Painting. Art Association "World of Art

World of Art

The world of art (1898-1924) is an artistic association formed in Russia
in the late 1890s. The same name was published a magazine published since 1898
members of the group.

A.N. Benua among artists. August 1898

World of Art - Monthly Illustrated Artwork, went out in St. Petersburg
from 1898 to 1904, entirely dedicated to the promotion of the work of Russian symbolists and
The authority of the same name is "the world of art" and symbolist writers.

Publishers - Princess M. K. Tenisheva and S. I. Mammoth, the editor was S. P. Dyagilev;
from 1902, the publisher became Dyagilev; From number 10 for 1903 the editor was also
A. N. Benua.

Cover magazine for 1901 Benoit among artists. August 1898

The union loudly declared himself, organizing the "exhibition of Russian and Finnish
artists "in 1898 at the Museum of Central School of Technical Drawing
barona A. L. Stiglitsa.
The classical period in the life of the association came to 1900-1904. - At this time for
Groups were characterized by a special unity of aesthetic and ideological principles. Artists
Arranged exhibitions under the auspices of the magazine "World of Art".
After 1904, the union expanded and lost ideological unity. In 1904-1910
Most of the members of the "World of Art" were part of the "Union of Russian Artists".

Artists of the Society "World of Art" at the Society Society for the Promotion of Arts.
Petersburg. March 1914

At the Constituent Assembly, October 19, 1910, the Art Society "World of Art"
It was revived (N. K. Rerich was elected chairman). After the revolution, many of his figures
were forced to emigrate. The union actually stopped existence in 1924.

B. M. Kustodiyev. "Group portrait of members of the Union of Art". 1916-1920.

From left to right: I.E. Grabar, N.K. Roerich, E.E. Lancer, B.M. Kustodiev, I.Ya. Bilibin,
A.P. Ostrumova-Lebedeva, A.N. Beno'a, G.I. Narbut, K.S. Petrov-Vodkin, N.D. Milioti,
K.A. Somov, M.V. Dobuzhinsky.

After the success of the Russian-Finnish exhibition at the end of 1898, an association is created
"The world of art", one of whose founders was Beno'a. Together with S. Dyagilev
he becomes the editor and the same-name magazine, which became the he who herald of neoromantism.

Motivating the emergence of the "world of art", Benoit wrote:

"We managed not so much of the idea of" ideological "about how many considerations
practical need. A number of young artists has nowhere to go. Them
or not at all took to large exhibitions - academic, mobile and watercolor,
Or accepted only with the brave of all that the artists themselves saw the most
an obvious expression of his quest ... And that's why Vrubel was near
Bakstom, and soms next to Malyavin. To "unrecognized", those of the "recognized" were joined,
who were not in itself in the approved groups. Mainly to us approaches,
Korovin and, to the greatest joy, sulfur. Again, ideologically and the whole culture they
belonged to another circle, these were the last offspring of realism, not devoid
"Movemental color". But with us they were tied to the hatred of everything in the temptation,
Installed, dead. "

Cover magazine for 1900

The magazine "The World of Art" came out in the fall of 1898, with the weekend of 1899. It
caused even more noise than the exhibition. Installing Miriskriks on pure art,
free from ideological addiction, of course, movement and academism,
It seemed obviously flawed that they found in the paintings of young artists.
Similar phenomena occurred in architecture, and in poetry, and in the theater that
perceived as decades and that it received the definition of Russian modern.

Harlequinade. Screensaver in the magazine "World of Art", 1902, N ° 7-9. 1902

"The world of art" was published until 1901 - 1 time in 2 weeks, then monthly.
It was a literary and artistic illustrated magazine of the widest content,
What predetermined his fate. Talk about the popularization of Russian art XVIII -
early XIX century, about promoting samples of folk creativity and handicraft products
fishes, what aesthetics of Miriskusenikov and the interests of patients

Elephants. Screensaver in the magazine "World of Art", 1902. N ° 7-9. 1902

The magazine is widely introduced the reader with modern Russian and foreign artistic
life (articles and notes A.N. Benua, I.E. Rubareva, S.P. Dyagileva, V. V. Kandinsky,
Excerpts from op. R. Mother and Yu. Meyer-Gref, reviews of foreign publications,
reproduction of exhibition expositions, reproductions of modern Russian and
western European painting and graphics).

This corresponded to the main aspirations of friends from the Beno'a Circle - Development
Russian art in a single bed with European and global art, based on
Thoughts about our backwardness, which will also find something unexpected: the development of Russian
classical literature, music and painting will be wrapped by a revolution in the theater in the world
the scale and that now we are aware of the renaissance phenomenon.
In addition, literary and critical articles published on the pages of the world of art.
V.Ya. Bruisova and Andrei White, in which the aesthetics of Russian symbolism was formulated.
But most of all the place was occupied by the religious and philosophical writings D. S. Merezhkovsky,
Z. N. Hippius, N. M. Minsk, L. Sixova, V. V. Rosanova.

With notebooks of their poems,
Long ago, you crumbled in dust,
Like branches hazardous lilacs.

You are in that country where there are no ready-made forms,
Where everything is angry, mixed, broken,
Where instead of the sky - only the grave hill
And fixed lunar orbit.

There on a different, inexpressible language
Sings the synclite of silent insects,
There with a small lantern in hand
Beetle man welcomes familiar.

Quiet to you, my comrades?
Do you easily? And if you have forgotten?
Now brothers - roots, ants,
Trestors, sighs, dust columns.

Now you sisters - Carnation flowers,
Lilac nipples, chips, chickens ...
And unable to remember your language
There at the top of the left brother.

He is not yet a place in those edges,
Where you disappeared, light, like shadows,
In wide hats, long jackets,
With notebooks of their poems.
Nikolai Zabolotsky.

Russian artistic association. Embedded at the end of 1890 x (officially in 1900) on the basis of a circle of young artists and art lovers, headed by A. N. Benua and S. P. Dyagilev. As an exhibition Union under the auspices of the magazine, the world ... ... Artistic Encyclopedia.

Association (1898 1924) of artists created in St. Petersburg A.N. Benois and S.P. Dyagilev. Representatives of the world of art rejected both academism and the tendentiousness of the mobile phone; Relying on the poetics of symbolism, they often went to the world of Modern encyclopedia

"World of Art" - "World of Art", Association (1898 1924) of artists created in St. Petersburg A.N. Benois and S.P. Dyagilev. Representatives of the "Art World" rejected both academism and the tendentiousness of the mobile phone; Relying on the poetics of symbolism, they are often ... ... Illustrated Encyclopedic Dictionary

E. E. Lancer. The ships of Peter I. Tempera. 1911. Tretyakov Gallery. Moscow. "World of Art", Russian Association. Embedded at the end of 1890 x (officially in 1900) based on a mug of young artists and lovers of art ... Artistic Encyclopedia.

- (1898-1904; 1910-1924), association of St. Petersburg artists and cultural figures (A. N. Benua, K. A. Somov, L. S. Bakst, M. V. Dobzhinsky, E. E. Lancere, A. Ya. Golovin, I. Ya. Bilibin, Z. E. Serebryakova, B. M. Kustodiev, N. K. Roerich, ... ... Artistic Encyclopedia.

- "World of Art", Russian Association. Embedded at the end of 1890 x (officially in 1900) in St. Petersburg on the basis of a circle of young artists and art lovers, headed by A. N. Benua and S. P. Dyagilev. As an exhibition union under ... ... Great Soviet Encyclopedia

"World of Art" - "World of Art", artistic association. Embedded at the end of 1890 x (The Charter approved in 1900) on the basis of a circle of young artists, art historians and art lovers ("Society of self-education"), headed by A. N. Benua and ... ... Encyclopedic Directory "St. Petersburg"

The association of Russian artists who opposed the tendency, party, and anti-wetehetism of the modern "leaders of public opinion", dictate of the taste of academism and movement. I took shape in to. 1890 x in St. Petersburg based on a circle ... ... Russian history

1) Art Association. Embedded at the end of 1890 x (The Charter approved in 1900) on the basis of a circle of young artists, art historians and art lovers ("Society of self-education"), headed by A. N. Benua and S. P. Dyagilev. How … St. Petersburg (Encyclopedia)

"World of Art" - The world of art art. The flow of the silver century. It existed from 1898 to 1927 with interruptions, taking different organizers. Forms: magazine, exhibition, about artists. 1st period M. I. 1898 1904. The kernel of 1st about Va M. I. was a circle of relatives Alexander ... Russian Humanitarian Encyclopedic Dictionary

Books

• World of Art. 1898-1927, G. B. Romanov, This publication is dedicated to the 30-year period of the history of the Union of Art. The publication shows portraits, biographies and works of artists. When preparing this encyclopedia to ... Category: History of Russian Art Publisher: Global View, St. Petersburg Orchestra,
• World of Art. Artistic union of the beginning of the twentieth century, Vsevolod Petrov, `The world of art`, Russian artistic association. Used at the end of the 1890s. (officially in 1900) in St. Petersburg on the basis of a mug of young artists and art lovers, headed by A. N. ... Category: History and Art Theory Publisher:

An important role in the Russian culture of the XIX-XX century was played by the artistic association "The World of Art", which had a huge impact on the development of Russian symbolism and modern.

The emergence and stages of the existence of the association

The history of the emergence of the "World of Art" began in 1887 with the formation of a group of students of the school of Karla May, Nevsky Pivikians, which included A. Benua, K. Somov, V. Nuvel, D. Philosophers.

The purpose of the circle is to study the history of visual art and music. Later, S. Dyagilev and L. Bakst joined the circle. A circle under the leadership of Dyagilev, by 1898, it turned over and turned into a creative association "The World of Art".

A. Benua, self-portrait

Two events contributed to this:

1. First issue of the magazine "The World of Art", whose publishers were Princess M.K. Tenisheva and S.I. Mammoths;

2. The extension of Russian and Finnish artists, in which in addition to members of the circle participated S.V. Malyutin, I.I. Levitan, A.M. Vasnetsov, V.A. Serov et al.

In 1900, the association was officially issued, the charter was developed and elected the Regulatory Committee.

In 1902, the article "Art Forms" is published in the twentieth issue of the magazine "World of Art", from now on, many symbolist poets have printed their works on his pages.

In 1904, disagreements arose between artists and poets, the magazine "World of Art" has ceased to be published, the association broke up. In 1906, made a farewell exhibition before emigration to Paris under the same name. In Paris from 1909-1914, he organizes "Russian seasons". Since 1910, the association is reborn under the leadership of Beno'a, but acts as an exhibition organization, since 1917 some members of the association appealed to the restoration and museum and organizational activities. In the 20s, the "World of Art" finally stopped his existence.

Miriskusniki - members of the artistic association

The main ideologists of this art association were A. Benua and S. Dyagilev.

From 1904 to 1910, many association participants entered the Union of Russian artists. The main core of the "World of Art" was included by E. Lancere, K. Somov, L. Bakst, M. Dobuzhinsky. Subsequently, members of the Abramavtsevsky circle of V. Serov, M. Nesterov, Vasnetsov brothers, M. Vrubel, etc. In 1906, young artists joined the union: M. Sarian, M. Larionov and N. Feofilakt.

Dyagilev paid a lot of attention to the magazine "The World of Art", published critical articles there, wrote about the problems of international cultural exchange. Also, Dyagilev was actively engaged in organizational activities, arranged exhibitions of modern Russian artists, Western European painters, etc.

Aesthetic views of the "Art World"

The unification of the "World of Art" was striving for sublime spiritual and artistic values \u200b\u200band opposed the modern artistic views of traffic police and Academism. In the visual arts of Miriskuseniki even cultivated "Cultural dilettantism"Since he also personified the form of freedom of creativity not bound by any canons.

The ideal of the "clean" art was combined with Miriskusenikov with the idea that artistic creativity is intended to aesthetically change the surrounding reality. Most of the participants in the association screamed inspiration in the artistic achievements of the past. - received a kind of embodiment in their works. Different epochs attracted artists not by their historical features or turns of development, but only aesthetics, style, atmosphere. Artists of the "World" in such canvases sought to play, fantasy, theatricalization. Another important feature of Miriskusnikov was irony and self-irony.

The early "World of Art", focusing on Western European groupings, united artists and writers based on the ideas of modern, neoromantism, etc. The main goal of creativity in the understanding of the participants of the "World of Art" is a beauty in the subjective understanding of the artist. A little later, the painters began to focus more on the motives of the National Past of Dopardrov Rus. As a result, the union was divided into two groups of artists: Petersburg (focused on the west) and Moscow (oriented to the national past). But, despite all the disagreements, it is an artistic association related to them all to confront the official academic art and naturalism of the later.

In the second half of the XIX century, lovers who did not have professional art education sometimes were opened in art, they sought to establish a new direction in the problems of visual art and in matters of culture.

