin, whose biography is closely with this group of artists are connected. They all had an interest in the culture of the past, to the entry charms of the old days.
Worldview in drawings
From 1907 to 1911, Bilibin created a number of unsurpassed illustrations for the episodes and to the fabulous poetic works of Alexander Sergeevich Pushkin. Here are delightful and sophisticated pictures to the "Tale of the Golden Cockerel" and the "Tale of Tsar Saltan." Illustrations have become not just an add-on, but a kind of continuation of these verbal works, which, no doubt, read the soul to read the master bilibin.
Ivan-Tsarevich and the Frog, who applied to Tsarevna, and Yaga, Ilya Muromets and the nightingale Rogue, Elena Beautiful, Churila Plenkovich, Svyatogor - how many heroes felt the heart and "revived" on the paper sheet Ivan Yakovlevich!
Folk art presented the master and some techniques: ornamental and chesting ways of designing the artistic space, which Bilibin brought in their creations to perfection.
Activities in print editions
Ivan Bilibin worked as an artist and in magazines of that time. He created masterpieces of printing than a lot of contributed to the growth of this industry and the introduction of it into a mass culture. The publication "Folk reading room", "Golden Fleece", "Art Treasures of Russia" and others did not affect without elegant and meaningful vignettes, screensavers, covers and posters of Bilibin.
World Glory
The works of the Russian master graphics became known abroad. They were shown at exhibitions in Prague and Paris, in Venice and Berlin, in Vienna, Brussels and Leipzig. They were reprinted by foreign magazines, and foreign theaters ordered bilibin sketches for performing performances.
Satirical drawings
The decade between 1920-1930 Ivan Yakovlevich fruitfully and successfully worked on the design of theatrical stages: did drawings to the Opera Seasons in the theater of the Champs Elysees, worked in the Rusk Opera in Paris, "created wonderful sketches to the ballet of the Stravian" Fire-Bird ".
Return
Life in emigration was rich and free, but the artist did not leave an increasing longing in Russia. During the voluntary extension, he has not received foreign citizenship anywhere, and in 1935 he took Soviet citizenship. At the same time, he created the Mikula Selyaninovich monumental panel for the building of the Soviet embassy in the capital of France. A year later, the artist with his family returned to his homeland. Bilibin was welcomed by a new government and became a professor at the Graphic Workshop of the Institute of Painting, Sculpture, Architecture of the Academy of Arts in Leningrad. He did not leave work and in the field of book graphics.
Died in a blockade Leningrad in 1942 from hunger and was buried in a fraternal professorship grave at the Smolensk cemetery.
Distant and born trail, which left in the history of world art, an amazing Russian artist Ivan Yakovlevich Bilibin. Pictures, frescoes, graphics and other samples of its inspiring creativity are now stored in public and private collections. They decorate the "Russian Museum" halls in St. Petersburg, are exhibited in the Theater Museum. Bakhrushina in Moscow, in the Kiev Museum of Russian Art, in the London Museum of Victoria and Albert, in the Paris National Gallery, in the Oxford Museum of Ashmolean and many others.
Artist-lawyer
Ivan Yakovlevich Bilibin was going to become a lawyer, diligently studied at the Faculty of Faculty of St. Petersburg University and successfully graduated from the full course in 1900. But in parallel with this, he studied painting in the drawing school of the Society for the promotion of artists, then in Munich by the artist A. Ashebe, and after another 6 years, was a student I. E. Repin. In 1898, Bilibin sees "Bogatirei" Vasnetsov at the exhibition of young artists. After that, he leaves to the village, studies Russian antiquity and finds his unique style in which it will work until the end of life. For the deposit of this style, the engineering of the work and the impeccable hardness line of the artist colleagues called it "Ivan-iron hand".
Talenik artist
Almost every Russian man knows the illustration of the Bilibin on the books of the fairy tales, which he read for the night in childhood. Meanwhile, these illustrations are more than a hundred years. From 1899 to 1902, Ivan Bilibin creates a series of six "fairy tales", published by the expedition of the preparation of state securities. After in the same publishing house, Pushkin's fairy tales about Tsar Saltan and about the Golden Cockerel and a slightly less well-known eponym "Wolga" with Bilibin illustrations. Interestingly, the famous illustration for the "Tale of Tsar Saltan ..." with a barrel sailing to the sea reminds the famous "big wave" of the Japanese artist Katsusiki hocus. The process of execution I. Ya. Bilibin graphic drawing was similar to the work of engraving. At first he threw the sketch on paper, clarified the composition in all parts onto the tracing, and then translated to Watman. After that, a column brush with a cropped end, liketing it with the cutter, conducted a clear wire contour of ink with a pencil drawing. Bilibin books are similar to painted boxes. It was this artist for the first time who saw a children's book as a holistic artistically decorated organism. His books are like an old manuscript, because the artist thinks not only drawings, but also all decorative elements: fonts, ornaments, decorations, initials and everything else.
Two-headed eagle
The same double-headed eagle, which is now used on the coins of the Bank of Russia, belongs to the brushes of the Bilibin Heraldry. The artist drew it after the February Revolution as the coat of arms for the Provisional Government, and since 1992, this eagle since 1992 was the official Russian symbol. The bird looks fabulous, not ominous, because he painted her famous illustrator of Russian epic and fairy tales. The double-headed eagle is depicted without royal regalia and with lowered wings, "Russian Interim Government" and the characteristic "forest" biliba ornament is made in a circle. Copyright for the coat of arms and some other graphic developments of Bilibin handed over the factory "Goznak".
Theater artist
The first experience of Bilibin in Scenography is the design of the Opera of the Roman Corsakov "Snow Maiden" for the National Theater in Prague. The following works are the sketches of costumes and scenery for the operas "Golden Cockerel", "Sadko", "Ruslan and Lyudmila", "Boris Godunov" and others. And after emigration to Paris in 1925, Bilibin continues to work with theaters: prepares brilliant scenery to the production of Russian operas, draws up ballet of the Stravian "Fire-Bird" in Buenos Aires and Opera in Brno and Prague. Bilibin widely used the old engraving, lubok, folk art. Bilibin was a true connoisseur of vintage costumes of different nations, it was interested in embroidery, braid, weaving techniques, ornament and everything that created the national flavor of the people.
Artist and church
There are Bilibin and work related to church painting. In it, he remains himself, retains an individual style. After leaving St. Petersburg, Bilibin lived in Cairo for some time and actively participated in the design of the Russian house church in the clinic room, arranged by Russian doctors. According to his project, the iconostasis of this temple was built. And after 1925, when the artist moved to Paris, he became a member of the founder of the company "Icon". As an illustrator, he created the cover of the charter and sketch of the print of society. There is his footprint and in Prague - he performed sketches of frescoes and iconostasis for the Russian temple at the Olshansky cemetery in the capital of the Czech Republic.
Return to the Motherland and Death
Over time, Bilibin reconciled with the Soviet government. He draws up the Soviet embassy in Paris, and after, in 1936, returns on the ship in his native Leningrad. Teaching is added to his profession: he teaches in the All-Russian Academy of Arts - the oldest and largest artistic educational institution in Russia. In September 1941, at the age of 66, the artist refused to supply the Commissar of Enlightenment to evacuate from the besieged Leningrad to the deep rear. "From the deposited fortress, they are not running, they are protected," he wrote the answer. Under the fascist shelling and bombing, the artist creates patriotic postcards for the front, writes articles and appeals to heroic defenders of Leningrad. Bilibin died of hunger in the first blockade winter and was buried in the fraternal grave of professors of the Academy of Arts near the Smolensk cemetery.