Activity and importance of the unification "World of Art"

The exhibitions organized by the "World of Art" passed with great success. In 1899, Dyagilev organized an international exhibition, on which works of Böhklin, Whistler, Monet, Degas, Moro, Puwa de Shavana, and others were exposed. In the period from 1899 to 1903, five such major exhibitions were held.

Miriskical members published the same magazine, in which many philosophers, religious thinkers and poets printed. The magazine was perfectly illustrated by artists of this direction.

One of the important parties to the activities of the participants of the world of art was to be interested in the artistic creations of the National Past, in this regard, they released the collections of "Artistic Treasures of Russia" and others. Community members opened a wide range of Russian intelligentsia. Whole periods in the history of the art , artists of sculptors of the XVIII-XIX centuries. Publications in the journal also related to modern artists, published articles about the great figures of world culture.

The work of the participants of the "World" was multifaceted, they were engaged in painting, decorative and applied art, the design of theatrical performances, but most of their heritage make up the works of graphics.

The highest flourishing of theatrical and decorative activities was the design of the "Russian seasons" performances in Paris. In painting dominated the city landscape, portrait and historical and household genre. In the chart a special achievement was the appearance of a book illustration. Some of the participants during the revolution period 1905-1907. They performed as masters of political satire.

The characteristic feature of the works of many Miriskusnikov was decorative, linearity and combination of matte tones.

With the union of the "World of Art", the "evenings of modern music" was connected closely, the purpose of which was the execution and propaganda of Western European music of the XIX-XX centuries.

Members of the Unification of the World of Art often took part in various chairs. The most famous of them in the Russian culture of the Silver Age were "Ivanovo environments", the meetings "on the tower" Vyacheslav Ivanov, Sundays, Sologube salons and

The association left a deep mark in the history of Russian art primarily because the people of this circle drew attention to the problems of the artistic form and the visual language.

The contribution of the "world of art" in history is invaluable. This is not only painting, graphics, poetry and prose, but scientific works on the history of art and culture of the silver century

Chapter 3. Artists - organizers and figures of the "World Peace"

The main participants in the Unification of the World of Art, who formed the concept of "Miriskusniki", were: Alexander Nikolaevich Benois, Konstantin Andreevich Somov and Lev Samoilovich Bakst. They determined the ideology and focus of the unification. In the future, many of the most different artists participated in the exhibitions of the World of Art.
Let us turn to the work of masters - the main figures of the "World of Art".
The artistic tastes of Alexander Benua developed under the influence of the creative atmosphere of the family, which formed the circle of his interests. Before us - the famous portrait of Alexander Benua Baksta

Benois is shown as an artist, a historian of art and an expert of culture of the 18th century. Benouua sits in a chair with a book in his hands, here in the room we see the portrait of Empress Elizabeth Petrovna. Turning to the wall canvases say that in front of us is a painter.
Alexander Benois was born on May 3, 1870 in a famous family of artists and architects. His father, Nikolai Leontievich Benua, was an architect, grandfather from Mother - Albert Kavos Kavos, was also an architect too. He rebuilt after the fire of 1853 St. Petersburg Mariinsky Theater. The great-grandfather on the mother - Venetian Cavroin Cavos was a composer, an operas writing, ballets, water waters. At the beginning of the 1800s, he entered the service in St. Petersburg Imperial theaters. Brother Alexandra Nikolayevich - Alber - was a watercolor artist, another brother - Leonty - architect, the builder of Orthodox churches in Russia, Poland and Germany. "Beno'a's house that Nicola Sea", where Beno'a family lived, was well known in St. Petersburg. It has survived to this day. The house was filled with works of art - paintings, engravings, old things. On the contrary, the Nikolsky Marine Cathedral rises, built during the Empress of Elizabeth Petrovna, Architect Savoy Ivanovich Chevakinsky. The wonderful look of the Baroque Cathedral remained forever in the memory of Alexander Benua and answered his love for the art of the XVIII century. Friends remembered the big pedagogical gift of Alexander Benua. Having had an excellent literary style and deep knowledge of the history of art, he has already begun to publish critical articles on art issues, and in 1893 he took part in the publication of the book of German researcher Richard Mother "History of painting in the XIX century", for which he wrote a large section about Russian Painting. After graduating from the Faculty of Law, Benoit, as well as Dyagilev, was subsequently not engaged in jurisprudence, but dedicated himself to art.
Alexander Benoit's favorite time - XVIII century, Versailles of the last years of Louis XIV. The artist portrayed the elegant court and old king in the Versailles Park, where the king "walked into any weather", intimate scenes, such as, for example, swimming marquis.

The artist showed the go-down court life, once a magnificent, drowning in luxury, and in the last years of the king's life - sad. The complex of huge spaces of the park spoke to the artist not so much about the greatness of the king, how much about the creative genius of the architect, which created this magnificence. In the picture "Walk of the king" action takes place in the Versailles Park.

The deserted alley leaves in the distance emphasize the loneliness of the king among the accompanying a few suite. The artist conveyed the elusive mood of sadness, the atmosphere of the forthcoming era. In another picture on the same topic, a leisurely procession of the king and court past, fountains and statues are perceived as the theatrical action, and the bronze figures of frozen amusets in the pool seem more alive than these sad masks.

The picture is close to the mood "Venetian garden", where the figures in masks seem to sleep, shadows, and the statues are animated and seem to be talking to each other. In such an interpretation of the conclusion, a certain thought: Life is moving, art - forever.

In the work of Beno'a, they were reflected and the times of Peter the Great, before which the figures of the "World Peace" bowls. Before us - "Peter I on a walk in the summer garden."

The king on the alley of the garden in front of the fountain, among the motley elegant crowd of courtes, attracts attention to high growth and satisfied, a fun face. In another work - "Summer Garden with Peter Great" we see the same alleys, fountains, pergolas and trilty lattices, which, by the way, to say , Recovered currently.

Unsurpassed erudite in the issues of life of the past centuries, Benua knew to the subtleties of the customs, costumes, interiors. The plots that he chose did not concern large historical problems; The artist created fantasies for private moments of life, seeking to transfer the spirit of the era. In this regard, its picture "Parade under Pavel I" is interesting.

Cloudy winter day. Through the grid of the falling snow, the pink Mikhailovsky castle is visible, the right wing of which is not yet complete. The soldiers marched in front of the castle. The emperor engaged in his favorite thing - the Mutter Soldier - is shown in the center on the White Kone. Behind him - a retinue and sons. The officer, similar to Paul I, gives the king report. In the depth, we see the strange figures of soldiers who do not participate in marching. They run after and raise fallen tri-fingers. Indeed, with Pavel I, I existed a special detachment, which was supposed to ensure that fallen tri-fingers remained lying on the ground, and raise them. The general decision of the picture, where the harsh landscape is presented with the castle, with infinitely falling snow, with marching soldiers and king - all this creates a expressive image of St. Petersburg the reign time of Paul I.

Benoa was also a wonderful illustrator and theater decorator. Until now, there are unsurpassed illustrations for the "peak lady" and "copper rider" A. S. Pushkin. In one of the illustrations to the "peak lady" - "Herman at the porch of the Countess" - the artist created an expressive picture, having transferred a stress waiting for the hero during the departure of the Countess card during dusk. The drawing "in the gambling house" shows a gloomy atmosphere of this institution, where the tragedy will be played. For the illustration of the "copper rider", Benua appealed back in 1905 and did not leave this work, improving it, before the release of the book in 1922. The artist showed white nights, following the rows of the poet "I am writing, I read without a lamp", a flood, and especially the impressive moment - a huge black silhouette of the rider, emerging from behind the corner, and running from him in fear of poor Eugene - "His hungry hungry with Heavyly huddled up. "In 1904, Benua published an excellent book for children -" ABC ". If now, this book did not remain only as an antique value, but would be widely known, it would bring a lot of joy and children, and adult readers. The book was reissued in 1990. Drawings, full of fantasy and childhood memories of the author himself, impressions from toys that filled his house, from visits to the theater, where during the play, the Chertkik popped out from Luke on stage and acted "Arap" in bright clothes, - all this was forever remembered and reflected in " Alphabet. "
Full comfort and special warmth drawings with the image of the "cottages" and "grandfather", and the dwarf, which appeared from the cake to admiration for the cavaliers and ladies in empty wigs and elegant dresses, directly takes us into a favorite author of the XVIII century.

In the history of theatrical and ornamental art, an unforgettable phenomenon remained the design of Alexander Beno'a Ballets - N. N. Cetern "Pavilion Armid" on the topic of the 18th century and I. F. Stravinsky "Petrushka" on the theme of the Russian Balagan presentation. Ballet "Pavilion Armida" carries the viewer into a magical fairy tale with the revived heroes depicted on the tapestry. This ballet immerses the viewer to the world of knights, cavaliers and ladies. Ballet "Parsley" was put in Paris, in the "Russian seasons", and we turn to him later.

Benua was a versatile talented man. He left a lot of work as an artistic critic and the historian of Russian and Western European art, explored the poorly developed monuments and the work of the forgotten masters. Above mentioned his participation in the German publication of the book of Richard Mother "The History of Painting in the XIX century". A few years later, in 1901 and 1902, two volumes of Benoit research about Russian art were published in the Russian publication, which produced the Russian audience "stunning impression." Subsequently, Benua released several books on the history of Western European art. Alexander Benoit was the first figure of Russian culture of his time, who addressed the attention of contemporaries to the beauty of St. Petersburg architecture. After A. S. Pushkin about the beauty of St. Petersburg, no one recalled. Under the influence of the writers of the XIX century, the capital was perceived only as a state, cold city, hostile to a little man. Artists of the "World of Art" captured the immortal creations of St. Petersburg architectures in their paintings, opened the beauty and harmony of the garden-park ensembles of the Tsarist village, Peterhof, Pavlovsk, Oranienbaum. And in this matter - first of all, the merit of Beno'a.Constantin Andreevich Somov, an outstanding artist of the World of Art, was born on November 18, 1869.

Before us, his self portrait. The artist presented himself in a relaxed pose, on the sofa. The broad manner of writing and the realistic interpretation of images was distinguished by Somoov - a student of Repin. In the same manner, portraits are written - parents. The Father of the artist, Andrei Ivanovich Somov, was the Guardian of the Hermitage. He significantly enriched the Museum's Assembly with the works of German painting.

The mother of the artist, Nadezhda Konstantinovna, sang perfectly. Somov was also a musical gifted man - a talented pianist and singer. His sister, Anna Andreevna, in Marriage Mikhailov, was engaged in an artistic embroidery. Somov had another brother, Alexander, deceased early. Somov was very attached to his parents, gently loved his sister and brother, paid a lot of attention to his orphaned children. In the later beautiful portrait of the nephew - Evgenia Mikhailov - Somov connected the brilliance with the transfer of the spirituality of the image.

After graduating from the gymnasium Karl Ivanovich May, in which Somov studied together with Alexander Benua and Dmitry Philosophical, he visited classes at the Academy of Arts. The work of Somov - landscapes and portraits of people close to him. In the landscapes of the 1890s, he with a great feeling captured fluffy bushes with tremble foliage, sunlight penetrating through the branches of trees, thick thickets of herbs. These are the work - "Road in Sekerino", "Sadik" and others.

Somov created a new direction in Russian art, a new understanding of historical painting. This quality was already manifested in the paintings of the 1890s. The main in his works are not well-known events, not psychology of heroes, but the mood, the transfer of the "Spirit of the Epoch". Already in the early period of Somov's creativity, I could convey a special historical atmosphere. His paintings and drawings revived the long-lasting time XVIII and the beginning of the XIX century. For a long time and carefully worked on their paintings and drawings and was always unhappy. Benua recalled: "Often sitting for hours (without any exaggeration) over some single line." About this feature of Somov also recalled the participant in the exhibitions of the world of art, Dobuzhinsky: "He worked, like Serov, very stubbornly and slowly, recognized only the best paints / ... / To his art I had a real love of love, it seemed to me That truly precious, and his influence was not less than Benois, but completely different / ... / Freedom and skill of his painting, where there was no piece that would not be made with feeling, fascinated me. And the main thing, the extraordinary intimacy of his creativity, the mysteriousness of his images, the feeling of the sad humor and then his "Gofmanovskaya" romance was deeply worried about and opened some strange world, close to my vague sentiment / ... / He was a small, pretty full at that time , Streaming "Hedgehog" and wore a mustache, dressed with a great taste, but modestly, and in all his manners, gait and throughout the fact that the appearance of a person was an extraordinary grace. He had a particularly cute manner of laugh and the most sincere fun laughter / ... / We are unusually soon and mentally agreed, and Kostya became one of the closest and most expensive friends for life. "Fell women, elegant courtean cavaners in powdered wigs decorated with statues Gardens and boss, all this was the plots and characters of the works of Somov. One of the motives of his creativity is young women who are squeezed in cozy interiors, the example of which you see.

Masterfully written bouquet of lilac makes a suffocating fragrance in the elegant room of the lady and causes a bright blush on her face. Cartigine Somov permeates the funny peculiar library or light mockery, which can be seen, for example, in the interpretation of the works of the "Sew Kiss" , or "rink".

It is built as triptych, in each scene of which is his funny episode. Thin penetration into the atmosphere of life of the beginning of the XIX century is distinguished by the watercolor "Walk after the rain".

Light, calm mood prevails here. His joyful, ringing golden-green paints werehed by rain trees, herbs, flowers. In the sky - Rainbow, first appeared from Somov. She reveals the purity and freshness of nature after recent rain. In the Alley of the Park, in front of the statues, on a patterned bench sits in a trip, a young woman with an umbrella, in a motley dress and a hat, decorated with flowers. Here on the grass playing a little girl in golden clothes. With the lady talking two young people approached her. As in other drawings, Somov gently, generalized treats nature and more detail - figures. Favorite by the artist Time - XVIII and the beginning of the XIX century - he reproduces fine and poetic. There was a wonderful portrait of which the researchers put in one row with the works of Levitsky and Kramsky. He created a small number of quantities, but a significant portrait gallery of acting persons "Silver Century": these are artists, poets, secular ladies, relatives and friends. In the portraits of Somov brought their understanding of the image. The portrait of Anna Karlovna Benoit, the wife of a friend Somov - Alexander Benua is unique in this sense.

She was distinguished by a cheerful, cheerful character, was a living, energetic, flirtful young woman. In the portrait we see thoughtful, somewhat detached from the outside world, immersed in yourself in a dress of the end of the XVIII century. It is depicted in the park, which is solved as a remote background. The artist chose a pastel technique for this, despite the fact that the portrait is quite large, and in the creative heritage of Somov no longer meet the pastel works of such a large format. Here this technique has an ideological meaning: pastel allows you to perceive objects as if through a light haze, which corresponds to the thoughtfulness of the heroine and the entire atmosphere of the picture. The global, the tragic image of the contemporary created soms in the picture "Lady in Blue".

It is known that the artist Elizaveta Mikhailovna Martynova is presented here here. She lived a short life - died of lung disease. Her hopes for happiness, success and recognition were not realized. "Lady in Blue" became a kind of symbol of the era. The artist introduced a young woman in a vintage dress in a painting, against the background of the greenery of the park, with a book in hand. Her look, aspiring on the viewer, full of sadness and grief. Saturated blue dresses make up the contrast with white collar lace and emphasizes the pallor of a beautiful face. Personal experiences E. M. Martynov, the artist gave a symbolic meaning by creating a generalized image.
Another "image of the era" was captured by Somov in the portrait of Anna Petrovna's artist Otrumova - (since 1905 - withered-swan).

Somov worked on a portrait for a very long time - during the winter of 1900-1901. Seventy three sessions took place, each of which lasted four hours. Anna Petrovna recalled that she "chatted, laughed, drunk," but the picture turned out "Dreamy, sad figure." Somov "Nothing knocked off the initial task." He revealed the spiritual essence of the model, her seriousness and thoughtfulness, despite the fact that Anna Petrovna herself was joking and laughed during sessions, because he was characterized by a cheerful character. But Somov created a generalized spiritualized image of the creative personality of his time. The portrait is made in the dark range with variations of deep blue, pink and purple tones. The landscapes of Somov brushes were often exhibited: these are summer cottages near St. Petersburg, Martykino, where his family lived in summer, roads, arable land, the peasant yard, etc. The main theme of his creativity remained, as well as from Benois, the XVIII century. Cavalers and ladies in wigs and crinolines, mascaras with Harlequins and Colombines, love dates, mysterious letters, scenes from Italian comedies - characteristic stories of Somov paintings.

The artist also worked in china, creating similar images, for example, a "lady pulling the mask." At the same time, in the work of Somoov, a reminder of the rainbow and fireworks often found in his paintings and fireworks were symbolizing in his paintings. The long-lasting world, to which he devoted his work, and the artist's talent introduced in his art a unique, permeating charm. It is these qualities that the painting "Harlequin and the lady" is distinguished by 1921.

The theme "Harlequinad", Italian festivities, "Arlekinov and Dam" was developed by the artist in different years, in various versions and various techniques - guaishes, watercolors, butter on canvas. Before us is one of these pictures. In the foreground, as on theatrical stage, they dance face to the viewer of the lady and the cavalier in the costume of Harlequin. They dance in the frame of the arch from the branches written with the jewelry subtlety. In the depths, between the trees, the couples are circling in masquerade costumes and take off in the dark sky fireworks lights. The magnificent bouquet of roses, decorating the scene, it seems, exudes a strong fragrance and speaks about eternal, unstable beauty. The artist created his fantastic world of the holiday of life, fun and beauty. But in all this there is a notice of sadness - that this world came to life only in the imagination of the artist. The lion of Samoilovich Bakst (Rosenberg) was the third largest representative of the "world of art".

He came from the wealthy Jewish family. Bakst was born on April 27, 1866 in the city of Grodno, but the family soon moved to St. Petersburg, where the future artist became interested in the theater and houses arranged "Games in the theater" with her sisters and younger brother. Interesting information about the child's impressions of Baksta informs his biographer N. A. Borisovskaya, referring to the historian Andrei Levinson theater, to whom Bakst talked about himself: "The first years of life was under the impression of meetings with the grandfather (in 1891, Bakst took his last name). Senior Bakst, "Parisian of the Second Empire", Epicurez, a secular man, a friend of the Duke of Morney (French diplomat and the author of Waterville, derived by Alphonse Dodé in the novel "Nabob" under the name of Graph Mora), lived his age in St. Petersburg, immersed in memories. The sophistication of the ancient orders, the luxury of the situation of his house was almost the only artistic impression of early childhood, and the grandfather himself is an amazing old man, full of mystery and charm, is preserved in memory as an embodiment of a good taste. "

In the gymnasium, the future artist addicted to drawing. Sculptor Mark Matveevich Antocolsky advised the young man to enter the Academy of Arts. He did not receive the first time, but after private lessons on a special program, an attempt was succeeded. In those days, artists, even the most famous, did not always finish this school. For example, Victor Vasnetsov, Vrubel, Benois, Serov and Somov left the walls of the Academy for various reasons. Bakst also left the Academy to receive a diploma. His picture of the "mourning of Christ" was performed in the new, realistic manner for that time, and the academic council criticized it.

By this time, the father of Bapti died, and the family needed material assistance. Bakst worked a lot above the illustrating various magazines and books for children to help the family. Soon he met Albert's brothers and Alexander Benua and began to attend the Benoit circle, which was mentioned above. In 1893, Bakst left for Paris, where he continued his studies in private studios of French artists, in particular, Jean - Louis Zheroma, the author of salon and academic works, and the Finnish artist Albert Edelfgelt, a famous masters of spectacular portraits, landscapes, historical and genre paintings.

His creative path Lion Bakst began as a portraitist. Implemented by him in the 1890s and early XX century, portraits are firmly entered into the history of art. The artistry inherent in the nature of Baksta, affected the last self-portrait of 1893. Traditional for the artist Velvet takes and a free blouse emphasizes his creative appearance, but the main thing was revealed - the rapidness, will, the power of character. For a year before the death of Levitan, Bakst performed his graphic portrait. The expressive face of Levitan produces a strong impression of a deep and sad look of his big eyes.

Bakst created portraits of artists, poets, musicians - creative personalities from the surroundings close to him. About the famous portrait S. P. Dyagilev we have already spoken. A few earlier - in 1902 - Bakst wrote a portrait of an unknown lady called "dinner. Lady with oranges. "

It is believed that the Prototype served the wife of Benoita - Anna Karlovna. But we are not a specific portrait, about the generalized image of the ladies in the modern style. The painting is dominated by the elegant silhouette of the lady in a black dress, in a black, similar to a huge butterfly, a hat, on an almost colorless with a greenish tint background, in contrast with orange spots of oranges. This color gamma gives a picture of sophistication and decorativeness. And not only the color scheme. The linear decision of the lady silhouette contrasts with a magnificent loop of its dress and is generalized, as if carelessly written by the folds of the tablecloth. Decorativeness, contrast, some mysteriousness of the image - all these qualities are inherent in modern style.

Also known is the spectacular portrait of the poet Zinaida Hippius, the wife of the writer Dmitry Sergeevich Meriarykovsky, who participated in the journal with his literary studies. Her figure seemed to "the living embodiment of the artistic modernism professionable by the magazine." A sharp tongue of Zinaida Hippius and poetic impromptures made a joking note in the assembly. So, one of her poetic jokes characterizes the role of Dyagilev in the Association:

Peoples commanded Napoleon,
And the thrill was a great one,
Hero honor! Weight law!
And without supervision - we are all honeycomb.

Chicken coop - cock one dan
He dominates his many vassals.
And in the herd there is Napoleon: Baran.
And in Mircycling there is: Seryozha.

In the future, during the famous "Russian seasons" Dyagilev, Bakst became famous as an outstanding theater decorator of his era. He went to this worldwide success in St. Petersburg. It was mentioned above that Bakst is still a member of Benoit's mug carried away with ancient Greece, and since then, the ancient topic has become leading in his art. In 1902, he designed the performance of "Ippolite" of Eurypid and in 1904 - "Oedipal in Colon" Sofokla for performing in the Alexandrinsky Theater in St. Petersburg. "In" Ippolit ", the action took place in the royal pags and in front of the temple. The main characters are the young queen, in love with the step, and the wonderful young man - inspired the artist to create magnificent colorful clothes. But in Edipa, the acting persons are blinding of himself and the ODIIP voluntary expulsion, wandering with a guide - a daughter Antigoh. The creation of lochmotions of the beggars is a difficult task for loving luxury Bakst. He took the soul in the clothes for an ancient choir. Exquisite costumes in the black and white gamma with silver elements perfectly looked at the backdrop of saturated green foliage. "

In 1903, the ballet "Fairy dolls" was held with a great success on the scene of the Hermitage Theater, costumes and scenery for the performance were made according to the sketches of the Bakst. "The success of the Hermitage production" Fairy of Dolls "was so great that she was immediately postponed to the stage of the Mariinsky Theater," where he lasted for twenty-two years. The design of the performance Bakst performed in the style of the 1850s, which was especially liked by the public. Bakst participated in the design of the magazine "The World of Art", creating vignettes and screensavers in which an antique theme prevailed. A brand created by Baxk, the symbol of the "world of art" - in the form of a proudly sitting on top of a strong, but lonely eagle. Large spots of light and shadow create a contrast and contribute to the monumentality of an eagle image corresponding to the value of the "world of art" in the artistic life. The "Elizium" monumental work was "ELISIUM" - the curtain for the drama Theater of Faith Fedorovna Commissioner, fulfilled in 1906.

The curtain depicts paradise. "There, invisible mortals, the blessed heroes who have received immortality from the gods are forever inhabit." The curtain is truly huge - more than ten meters in height and about seven - in width. All the space of the canvas is occupied by evergreen trees, against the background of which bright flowers sparkle in luxurious vases and whiteramor columns. Among this magnificence is barely distinguishable, small figures of people who came to these paradise bush "on the special grace of the gods". However, this "paradise" produces a gloomy impression: the greens of giant trees are too dark, the figures of people who lost there are too small there, in the poses of which is alarming. As you can see, the artist remembered the fatalism of the ancient Greeks, about the impermanence of their gods.

In 1907, together with V. A. Serov, Bakst made a trip to Greece; He told about his impressions in the book "Serov and I am in Greece", published in 1923. Seen by artists landscapes of Greece made a strong and unexpected impression with their colors and later served both Bastcast, and Serov for works on the ancient topic. Bakst wrote: "... what unexpected Greece! The strings of sand and reddish cliffs are cut by dark-yellow horizontal lines of fortresses, where - published toy - tiny soldiers are marched by columns. Above - scattered herds of ash-gray olive groves; Even above, again Nagi cliffs are wild, classic, dyed, like leopard skins, wrong dark brown spots. " Subsequently, in scenery and costumes to the ballet men 1911-1912 on antique themes for the "Russian seasons" of Dyagilev and a decorative panel on the story of Long "Daphnis and Chloe", writer II-III century, and other works (they will be discussed below) Bakst Created an atmosphere of mythical Greece. The work of Serov, a trip to Greece also had its influence. He combined the impressions of the landscapes of Greece and the drawings on the ancient vases in the paintings "Odyssey and Navigasy" and "Abduction of Europe", giving images angularity and generalization inherent in the style of Modern horror").

Buxt began this picture before the trip to Greece, but the journey enriched him with new impressions. He completed the work in 1908. The picture shows the death of the mythical Atlantis, which can be associated with the thought of the death of the world, about the approaching socio-public catastrophe, which many representatives of the creative intelligentsia were premeditated at the beginning of the 20th century. In a large, almost square picture of Baksta depicted "Panorama of the Rocky Archipelago, absorbed by the naval puchina, horrified small human figures in horror, and the structures and statues of different centuries are proud of them, in the center - as a symbol of eternal imperious beauty - Archaic Aphrodite with a mysterious smile on Stone mouths and blue dove in hand. In the canvas, an inspired history of the death of Atlantis, as well as other semi-tech-pentastic hypothesis, actively invading the literature and the art of the beginning of the 20th century, indirectly reflected the perception of the grand social shocks by the artist, who argued the incredit importance of cultural values, visited future generations. " On the given text of the researcher, you can only add that the idea of \u200b\u200bthe death of the world (or death of Atlantis) does not contradict the interpretation of the artist not only about "imperishable beauty", but that it seems to us especially significant - about the power of all-adhered love, embodied - and no coincidence - in the image of the goddess Aphrodite love. In the future, the whole creative activity of Baksta was associated with the "Russian seasons" Dyagilev, for which he created the famous, forever remaining in the history of ballet sketches of costumes and scenery. This work will be discussed below. Benua, Somov and Bakst are the main and most typical representatives of the "world of art", whose creativity embodied the artistic and ideological focus of the association. Soon - in 1900 - Evgeny Evgenievich Lancere and Anna Petrovna Ostrumova joined them (from 1905 - Ostrumova-Lebedev); In 1902 - Mstislav Valerianovich Dobuzhinsky. Lancer is the nephew of Benois - was younger than his uncle for only five years. The son of the famous sculptor Evgenia Alexandrovich Lancer and senior sister Alexander Benois, Catherine Nikolaevna, he grew up in a creative environment and not without the influence of Miriskusnikov made his main theme of the XVIII century. But at the same time, as Dobuzhinsky recalled, "Dyagileva rarely had a rarely, it seemed somehow not in the" tone "of the entire atmosphere - / ... / I liked it in it and friendly, kindred Benoit, special modesty and at the same time" Openness " And some nobility. And in appearance, he was like this: slim, with a beautiful long face, with a sharp profile and clear eyes. What he drew his courageous and strong hands is his strong, as it were, Imposed Impressed Extremely.

Pictures of Lancer, dedicated to the Petrovsk era and the species of Old Petersburg - "Petersburg beginning of the XVIII century. The building of the Twelve College "," Petra I "Botik," Walking to Mul "," Old Nikolsky Market in St. Petersburg "," Petrovsky Time "ships are perfectly transferred to the atmosphere of St. Petersburg under construction, its citizens and even weather with strong wind and cloudy days. The image of St. Petersburg of the first quarter of the XVIII century, created by the artist in the picture for the postcard of the community of St. Eugenia, created by the artist in the middle of the XVIII century community in the middle of the XVIII century, is represented by the artist in the middle of the XVIII century. Lancer with a great feeling, reliably, brings the viewer to the real world of the long-gone era. In the painting "Empress Elizaveta Petrovna in the Tsarskoye Selo", Lancer created a majestic image of a state truck leaving the palace in the park with its numerous retinue.

Talent Lancer convinces us in the undisputed reality of what is happening, as if the artist saw this scene with his own eyes. Painter and draftsman, he worked as an illustrator, theater artist, author of the interior. He also decorated the magazine "World of Art" with vignettes, screensavers and endings and created his own symbol of the "world of art" - the image of the winged horse of the Pegasus, flying over the earth's expanses. Graphic skill Lancer developed in line with the achievements of Miriskuseniki. The skill of all artists of the "World Art" manifested itself in the design of the book. The desire to bring in accordance with the drawing with the bookpoint, subordinate to its sheet plane - it was a new understanding of the laws of illustration. If Benua and Dobuzhinsky included in their vignettes and screensavers of the motifs of the XVIII or the beginning of the XIX century, Somov - plant ornaments, and Bakst walked from the ancient motives, then Lancer turned to fantastic images - dragons, fabulous snakes. In 1911-1914 Lancer fucked by illustrating Tale of Leo Nikolayevich Tolstoy "Haji Murat." The story was published after the death of the writer. Lancer went to the Caucasus to see the places where the events described in the story were held and truthfully display the action. "Therefore, the first stage of working on illustrations was almost scientific, research," the researcher writes. - Lancer collected the iconographic material, studied / ... / memoir literature. " The action of the story passes not only in the Caucasus, but also in St. Petersburg, which determined the stylist of the drawings. The illustrations on the topic of the Caucasus were solved in a picturesque, emotional manner, such as, for example, in the figure "Haji Murat descends from the mountains", and the St. Petersburg view - the palace square - the artist depicted in a clear graphic manner corresponding to the frame-framed area of \u200b\u200barchitecture. In the future, Lancer worked mainly as an illustrator and theatrical artist. Mstislav Valeryanovich Dobuzhinsky also became the news of the world of art, despite the fact that he joined the union somewhat later.

Dobuzhinsky was born in Novgorod, in the general of the general. His childhood passed in St. Petersburg. He studied at the University at the Faculty of Law, then for several years, in a private art school in Munich. Upon returning to St. Petersburg, Dobuzhinsky entered the Ministry of Railways, which did not interfere with his painting. His long-time acquaintance in Munich, Igor Emmanuilovich Grabar, introduced him to Dyagilev and Benois. "My personal acquaintance with the circle of" World of Art "happened when the magazine was already in full bloom," on the third year of his existence, "Dobuzhinsky recalled. - / ... / On the same day, the Grabar was brought me to Dyagilev, and to Beno'a. Benoita at that time was engaged in editing the magazine "Art Treasures of Russia" and, although he was the "soul" of the "World of Art", I visited Dyagilev relatively rarely, and I met him in the editorial office of his magazine. The apartment of Dyagileva, where the editorial office was a typical Petersburg "Barskaya", with large windows on the fountain. On Tuesdays, he had meetings of employees. I began to visit these meetings weekly. It was crowded and very lively. In the dining room behind the tea table with dryers, Samovar hosted the nanny of Dunya, ... (Economiced by the Bakstom on one portrait with Dyagilev), which gave the dining room very cute and unexpected comfort. Everyone with her greet her hand. These meetings were simply friendly meetings, and these Tuesdays mentioned the magazine itself. He was made somewhere "behind the scenes" and as if home: all the work was he himself, he himself and a philosopher, there was no secretary for a long time (then a modest student Grishkovsky appeared only. Bakst immediately, at Dyagilev, in the back room and "black work" - retailed photos for the cliché, even did his patterned inscriptions for the magazine, etc. In a small room, near the front was the warehouse of the magazine, with whom Lackey Dyagileev hung up Blacknaya Vasily Zuykov, who flew in St. Petersburg with all sorts of editorial orders. " We see that the memories of Dobuzhinsky about the atmosphere reigning in the editorial office continues the story of another participant of meetings and meetings in the apartment of Dyagilev, the writer P. P. Peszova, given above. And this atmosphere, saturated with creativity and energy, rallied such different people and contributed to the birth of a unique magazine and the development of creativity of all the joints of the union. With the acquaintance with Benua, Dobuzhinsky says: "In the same memorable November 1902 day, grabar before you bring me To Dyagilev, introduced me to Al / Exandrom / N / Ikolaevich / Beno'a. This first meeting was in the editorial office of the Journal of Art Treasures of Russia, the editor of which was then Beno'a / ... / In Benoit, I thought to meet an arrogant, ironic person, which I imagined him on his poisonous and smart critical articles, or an important "art construct" who immediately gives me my scientist. Instead, I saw the most pretty and fun friendly and attention that I was struck in Beno'a and captured, and immediately disappeared all my alarms. Benouua was then thirty years old with a little, but it was pretty old on the sight, a slightly, a little even "played the grandfather", he was with a fairing Lysina, with a beard, in Pensna with a lace and dressed was pretty baggy (like serov). All this was unexpected for me, I naively wanted knowing him in his picture, so that in appearance it was a correspondence with the elegant century, which he loved to portray! But this funny "disappointment" lasted only the first moment. Benua knew very little about me, just that he could tell him a grain, and he saw only a few of my work. But he spoke to me as equal to our common tastes, and his confidence did me as if "his" for him and most of all I immediately approached him. He immediately gave me the first order - to make one vignette in the magazine and draw some inscriptions. Very soon I began to be from Benua in his small apartment on an officer street, where I was captivated by her extraordinary comfort and prevailed my dear and warm family ... / He himself was a true "storehouse" of knowledge, and communication with him, the smartest and charming interlocutor, was The real my "art university" / ... / Benois introduced me truly in the XVIII century, which acted on my imagination at one time very much. " Talent Dobuzhinsky manifested itself as other artists of the "World Peace", in different kinds: it is known as an illustrator, painter and theatrical decorator. M.V. Dobuzhinsky, like A. N. Benua and A. P. Ostrumova-Lebedeva, captured the architecture of St. Petersburg, while his main interest was lying in the field of not a parade, but a modern poor Petersburg with his low houses, yards, outskirts.

Dobuzhinsky owns a work on a retrospective topic, permeated by the fine irony and full of peculiar charm - "province of the 1830s".

The picture returns us to the times of Pushkin and Gogol. Most Dobuzhinsky worked as an illustrator and theater artist. Dobuzhinsky illustrated the works of M. Yu. Lermontov, F. M. Dostoevsky, G. H. Andersen and much more. He was also a master of graphic portraits with a pencil, carcass or watercolor, runaway sketches and caricatures. Among his works of this genre, the portrait of a writer and art critic Konstantin Alexandrovich Sunnerberg, named Grabarem "Man in glasses", is especially known.

Sunnerberg was a friend of Dobuzhinsky, and since there is few people know about this person in our time, then we give information about it from the book of "memories" of the artist himself. "He was an rarely educated person and a real" European "(blood swed). It was attractively some kind of inner grace and aristocracy, according to the appearance he could seem like "Sukharykh" and "man in a case". He was Hood, almost Thatch, wore a neatly trimmed beard, was chopped up to squeamishness, and he had amazingly beautiful hands. He was all as it were "stitched", even his glasses with bluish stalks were exactly his "shield", and when he shot them, appeared to a completely different person / ... / With him, it was always interesting to talk, both of us were interested in modern poetry (he himself I wrote poems), and our conversations were especially fascinating on his house / ... / Konstantin Alexandrovich was married to a very cute, beautiful, full burning of Varvar Mikhailovna, who soon met and brought my wife. Their apartment was not far from our, and we often went to each other / ... / I was attracted all the time a wide view from the window of this apartment to gardens with green ridges, on black stacks of firewood, some rear yards and endless fences and distant walls Multicolored houses with factory trumpets behind. And I drew this species many times, and in this background in a few years I made it a big generation portrait. " The portrait was written in 1905-1906, at the most anxious time when the artist responded to his participation in revolutionary magazines to shoot a working demonstration in January 1905. In the portrait, anxiety felt, reflecting the mood of the artist himself. This participant of the exhibitions of the world of art - Anna Petrovna Ostroumova-Lebedev was born in St. Petersburg, in the family of Comrade Ober-Prosecutor St. Synod.

Recall that we put her portrait of the work of Serov. Anna Petrovna studied at the Academy of Arts in I. E. Repin and Engraving V. V. MEE. "It was a very strange compound of graceful fragility, which affected her somewhat painfully inclined on the side of the ugly head, and at the same time some inner hardness. This was expressed on the portrait of Somov. The force was that she did: no wonder she was given to such a neleval case, a wooden engraving, the most technique of which does not allow any approximate or non-inflammation. At the same time, this art was so far from any dryness. She was before me, "Dobuzhinsky wrote," the topics took himself and knew how to convey with the special intimacy of his landscapes. " Ostrumov-Lebedev became a famous engraver. For several years, she lived abroad, in Paris communicated with Somov and Beno'a, became a member of the "World of Art". Fame received her works dedicated to the famous palace-park ensembles of Pavlovsk and the Tsarist village and, of course, St. Petersburg. She captured the arch of "New Holland" - the mysterious old corner of St. Petersburg, and one of the most beautiful places of the capital - the Exchange Columns overlooking the fortress and much more.

The activities of the "World of Art" attracted many, above all, young artists. These include Valentin Aleksandrovich Serov. The son of the famous composer, Alexander Nikolayevich Serov, he was born in St. Petersburg. In the 1880s he studied at P. P. Chistyakov at the Academy of Arts, which he did not find necessary to cum. Serov was a member of the Council of the Academy of Arts and the Tretyakov Gallery. Already at the end of the 1890s, he became close to the artists of the "World War" and, perhaps, not without their influence addressed the theater and to historical painting on the topic of the 18th century. Dobuzhinsky recalled Serov: "At the congregations, he was always sitting aside, listened and, not releaseing a cigarette, did something in the album. I did both evil, very similar caricatures on those present, especially the bitter, with whom he was especially friendly. Next to him, he seemed casually dressed, was the Conglast, with an extraordinarily sharp look. For the most part, in this noisy company, he linked, but one of his remark, always sharp, or amused everyone, or caused serious attention. The opinion of Serov was very much treated and considered with him as an indisputable authority, he tried around everything calmly and was a real general "restraining center". Benua somehow called him "the conscience" of the world of art ". I gradually "got used to him", I understood that the love that was to him from everyone, as well as his art. " Serov managed to play a crucial role in the fate of the magazine. In 1900, he wrote the portrait of Emperor Nicholas II.

"The sessions lasted for a very long time, as Serov used to make a sketch, to wash it completely and next time to write again - until the work satisfied him. So the portrait of Nicholas II was made for the last time, it seems to be thirty-fifth or so a session. Injury the artist and his model began to talk with each other. By the way, I remember the passage from these conversations, told by Serov in the editor, - writes the writer P. P. Pertsov, - he went on finance. "I don't understand anything in finances," Serov said. "And I, too," his interlocutor confessed. For long hours of these sessions, Serov had time to tell about the journal, its tasks and critical position. As a result, the appointment of a subsidy from the "own" funds of 30000 rubles per year was followed. This made it possible to publish the magazine so exquisitely, as he was published. "

In 1902, the young artist Nikolai Konstantinovich Roerich joined the union. The main interest of Roerich lay in the area of \u200b\u200bthe pagan and Christian Russia and the culture of Ancient India, the study of which he devoted for many years. Rerich first took part in the Moscow exhibition "The World of Art" in 1902 and later participated in other exhibitions, and also issued several performances in Anthreprize Dyagilev. Having left Russia in 1918, Roerich lived and worked in America, where he founded several educational institutions, and since the late 1920s, completing his famous expeditions in India, Mongolia and Tibet, he remained forever in India. With the "World of Art", Roerich tied the educational activities. "The Magazine" The World of Art "became a new stage in the history of artistic criticism, and in the study of the history of art in Russia, it is noted in research. - Indeed, the circle of the problems affected by them is so extensive, the shorter of its activity is so energetic that any cultural researcher is not only turning centuries, but later, he will contact the history of painting, music or artistic criticism, will not be able to avoid such a phenomenon as "peace art.

The magazine introduced the public with the work of the artists of the new time, and thus contributed to the dissemination of knowledge about modern artistic life. Separate rooms were devoted to Viktor Mikhailovich Vasnetsov (1899, №1), Ilya Efimovich Repin (1899, No. 10), Elena Dmitrievna Polenova (1899, №18), Konstantin Alekseevich Korovina (1899, №21-22), Valentina Alexandrovich Serov ( 1900, №1-2), Mikhail Vasilyevich Nesterov (1900, No. 3-4), Isaac Ilyich Levitan (1901, No. 1), Mikhail Alexandrovich Vrubel (1903, No. 10-11). In May 1899, the public widely celebrated the 100-year anniversary of the birth of A. S. Pushkin. At this time, the poem "Ruslan and Lyudmila" was published with watercolors A. N. Benua and the three-volume edition of the writings A. S. Pushkin, in the illustration of which V. A. Serov, M. A. Vrubel, V. M. Vasnetsov and members of the "World of Art" - K. A. Somov and A. N. Benua. A. S. Pushkin was devoted to the special issue of the World of Art's Magazine with articles of Dyagileev about the drawings to the works of the poet. On the pages of the magazine were placed photos of monuments of ancient Russian architecture, wooden utensils, objects of applied art, made by Elena Dmitrievna Polenova and Viktor Mikhailovich Vasnetsov in ancient Russian style . Of particular importance were the reproduction of artists of the XVIII century, whom Stasov considered only imitators to Western European masters. In essence, Miriskusniki discovered the whole century for the public the history of Russian culture, almost forgotten by the end of the XIX century. Journal introduced readers with Western European art of the Middle Ages and New Time. In many rooms, articles were also placed not only about artistic, but also about musical life, notes about foreign exhibitions. For the discussion of the next issue of the magazine, friends gathered in the apartment of Dyagilev on the Fontanka embankment, 11, where he lived from winter 1900-1901. Dyagilev was the central figure of the "World Peace". Alexander Benua recalled: "He did not create an artistic one among the artists, and even the composerhood, he scored his singing; but we, artists, did not cease to consider him, for how we wrote pictures and scenery, the ballets and operas wrote, wrote articles and books, so he, with the same inspiration, with the same burning of the magazine, arranged the exhibition, organized performances "World Value." Publishing was accompanied by the organization of exhibitions. All works at the exhibition chose the Dyagilev himself. Sometimes it happened that the artist did not want to exhibit any thing, considering it unsuccessful, but Dyagilev insisted, and the artist surrendered. And then it turned out that it was "rejected" the picture was successful and entered into any major meeting. And sometimes it happened and on the contrary - Dyagilev did not agree to take a picture to the exhibition, despite the desire of the artist. Ostrumova-Lebedev: Rechanged: "Energies Sergey Pavlovich was inexhaustible, perseverance and persistence of amazing, and most importantly, possessed the ability to force people to work with enthusiasm, with passion, because he himself filed an example of a complete return to achieving the target. It happened, at the exhibition there is a big rush, Dyagilev, like a whirlwind, is worn through it, swaying everywhere. At night, it does not lie down, but, removing the jacket, on a par with the workers, painting paintings, spreads the boxes, hangs, outrests - in the sweat, but fun, everyone around him in advance with enthusiasm. The workers workers were unquestioned by him and when he turned to them with a joking word, widely, they smiled in full mouth, sometimes laughed loudly. And everyone quickened on time. Sergey Pavlovich went home in the morning, took the bath and, elegantly dressed, as Dandy, was the first to open the exhibition. Night work on it did not reflect. Dark smooth hair it shared a very carefully made sample. Front it is necessary for the forehead white strand of hair. Full ruddy face with big brown eyes shone with mind, self-satisfaction, energy. He was persistent and charming when he wanted to achieve something from anyone, and almost always reached success. " On January 28, 1900, the 2nd exhibition of the "World Peace" at the Museum of the School of Barona A. L. Stiglitsa. Only Russian artists were presented at this exhibition: Miriskusniki themselves and participants in previous exhibitions - Benois, Vrubel, Serov, Somov, Levitan. Artists of the XVIII - early XIX century were also shown: Borovikovsky, Bryullov and Cyprosovsky. Thus, the organizers of the exhibition emphasized the incredit importance of the art of these painters for the history of Russian culture.

In November of the same year, members of the "World of Art" staged another exhibition at the request of Serov with the same name in the halls of the Academy of Arts. She was charitable in favor of needy students. The exhibitions "World Art" were always a significant event in the life of St. Petersburg. They were looking forward to them, they prepared with enthusiasm, they discussed hotly. Already the very design of these exhibitions was not similar to all the well-known "mobile", "spring" and others, where the pictures were monotonous on the walls, and sculptural works, as an addition, stood in the corners of the hall. In the device of exhibitions, Dyagilev showed a big taste and ingenuity. Pictures were placed on special stands, the halls were carefully decorated with flowers. For each artist, they selected a special background, special frames.

On January 5, 1901, the 3rd exhibition "World of Art" opened in the Tizian Hall of the Academy of Arts. Dyagillev designed it unusual - divided the hall into a number of cozy white rooms, where the ceilings were tightened with white muslin, and in front of the paintings there were flowers. There was also a posthumous exhibition of works by I. I. Levitan, who died in July 1900 at the age of thirty nine years. At the exhibition, sixty-five of his work was exposed. In the IV volume of the magazine "The World of Art" for 1900, Dyagilev placed an article dedicated to the memory of so early deceased artist. Dyagilev recalled: "The figure of Levitan gets up with special magnifier and refrigerability /..../ no one before him in all Russian painting knew how to express on the canvas the endless charm of those diverse sensations, which all of us with such bliss experienced cool in the morning or at rays Warm Evening in the wretched Northern Russian village. " Further, Dyagilev writes about the "Pushkin understanding of Russian nature in all his work", that "all Moscow landscape players fell by charm of his talent" The exhibition "The World of Art" 1901 with the exposition of the works of Levitan caused many praise reviews as "one of the brightest The phenomena of the russian life of Russia ". In December 1901, several Petersburg and Moscow painters in Moscow, among whom were the participants of the" world of art ", opened the exhibition called" 36 ". The initiators of this exhibition association were Muscovites - Apollinaria Mikhailovich Vaslinov, Vasily Vasilyevich Tsvetchikov and others, mainly landscape players, graduates of the Moscow School of Painting, Drainia and Architecture. They decided to oppose themselves and mobile, and the "world of art", since many did not like the "dictatories" of Dyagilev, and the emergency position of young people occurred in the mobile partnership. But this union existed for long - only two years. Having arranged the second exhibition in December of the following, 1902, it ceased to exist. The first exhibition was attended by Benouua, Somov and Lancer. But in the second exhibition, they no longer participated. After the closure of the second exhibition "36" in February 1903, Muscovites united with Miriskusniki to a new association - the Union of Russian Artists. This organization consisted of Moscow painters and participants of the "World Peace". Exhibitions "Union" took place in many cities of Russia and abroad. In short, the story of the "Union" is as follows: Joint exhibitions with the "world of art" continued until 1908. Then St. Petersburgers separated from Muscovites due to mutual criticism, and since 1910 their history went in different ways.

Meanwhile, the exhibitions of the Art of Art, which still organized Dyagilev continued. On March 9, 1902, the 4th exhibition took place in the halls of the passage. Then Sergey Pavlovich decided to translate it to Moscow, and in November of the same year the exhibition was opened in Moscow, in the halls of the Stroganovsky school. At the Moscow exhibition "World Art" showed new works of Serov, Somov, Vrubel. For the first time he participated in the exhibition "The World of Art", as already mentioned, Roerich, whose work "is built" (from the life of the ancient Slavs), the Tretyakov Gallery acquired. In the same exhibition, Moscow painters from among "36" - Alexander Yakovlevich Golovin, Leonid Osipovich Pasternak, Igor Emmanuilovich Grabar participated. The exhibition of the "World Peace" in Moscow had a huge success. Easy to the 3rd chapter: artists - the organizers and figures of the "world of art".

1. Name the names of artists - organizers and chief figures of the unification of the "World of Art".
2. What is the famous Family of Beno'a?
3. What first book was published by A. N. Benua?
4. What historical era loved to portray A. N. Benua?
5. Name the paintings by A. N. Benua from the life of Louis XIV.
6.Smask about the pictures of A. N. Benua, dedicated to Peter I.
7. How was the picture of A. N. Benua about Paul I?
8. What works A. S. Pushkin illustrated A. N. Benua?
9.What did you remember from the book by A. N. Benouua "ABC"?
10. What performances did A. N. Benua decorated?
11.Who, first drew attention to the beauty of the architecture of St. Petersburg and suburbs and what was it expressed?
12. In which family was born K. A. Somov? Who was his father?
13. What talent was distinguished by K. A. Somov and his mother?
14.Where was the new understanding of historical painting in the work of K. A. Somov? Describe the most characteristic of its pictures.
15. What features of the portraits K. A. Somov? Name the most famous portraits.
16. Where did L. S. Bakst studied after leaving the Academy of Arts?
17. Name the most famous works of L. S. Bapti.
18. What are the wonderful portraits of A. N. Benoit and S. P. Dyagileva Brushes L. S. Baksta?
19.Skame about the features characteristic of modern in the picture L. S. Baksta "Dinner. Lady with oranges. "
20. How did the trip to Greece affect the work of L. S. Baksta?
21. Describe the picture L. S. Baksta Terror Antiquus.
22. The pictures of E. E. Lancere are characteristic of the "world world".
23. In which art of art, M. V. Dobuzhinsky worked?
24.What is the new artists of the world of art in the design of the book?
25.Scider about the works of A. P. Ostrumova-Lebedeva. What technique did she work in?
26. How were the exhibition of art with Muscovites called Muscovites? How long have they continued?

Art Association
"World of Art"

"Direct-Media", Moscow, 2016

Artotek, vol. 36.

The artistic association "The World of Art" has grown from a gymnasic, and then a student circle, grouping in the late 1880s - early 1890s around the younger son of the famous St. Petersburg architect N. Benua - Alexander, in the future of the artist, book illustrator, scenography, historian of art, Art criticism.

Creating an association

The artistic association "The World of Art" has grown from a gymnasic, and then a student circle, grouping in the late 1880s - early 1890s around the younger son of the famous St. Petersburg architect N. Benua - Alexander, in the future of the artist, book illustrator, scenography, historian of art, Art criticism. Initially, it was a friendly circle, which the participants themselves called the "self-education society." Already then a feature manifested itself, typical of the "world world" in the future, is the desire to synthetic coverage of art phenomena, culture as a whole. The interests of young people were extensive: painting, literature, music, history, especially passionately they were fond of theater.

In the circle, many future employees of the magazine "World of Art" were visited: V. Nouvel, D. Philosophers, L. Rosenberg (later known as L. Bust). The emergence of this publication was preceded by a large preparatory work related, first of all, with the organization of exhibitions of foreign art in Russia. It was close to Her S. Dyagilev (1872-1929), afterwards the largest artistic figure and critic, at some point he began to play a prominent role in a friendly association. It was he who set himself the goal of rallying outstanding Russian artists and make their creativity in the West famous.

In February 1897, on the initiative of Dyagilev, an exhibition of watercolorists from England and France opened in St. Petersburg. It was exhibited by the work of large masters from these two countries, especially a lot of Mencell's watercolors, which had influenced the chamber solution of historical those A. Benua and other artists of Miriskusenikov.

But the exhibition of Scandinavian artists, which opened in the fall of the same year in the halls of the Academy of Arts, and the exhibition of Russian and Finnish artists in the Museum of the Stiglitz in January 1898. Thanks to the organizational talent, Dyagilev was able to attract not only the main members of the friendly mug, but also the largest Russian painters - M. Vrubel, I. Levitan, V. Serov, K. Korovina, M. Nesterova, A. Ryabushkin. Finnish masters led by A. Gallen and A. Etocelt were also presented their work. These exhibitions were essentially among the first exhibitions of foreign art in Russia and passed against the background of overcoming the established conservative views both in the environment of the artists themselves and in society as a whole. Dyagilev and his like-minded people experienced a passionate desire to more actively connect Russian art to the process of struggle against the stagnation of Academism, which the northern countries have already experienced, and viewed joint exhibition with foreign masters as one of the most effective ways to update art. The combined exhibition of Russian and Finnish artists themselves, the Miriskuseniki themselves were subsequently regarded as "the first performance of the" world of art ", but not yet under this title." A. Benua said that it was after her he and his friends were connected to one group called "the world of art".

As already noted, it was the holding of exhibitions of foreign art that contributed to the emergence of the magazine "World of Art". One of his advantages was that he was a free tribune for discussion and painting, and in the field of religion, philosophy, literature. The pages of the publication discussed the most actual problems of the intellectual life of Russia and the West. The magazine from the very beginning took a strong place in the artistic life of Russia and gained a large number of fans. His editor was S. Dyagilev, but A. Benua, who determined the artistic policy of the "World Peace" and the accurate aesthetic program: first, recognition of classics, secondly, the denial of all painful in art and decadence, Third, the orientation on the idea of \u200b\u200bthe art industry W. Morris with its principle of expediency. A. Benua offered to call the magazine "Reborn" and called for "announce the persecution and death of Decadacy<…>which threatens the death of the whole culture. "

In the first issue of the magazine, published in 1899, the article S. Dyagileva "Sophisticated Questions" was published, in which the aesthetics of the unification of the "World of Art" was formulated. From the very beginning, Dyagilev sets its goal "the analysis of all ideas in the field of aesthetics." In his opinion, the aesthetic concepts and principles in modern painting were separated from artistic practice: "This amalgaman history of the age of the ages has had the main source in the terrible sharpness of the aesthetic concepts and the requirements of the era. They were not installed for a minute firmly, did not develop logically or freely. Artistic questions were confused in a common porridge of public coups ... " Next, he notes that the utilitarian attitude to the art was dominant during the XIX century, although there were artistic and aesthetic directions who opposed the subordination of art by any external goals.

The principle of utilitarianism Dyagilev contrasted the principle of aesthetism as recognition of beauty as a higher and independent value; The author of the article argued that the art of gectic, that his goal is itself. A. Benua shared the conviction of a comrade that beauty should be the highest criterion in the field of artistic estimates.

Aestheticism is the recognition of special, exceptional rights of aesthetics, approval of the self-sufficient role of beauty, its independence from morality, religion and politics. The concept of aestheticism was first widely reflected in the work of English artists-Pre-Faelites. In the magazine "World of Art" publications about English art and preraphalitis were constant. The editors announced its primary task to develop a new cultural concept, the central place in which "Nietzschean" values \u200b\u200bwere given: creativity, beauty, aesthetic feeling. The magazine was published from 1899 to 1904 Edited by S. Dyagilev and with the participation of the St. Petersburg Group of Artists, since 1901 I was joined by I. Grabar, who soon became one of the most influential critics in domestic art. Art exhibitions called the "World of Art" were arranged annually and united Russian and Western European masters.

Thus, the activities of the St. Petersburg association marked the onset of a new era in the cultural life of the end of the XIX century.

The main core of the exhibitions "World of Art" was the works of the Masters of the Dyagilev Group (actually Miriskusnikov) - A. Benois, K. Somov and their closest associates who united with Moscow painters - M. Vrubel, I. Levitan, V. Serov, K. Korovin , M. Nesterov, A. Ryabushkin. Miriskusniki became involved in their activities of large Russian masters, whose creativity developed independently of the ideological settings of the St. Petersburg Group, was different and the finest language.

Preferred interest in history and historical styles, nostalgia for the departed epochs, beauty cult, romantic irony - here are the worldview features of Miriskusenikov. They influenced the approval in their work of the favorite circle of plots and motifs.

The creative legacy of Alexander Nikolayevich Benoit (1870-1960), the founder and historic "world of art", ornate and versatile. The result of the hobby of Benoit by books, narrating the life and nuts of the courtyard of the "King of Sun", as well as the study of French art became a series of wonderful watercolors. They depict the palace, the park, walks of the king and the court, swimming marquis. The first such cycle is called "the last walks of Louis XIV" and was created in 1897-1898, the second - "Versailles series" 1905-1906. In the works "Walk of the King" (1897, State Russian Museum, St. Petersburg), "Fish feeding" (1897, State Russian Museum, St. Petersburg), "ceremony pool" (1897, State Russian Museum, St. Petersburg), "The king is strolled in any weather" (1898, the meeting of I. Zilberstein), as in other sheets from the "Versailles series", although the United Single Character - Louis XIV, the link is the image of the man-made of the royal residence. In Versailles Etudes, the theme of the "Ancient Park", in which the past comes to life. All works are related to the object of the image and the unity of the mood. In the picture "King's walk" (1906, the State Tretyakov Gallery, Moscow) Nature was turned into a theater decoration, elegant green scenes open a small stage platform. The ease and clarity of the silhouettes of the figure resemble the toys inscribed in the picturesque landscape. The park imparts the theatrical performance in its spaces, as in one of the halls of the palace.

Evgeny Evgenievich Lancer (1875-1946) turned in his work to the Petrovsk era. His favorite themes were the construction of St. Petersburg and a new Russian fleet. The artist did not "restored" the historical situation, and created the image of the cold and windy brainchild of Peter I. One of the first to be the expressive and complete dynamics of the Painting "Petersburg of the early XVIII century. The building of the Twelve College "(1902, the State Russian Museum, St. Petersburg), on which the rainy, windy day is depicted, when the waters of the restless Neva are fighting about the marina of Vasilyevsky Island. The boat moisters to the pier. On the stairs - several human figures, among which you can learn Peter I, who came to inspect the newly elevated building of the twelve colleges. The author recreates the atmosphere of the construction of St. Petersburg, architecture and nature are given in an inseparable unity. Landscapes "The Botik Peter I" (1906, the State Tretyakov Gallery, Moscow) and "Ships at Petr I" (1911, the State Tretyakov Gallery, Moscow) are filled with wind, feeling of space, splash waves. Lancer applied to the subsequent epochs. So, he has a composition "Empress Elizabeth Petrovna in Tsarskoye Selo" (1905, State Tretyakov Gallery, Moscow), in which the action unfolds against the background of the Tsarskoye Park and the Grand Palace, decorated with a magnificent sculpture. Lancer with humor depicts the majestic procession of the empress, accompanied by Freinin. The unity of architecture and costumes reveals and emphasizes exquisite elements and coquetty of both of these elements. The regular park of the will of the artist became a living character, witnessing what is happening. The artist was able to convey the combination of frivolism and parade officialness, sensuality and rationalism inherent in the XVIII century.

Valentin Aleksandrovich Serov (1865-1911) was one of the main representatives of the Art Association "The World of Art", not only a constant participant, but also by the organizer of the exhibitions of the world of art along with A. Benua and S. Dyagilev.

Opinion V. Serov was very valued, with him were considered as with an indisputable authority. It is he who is critical for the "world of art", in 1902, asked Emperor Nicholas II (at that time the artist wrote his portrait) Monetary subsidy for Miriskusenikov, thanks to which the Journal existed for two more years. Serov, remaining a realistic master, put in his work art principles of association, was passionate about the Russians of the XVIII century. An example of this is the paintings "Peter II and Zesarean Elizabeth on the Pins Hunt" (1900, the State Russian Museum, St. Petersburg), "Catherine II in Sokolina Hunt", "Peter I on Pins Hunt" (both - 1902, State Russian Museum, St. Petersburg), "Peter I" (1907, State Tretyakov Gallery, Moscow). In the latter, the desire to theatricalization of action inherent in the works of A. Benua is obvious. Correction, the severity of the image, decorative growth, the spectacular theatricalization of the image is typical for the works of the master created in 1910, "Portrait of Ida Rubinstein" (State Russian Museum, St. Petersburg) and "Abductions in Europe" (options in different meetings).

Konstantin Andreevich Somom (1869-1939) was one of the central figures in the "world of art". His creativity with particular clarity expressed the basic principles of Miriskusniki aesthetics: the master turned to the historical retrospection, was inclined to the exquisite style, sophisticated sensuality, most of its works of theatrical. Fantasy landscapes of the artist appeared simultaneously with periods of work from nature. Retrospective vision as its art develops, has acquired more and more new aspects. The leitmotif of Somov's creativity was love scenes in the interior and on the lap of nature. The heroes of the series "Fireworks" Somov elected characters of the Italian comedy masks, the loved art of the late XIX century - the beginning of the 20th century: a deft and lucky harlequin, pale, a bullless loser Pierro, a frivolous colombin. The love comedy, which they play, is a hint of immunity and repeatability of human passions. Fireworks (1904, Private Assembly, Moscow) - work from the series performed by gouache. Silhouettes of ladies and cavalry in the foreground with their outfits and heads remind the XVIII century. Most of the painting takes the sky with shinking up a bright chair of fireworks, scattering golden lights. The shown is perceived as a beautiful vision.

Retrospective portraits of Somov became a new phenomenon in Russian art. The painting "Lady in Blue" (1897-1900, the State Tretyakov Gallery, Moscow) is an image of a close friend of the artist, co-figures at the Academy of Arts E. Martynova. This work in 1900 appeared at the exhibition "The World of Art" and became the first acquired by the masters of the Tretyakov Gallery. The will of the author model moved to the past, in an ancient park, devoid of historical concreteness. The whole figure of Martynova is written before the advanation of truthfully. The background is designed in the conditional range, the bush is completely decorative, the role-based characters are also conditional. The landscape seems to be a memoir about the harmonious past, and not a real environment. The contradiction of the image of the heroine and the background is perceived as a thin face of real and perfect, dreams and reality.

Maria Vasilyevna Yakunchikova (1870-1902) more than once became a member of the exhibitions "World of Art", was engaged in the design of the magazine of the same name. Versailles Park, such a favorite A. Benua, in the 1890s appeared in her works. But Yakunchikova perceived Versailles not as the rest of Miriski - through the prism of historical memories or memoirs - and tried to transfer the immediate impression from the motive imaginable imagination. She is not immersed in the past. The convention of forms and colors, the principle of decorativeness is consonant with the works of masters of the "World of Art", although Yakunchikov in his paintings undoubtedly used the opening of French impressionists. In the landscape "Versailles" (1891, Museum-Usadba V. D. Polenov, Tula region) a huge green bush of a trimmed greenery, located in the foreground, lit by the rays of the setting sun. Sun glare and shadows transmit the feeling of the evening and resemble the works of impressionists. Light and shadow for Yakunchikova - expressants of polar psychological states. In her versal landscapes there is no Irony and theatricalization of A. Benua and K. Somov. Formal techniques - consolidation, generalization of volumes, fragmentation - strengthen the email mood, the viewer becomes a silent witness of the past in a real natural environment.

Yakunchikova wrote not only landscapes. She, like the remaining members of the World of Art, paid attention to old interiors. At Miriskusny exhibitions could see many of these pictures.

Such works carried the seal of the era, and the pictured rooms of the old days became not so many "portraits" of the old life, how much the smoke of the ministry of creating them ("portraits") of people who are nostalging on lost beauty. They were opposed to the world outside the window and the world inside the house with a quiet life of things and their concern to human existence. You can recall the exhibition "Contemporary Art" 1903, in the organization of which Miriskuseniki took direct participation: they were the authors of the overall design of the interiors, sketches of details of the decoration, decorative paintings and saw their task in creating "demonstration interiors with the entire situation, where artists of the world of art" Could invest our taste for the elegant and feeling of style - all that was completely lost in the St. Petersburg everyday life "5.

Yakunchikova sought to convey the beauty of the estate of the estate in such their works as "covers" to the viewer, like "covers", "Staircase in the Old House" (1899, Assembly A. S. Weber, Evian), "From the old house window. Introduced "(1897, State Tretyakov Gallery, Moscow). These motifs will receive great distribution in Russian art. The works are filled with additional meanings, the viewer is born a feeling of tragedy. In the painting "Staircase in the Old House", the author elects a point of view on which a person going to climb along the steps. The cutting composition resembles the work of A. Benua. The artist carefully considers the staircase, it looks thoughtfully with one detail to another; With pity notes traces of destruction, left by time.

From the mid-1890s to a circle of writers and artists who united around S. Dyagileev and A. Benua, Lion Nikolayevich Bakst (1866-1924), in the future, became one of the initiators to create a "world world". He possessed versatile creative interests: he was engaged in a portrait, landscape, book graphics, wrote decorative panels. A genuine vocation of the master was theatrical-decorative painting, in which his talent manifested itself most bright. The passion for the old Petersburg, his life, costumes are obvious in graphics to Gogol's "nose" (1904, State Tretyakov Gallery, Moscow), Watercolors "Seating courtyard in the 1850s" (1905, Private Assembly, St. Petersburg), Guaisha "Shower "(1906, State Russian Museum, St. Petersburg). In the last named work, the features typical for the artistic practice of Miriskuseniki are clearly pronounced - illustrative, retrospective stylization, an ironic attitude to the past.

Panel "Vase (Self-portrait)" (1906, the State Russian Museum, St. Petersburg) bears on itself a noticeable defill of Versailles Landscapes of Benoit and Galant Scenes Somov. In this work there is no appeal to the past epochs characteristic of the artists of the "world of art", the multivalousness of the meaning is born in it as a result of the game of the master with the plans of the painting and a single-taking theme with a garden motive.

In the decorative panel of Baksta "Ancient Horror" (1908, the State Russian Museum, St. Petersburg) found the expression of symbolist aesthetics, partly peculiar to Miriski. The panorama of the scenery seen from a bird's eye view lit by outbreaks of giant lightning is presented. Above the ancient rocky earth, fill in the inhound water element, the archaic statue of the goddess Aphrodite with a frozen smile on the lips. Having turned away from the dying world, the goddess remains calm and calm. From the surrounding insane chaos, it is separated by some kind of wisdom. In the hand, pressed against the chest, she holds a blue bird - a symbol of dreams and happiness. He dies to ancient civilization, the beauty is only reigning over the world.

In 1902, an article A. Benoit "Picturesque Petersburg" 6, accompanied by many photos of old buildings and drawings of E. Lancere, A. Ostrumova-Lebedeva, L. Baksta appeared on the pages of the Art of Art's World, accompanied by a lot of photographs. In the next year, the world of art organized the exhibition "Old Petersburg". Jubilee Tsarskosiel Exhibition (1910), "The Historical Exhibition of Architecture" (1911) and the exhibition "Lomonosov and Elizavtian time" (1912) were also of great importance in the disclosure of the appearance of old Petersburg and in the promotion of his artistic values. Master "World Arts "sought to portray the city freed from domestic scenes when the architecture assumes the main role in creating his artistic image: in St. Petersburg, the preoccupied past is intertwined with the features of modernity.

In 1902, Mstislav Valeryanovich Dobuzhinsky became a member of the "World of Art" (1875-1946). It is especially impressive by his sheets depicting Petersburg in an underlined non-parade, unusual in shape and its intense inner sound. These include city landscapes - "Corner of St. Petersburg" (1904, State Tretyakov Gallery, Moscow), "City" (1904, Kirov Regional Art Museum), "Old Domik" (1905, State Tretyakov Gallery, Moscow). We seen the city of devoid of a romantic flue. Dobuzhinsky depicts numerous profitable houses with narrow windows and tight yards, deaf walls with ventilation grids similar to prison. The delligent job is a special artistic technique that enhances the impression of loneliness and hopelessness.

The role of urban landscape is significant in the dust painting of the Dobuzhinsky "Man in glasses" (1905-1906, State Tretyakov Gallery, Moscow). This is a portrait of K. Sunnerberg - close to the circle of the "world of art" of the poet and artistic critic. Dobuzhinsky wrote a friend in his apartment, from the window of which the city landscape opened. The image of the window turned out to be dominant here. It allows you to combine the portrait of Sunnerberg and a city landscape, consisting of vegetable gardens with firewood linters, monotonous lumbaging alone on other houses and factory pipes covering the horizon.

Anna Petrovna's name of Costumenoy-Lebedeva (1871-1955) is invariably associated with the majestic images of the city ensembles of the city on the Neva. Both in the engraving and in watercolors the main topic in the work of the artist was a city landscape. She was surprisingly accurately managed to guess the nature of the city in the bare-by-catching rhythm of architectural forms, in a certain one, only inherent flavor. Each cycle is distinguished by a kind of color solution. Undoubtedly, the work in the engraving put a fingerprint on the style of watercolor painting of witty-swan. The shortness of expression, a little climax, the clarity of lines characteristic of wooden engraving, and manifested in a watercolor manner.

In 1901 for the magazine "World of Art", the artist fulfilled the first series of Engraving dedicated to St. Petersburg; One of the most famous sheets is "Petersburg. New Holland. In this work, as in many works, the artist portrayed a winter city.

Dark planes created the silhouette of the arch in the neoclassical style of the famous monument, the feeling of snow white is transmitted in the whiteness of the paper. The monumentality of engravings is achieved by the selection and generalization of the details. Found techniques are a quiet accuracy of the form, the rhythmic equilibrium of the composition - developed by the artist in subsequent work. Arrow of Vasilyevsky Islands, Rostral Columns, Building Stock Exchange, Admiralty - Favorite Fine motives in her work.

Young artists who joined the main core of the "World Peace", processing the creative concept of association, became successors of the case started by Dyagilev.

As the exhibition organization "Mira of Art" managed to exist from 1899 to 1903. Moscow painters who participated in the exhibitions of the St. Petersburg association created their group called "36 artists". And in February 1903, during the fifth exhibition "The World of Art" in St. Petersburg, it was decided to establish a new society - the Union of Russian Artists. Many masters of the brushes, which included in the St. Petersburg group became members of the Union of Russian Artists.

In 1904, the existence and magazine "The World of Art" stopped, for the publication of which A. Benois and S. Dyagilev had no longer enough money.

But S. Dyagilev continued organizing activities. In 1905, they were arranged an exhibition of Russian portraits in the Tauride Palace, and in 1906 - an exhibition of modern painting under the former name "World of Art", which included in the exhibition of the work of M. Vrubel, K. Korovina, M. Larionov, N. Sapununov, P. Kuznetsova And already deceased Viktor Elpidiforovich Borisov-Musatova (1870-1905). The latter was especially close to the "world of art" in the images and receptions of his creativity, but during his lifetime they were not invited to the exhibition of association. When the attitude to the work of Borisov-Musatov changed, he was already dead. In 1902, the public was presented with a painting "Tapestry" (1901, the State Tretyakov Gallery, Moscow), and then Dyagilev called her author's "interesting artist", "curious and significant." But only four years later, in 1906, over fifty works, Borisovsatov were included in the latest exhibition of the St. Petersburg association.

Since the second half of the 1900s, the "World of Art" officially did not exist, but Miriskusniki retained a group spare, entering the Union of Russian artists. After it split in October 1910, they were the association that they were revived. Since 1910 "The World of Art" was also an exhibition organization in which artists of various directions were consistent. Such masters like N. Rerich, Narbut, S. Chekhonin, D. Mitrokhin, Z. Serebryakova, B. Kustodiev, continued to develop the artistic principles of senior Miriskusnikov. K. Petrov-Vodkin, M. Saryan, P. Kuznetsov, N. Altman, I. Mashkov - artists who are susceptible to new phenomena and preserved complete independence from creative concepts that have developed at the origins of the "world of art".

The position of the Chairman occupied Nikolai Konstantinovich Roerich (1874-1947). From 1903 he was a permanent participant in the exhibitions of the world of art. Roerich was worried about Slavic pagan antiquity, Scandinavian epos, religious legends of medieval Russia.

Interesting his "idols" (State Russian Museum, St. Petersburg) and "Overseas guests" (1901, the State Tretyakov Gallery, Moscow), created in 1901, during the period of the artist's stay in France. The draws of stylization, the predominance of graphic techniques above the picturesque, the decorative understanding of the color relates these works with the works of Miriskuseniki. In "idols", the basis of a decorative decorative-graphic techniques, characteristic of the modern style, an annular line and local color spots play a decisive role. The ancient pagan capital is depicted - a place for prayers and bringing victims to the gods. In the midst of the head, the largest idol is towers, around - smaller. Idolas are decorated with bright ornament and carvings. There are no figures of people, landscape motif dominates. In the theatrical landscape scene, the magnificent calmness of nature and the beauty of the Kapigig merge together. Roerich attracted the ability of people of the distant past to dissolve in nature, putting her own experiences and feelings into it.

Interest in Slavic antiquity is obvious and in the work "Zamar guests". The river floats the elegant painted roys with motley sails; The nasal parts are completed by the dragons heads. The patternedness of the decorations of the Voragenian nautical rook, colored shields, bright red sails are perfectly combined with deep blue water and juicy greenery of the hills. The rhythm product is set by the diagonal composition and the use of ornament - linear and color. The motives of soaring wings of birds, a running wave formed the basis of the rhythm of "overseas guests". The same drawing of soaring wings is repeated in the contours of the shores, and it seems that the land "flies" to meet courts. Between the "Overseas guests" and "Slavs on the Dnieper" (1905, the State Russian Museum, St. Petersburg) a lot in common and in the composition, and in color. Expressiveness of the drawing is based on its simplification and generalization; An important role is played in the paintings a rhythmic beginning, bright color spots. Roerich chooses a high point of view on the landscape, when the outlines of forest arrays, a winding, bizarre line of the shores, cut off by the bays, perform especially decorative and at the same time "fabulously" unusual (the artist worked in the field of theatrical decorative painting). Alien to modern times the subject of works demonstrates the attention of Roerich to the ancient Russian artistic tradition and underlined interest in the images and themes of Russian history.

Peasant Starina, Meschansko-ignorant Rus - Main topics in the works of Boris Mikhailovich Kustodiev (1878-1927). It was known as a portraitist, but in genre works adhered to Miriskusniki principles. In the pictures depicting numerous fairs, carnival and felling, the artist felt the beauty of Russian nature, folk customs and the breadth of the Russian man. Winter landscapes, against which there are cheerful passenger walking, sometimes enchanting on combinations of green-pinkish sky and dazzling blue snow. Among this colorful nature is especially festive, bright costumes and ducklings. Kustodiev tying a lot of plots, reveals the relationships of the characters and at the same time shows the fair as a magnificent spectacle, which he admires with the viewer.

In 1910, the artist began working on a group-portrait of members of the Society "World of Art" for the Tretyakov Gallery, but never finished it. The master made only a sketch (1916-1920, the State Russian Museum, St. Petersburg). Depicted (from left to right): I. Grabar, N. Rerich, E. Lancere, I. Bilibin, A. Benua, Narbut, N. Milioti, K. Somov, M. Dobuzhinsky, K. Petrov-Vodkin, A. Ostrumova-Lebedev, B. Kustodiev.

Preserved several preparatory etudes.

In 1911, Sergey Yuryevich Sudietic (1882-1946) became a member of the Association "World of Art". He was tied up close friendship with K. Somov. In many respects, Somovsky "Marquis" was repelled by Sudietin in his works, also reproducing pastoral scenes of the gallant era: these are "walking" (1906, State Tretyakov Gallery, Moscow), "Garden of Harlequin" (1915-1916, Saratov State Art Museum. A . N. Radishcheva). The romantic story was often obtained from him naive, primitive-lobby interpretation, contained elements of parody, grotesque, theatricalization. Still lifes, for example "Flowers and Porcelain" (beginning of the 1910s, Private Assembly, Moscow), also resemble the theater action, stage platform. The theater theme has repeatedly arose in the painting of Sudayikin: he depicted ballet and a puppet theater, an Italian comedy and Russian carnival walking. Theatrical-decorative art has become the main business of the artist. The first attracted it to the design of opera performances at the Moscow Theater "Hermitage" S. Mammoths. In 1911, the artist worked on the ballet performances of the Small Drama Theater in St. Petersburg, in 1912 together with A. Tairov - in the St. Petersburg Russian Drama Theater. In 1913, Speatikin participated in the "Russian seasons" in Paris, after performing decorations and costumes to the ballet mask "Red Mask" N. Cherepnin and "Salome Tragedy" F. Schmidt.

Zinaida Evgenievna Serebryakova (1884-1967), which included the "World War" in 1911, elected folk topics, its paintings are characterized by harmony, powerful plastic, a generalization of scenic solutions. The artist belongs to a number of genre works devoted to the labor and everyday life of the peasants, - "Harvest" (1915, Odessa State Art Museum), "White Canvas" (1917, State Tretyakov Gallery, Moscow). Favorite Serebryakov - a choice for the composition of the high horizon, which makes the figures especially monumental and majestic.

In 1914, A. Benua instructed the design of the Kazan station in Moscow (not implemented), and 3. Serebryakov, along with E. Lancere, B. Kustodiyev, M. Dobuzhinsky, was attracted to work.

In the work of the artist developed and deeply personal, feminine start, especially brightly manifested in work on autoports: in them Naive fluttering of the girl was replaced by the expression of the feeling of maternal joy, then tender poetic sadness. Such, for example, pictures "for the toilet. Self-portrait "(1909, State Tretyakov Gallery, Moscow) and" Self-portrait with daughters "(1921, Rybinsky State Historical and Architectural and Art Museum-Reserve).

Kuzma Sergeevich Petrov-Vodkin (1878-1939), who became a member of the unification in 1911, became acquainted with future like-minded people - P. Kuznetsov, P. Utkin, M. Sarian - in Muswise. Petrov-Vodkin is an example of an artist who was looking for a synthesis of a modern artistic language with the cultural heritage of the past epochs. In 1912, he created a picture of "Swimming Red Kony" (State Tretyakov Gallery, Moscow). For the first time, the canvas was shown at the exhibition "World of Art" in 1912. In the work it is obvious to appeal to the images of ancient Russian art: a red horse sends to the motive of the Russian icon - a horse of St. George the Victorious. The central image according to the plan is not a rider, but it is flaming red animal. The composition is distinguished by equilibrium, static. The decorativeness is fascinated, the monumental nature of the canvas. A powerful, fire-like horse, full of restrained strength, enters into the water, on it - a fragile boy with thin hands, detached face, he keeps on the animal, but does not hold back it - there was something anxious, prophetic composition in this composition. The picture is not only about youth, beautiful nature or the joy of life, but also, perhaps about the fate of Russia.

Pavel Warfolomeevich Kuznetsov (1878-1968) is an artist for whom the picturesque discoveries of Borisov-Musatov acquired a particular importance. The flesh of the viscous world melts in his canvases, the picturesque visions are almost intruded, woven from the images, denoting the bare-catching movements of the soul. The famous Kuznetsovsky motive is a fountain, a varying theme of the eternal cycle of life, - "Blue Fountain" (1905, State Tretyakov Gallery, Moscow). Kuznetsov preferred Tempere, but used her decorative capabilities very peculiar, as if with a loaf of impressionism at techniques, breaking the shades of color. Many works are withstands in cold colors - gray-blue, pale-lilac, the outlines of the objects are vague, the image of space is a decorative convention, such as "Mirage in the steppe" (1912, State Tretyakov Gallery, Moscow), "Evening in Steppe" (1912 , State Tretyakov Gallery, Moscow). A peculiar synthesis of still life and landscape - the picture "Morning" (1916, State Tretyakov Gallery, Moscow). The artist has not yet been and thirty when his works entered the exhibition of the exhibition of Russian art, arranged by S. Dyagilev in Paris in 1906.

Early works by Nikolai Nikolayevich Sapunov (1880-1912), who came to the union from the symbolist group "Blue Rosa", were close to the aesthetic principles of the "world of art". In the spirit of the gallant festivities of the XVIII century, a picture of "Night festival was written. Masquerade "(1907, Museum of Russian Art, Collection A. Ya. Abrahamyan, Yerevan). From the work of the masters of the "World of Art", the works of Sapunov are distinguished by picturesque qualities and topics that are not related to specific historical events. A large place in the artist's work was occupied by images of flowers, in their transfer he reached real virtuosity, disclosing its fully colorful tranquility. An example of this is the work "Blue Hydrangees" (1907, State Tretyakov Gallery, Moscow), "Vases, Flowers and Fruits" (1910, State Tretyakov Gallery, Moscow). N. Sapunov's favorite motives were folk festivals and a walk with their traditional attributes, as in the Karusel clutters (1908, the State Russian Museum, St. Petersburg), "Spring. Masquerade "(1912, State Russian Museum, St. Petersburg).

Alexander Yakovlevich Golovin (1863-1930) from 1899 participated in the exhibitions of the World of Art, since 1902 - a member of the association, collaborated in the magazine of the same name. In the late 1890 he worked in the pottery workshop Abramshev, together with M. Vrubel, at the proposal of which he participated in the design of the facade of the metropol hotel. The performances of the Bolshoi Theater in Moscow, in 1901 moved to St. Petersburg, from 1902 he served as the main decorator of the imperial theaters and consultant of the Directorate on artistic issues. Golovin collaborated with Alexandrinsky and Mariinsky theaters, created portraits of artists, actors in roles, parade portraits, landscapes. In portrait painting aggravated the methods of theatricalization of the image. Often, the artist transferred his heroes into the theater's situation and covered their ramp with light, for example, in the "Portrait of Artist D. Smirnov as Kavalera De Griene in Opera J. Massne" Manon "(1909, State Theater Museum. A. Bakhrushina, Moscow) or In the "Portrait of F. Shalyapin as Boris Godunova in Opere M. Mussorgsky" Boris Godunov "(1912, State Russian Museum, St. Petersburg). Decorativeness, colorfulness, the sophistication of the graphic solution is characteristic of the work of the master. Published in the work of the heads were ornamental vegetable motives, which are abundant on ceramic products on its sketches, picturesque panels, theater decorations and even portraits.

Igor Emmanuilovich Grabar (1871-1960) from 1901 - a member of the association, from 1902 - a participant in the exhibitions "World of Art". He was one of those who left the Union of Russian artists in 1910 and participated in organizing an exhibition association called the "World of Art", in the same year. Even during the years of study, Grabar wrote articles and reviews for art for famous magazines "Niva", "Dragonfly", "World of Art". The nature of the middle strip of Russia and the Moscow region was one of the main topics of its picturesque creativity. Harmony, poetry, cheerful attitude filled with all the works of Grabar. Spectacular, bright, textured painting is combined with the constant beauty of the composition and color. Grabar sought to capture the slipping variability of the "Seasons". It was especially loved by the winter landscapes: "February azure" (1904, State Tretyakov Gallery, Moscow), "Martov Snow" (1904, State Tretyakov Gallery, Moscow). In search of ways to transfer the light and color of nature, he used the achievements of French Impressionist artists, but was never a direct follower of their direction. In addition to the landscape work, Igor Emmanuilovich created a lot of still lifes. Also, they are written in monographs on the work of V. Serov and I. Repin, the autobiographical book "My Life", telling about the artistic life of Europe and Russia of the end of the XIX - early twentieth century. During the twelve years - from 1913 to 1925 - Grabar was the director of the Tretyakov Gallery. Over the years, a huge work was done on the inventory of the gallery, replenishing its funds, exhibitions, the publication of the first scientific catalog. Interest in Russian history, monuments of the past, Iconopy associated him with A. Benua, M. Dobuzhinsky, E. Lancere, B. Kustodiyev, A. Otrumova-Lebedeva and N. Roerich. Grabar - author of a number of monographs about Russian artists. He put his task to restore the sequence of the development of the Russian National School, to submit the work of the largest Russian artists.

In 1924, the last exhibition of the Association "The World of Art" was held, at which the works of Benoit, Somov, Dobuzhinsky, Golovan, Costa-Swan, Kustodiev, Serebryakova were held nearby.

In Paris, in 1927, a group of Russian emigrants tried to collect compatriots artists at the exhibition called "The World of Art", the previous members of the association led by M. Dobuzhinsky took part in it. The idea of \u200b\u200brecreation of the association, which arose in the Municipal Emigration Committee environment did not find support even at A. Benua, who had refused to participate in this exhibition. In the early 1930s, the Miriskusniki of all generations emigrated from Russia maintained friendly connections, together performed at the exhibitions of Russian art in Paris, Belgrade, Brussels. But in the modern Russian artistic life "The World of Art", unfortunately, did not exist.

Book graphics Miriskusnikov

The most complete and vivid embodiment of the creative aspirations of the masters of the St. Petersburg association found in the decoration of books and theatrical (opera and ballet) scene.

The efforts of the artists of the World Art of Art were derived to a high level of artwork book, they approved a new understanding of its beauty and artistry. The magazine "The World of Art" - the publication of a large format, all elements of the decoration of the cover and the pages of which were agreed in the unity of the style. Elegant calligraphy title, elegance of vignettes, matte yellowish paper versions, colored print made it with luxury item. In August 1898 M. Yakunchikova at the request of S. Dyagileva began to cooperate with the "world of art." She made a cover for publication: the combination of the patrimony of the scenery and the expression of the swan silhouette emphasized the cover of the cover and perfectly harmonized with a stylized font. And although the first issue was released in the design of K. Korovina, the editors later returned to the figure M. Yakunchikova.

The sophisticated taste was distinguished by all the printed editions, in the decoration of which Mircycles participated.

Petersburg, his story, its reflection in poetry, literature, architecture was the main theme in the book graphics A. Benua. He completed numerous illustrations for the "copper rider" Pushkin (1916, 1921-1922, the State Russian Museum of St. Petersburg; All-Russian Museum of A. S. Pushkin, Moscow; State Museum of Fine Arts. A. S. Pushkin, Moscow; private collections In Moscow and St. Petersburg) 7. Beno'a graphics created organic unity with the text of Pushkin. The illustrations of the entry were associated with the motifs of the art of Pushkin Pore, since the image of a classically clear city was recreated in verses with its architectonic clarity of lines. In subsequent illustrations, the compositions acquire dynamics, elegant harness, the chased logic of the cityscape disappear. Evgeny's duel with a rider ends with a dramatic ending: Terrible waves, scyful rain and a triumphant silhouette of the monument.

The image of the city becomes a leitmotif of a graphics interpretation of the poem. Granite embankments, commander of palaces, span of squares - for everyone lies a love attitude of Benua to the creation of Peter. But the image is born not only the beautiful capital, and the city of tragic hopelessness, formidable and ruthless.

M. Dobuzhinsky has repeatedly spoke about how his works of Dostoevsky were worried. In his illustrations to the "White Nights" (1923), the main character, in accordance with the text of the work, is becoming Petersburg. Little figures, almost dissolved in the dusk of the streets, emphasized the general lyrical mood inherent in this work. Although black and white sheets differed in strict graphice, Dobuzhinsky passed the ghostly atmosphere of white night. He avoided ornamentality, but the whiteness of the paper contrasted with heavy stains of the carcass, so the decorative effect of the drawings was created. The city seems deadly empty, witness a man's spiritual drama, personifies the spiritual world of heroes. The emotional stroke of the story of Dostoevsky, the artist revealed with the help of images of his own creativity - urban landscapes.

Ivan Yakovlevich Bilibin (1876-1942) - a representative of Miriskusenikov who fully applied to the book graphics. Despite the fact that externally, the creativity of Bilibin is opposed to the Western orientation of most artists of the "World Peace" artists, the influence on his work of English graphics, French ar-nouveau and Japanese engravings are very noticeable. The artist's work is distinguished by the beauty of the patterned pattern, the exquisite decorativeness of the color combinations, a subtle visual incarnation of the world, a combination of bright fabulousness with a sense of people's humor. 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. The master issued Russian folk fairy tales, epics. Significant illustrations for the "tale of Tsar Saltan" Pushkin (1905, State Russian Museum, St. Petersburg), this fairy tale gave rich food of the Bilibinsk fantasy. With striking skill and great knowledge, the artist depicted in the multi-colored paintings of the ancient Russian life. Vintage costumes and utensils. It should be noted that in 1902-1904, in the task of the ethnographic department of the Russian Museum of Bilibin, the Vologda, Arkhangelsk, Olonetsk and Tver province, collecting works of folk creativity and photographing wooden architecture monuments. The master contributed to the world of the Miriskusnic interests of the monuments of the ancient Russian art and the peasant artistic craft.

In 1901, Georgy Ivanovich Narbut (1886-1920) moved to St. Petersburg and met Bilibin; He took him under his patronage, introducing into the circle of Miriskuseniki. Debuted Narbut in 1907 with illustrations to children's books that immediately brought him fame: Large luck was "dances, Matvey, no sorry of the lapes" (1910) and two books with the same name "Toys" (1911); In all three, he used to master the stylized images of Russian folk toys. In these illustrations, a thorough contour drawing, thinly peeled watercolor, has carried a traces of the effect of Bilibin. In the design of fairy tales and bass, Narbut often used a silhouette pattern in combination with color.

Dmitry Ishidorovich Mitrokhin (1883-1973) illustrated several children's books, including the "Little Flour" V. Gauga (1912), Roland-Spherichell V. Zhukovsky (1913). Each of them was exemplary for the impeccability of graphic style and unity of drawings, inscriptions and ornaments.

Artists of the World of Art, updating the tradition, revived an illustration in Russia and a decorative schedule, created a serial system of book design. The masters contributed to the culture of book design and influenced the development of Russian graphics of the first quarter of the XX century.