Bilibin Ivan Yakovlevich is a Russian painter, author of many paintings, graphic drawings and vivid illustrations for Russian folk tales, legends and epics. In addition, he was involved in the design of theatrical productions. Ivan Bilibin’s illustrations for fairy tales are especially unique and colorful, as they are created in a unique manner.

The path to creativity

Then he went to Munich, where he studied in the studio of the then popular artist Anton Ashbe. Upon completion, he returned to his homeland, to his beloved St. Petersburg, where he continued to study the art of painting with Ilya Efimovich Repin himself.

The expression “Russian folk tale” - without a doubt - gives birth in the fantasies and understanding of man to the terrible and terrible Baba Yaga in the mortar, the beautiful Vasilisa and Ivan Tsarevich.

Yes, this is certainly true, because they were born and etched in the memory of many generations, thanks to imagination, work and artistic skill Russian painter - Ivan Yakovlevich Bilibin. Without exception, all of his paintings are imbued with the spirit of modernism and love for his land, its culture, rituals and legends.

During his short life, Ivan Bilibin created many paintings, but among them, of course, there are the most famous works, which are appreciated all over the world. Below are the most famous paintings and illustrations of Bilibin for fairy tales and epics.

“Ivan Tsarevich and the Firebird” (1899), to the fairy tale “Ivan Tsarevich and the Gray Wolf”

This Firebird is true magic, unlike others. It is this bird that Ivan Tsarevich manages to watch and grab by the tail (like luck). But he still fails to catch her; only the feather of the wondrous bird remains in his hand. This painting combines tangible images and important ideas, making the painting filled with great meaning.

“Vasilisa the Beautiful leaves the house of Baba Yaga” (1899), to the fairy tale “Vasilisa the Beautiful”

The picture shows a completely different side of the evil Baba Yaga, who, despite her temper, still helps the beautiful Vasilisa in her daily labors and problems. In the picture a large number of bright colors, in addition, the unity of man with Mother Nature is proportionally represented.

“Baba Yaga” (1900), to the fairy tale “Vasilisa the Beautiful”

In this painting, the image of the evil Baba Yaga is depicted in a mortar, which flies above the earth itself. This image shows the down-to-earth beliefs of the people of that time. In addition, the image of old Yaga is symbolic, because in her hand there is a broom, with which many beliefs of the Russian people were associated at that time.

“Once upon a time there was a king” (1900), to the fairy tale “The Frog Princess”

The Russian Tsar is the Russian soul. The whole scene is filled with brilliant color and decorated with numerous shades, resulting in a pleasant inner harmony.

“Ivan Tsarevich the good fellow and his three sisters” (1901), to the fairy tale “Marya Morevna”

It is clear to the naked eye that the artist created this painting based on Old Russian manuscripts. The result was beautiful picture, which continues to delight our contemporaries with its beauty.

“Sister Alyonushka and brother Ivanushka” (1901), to the fairy tale of the same name

Here it all starts with the beauty of the Russian land. Landscape, nature, flora and fauna - the whole ensemble is depicted on this canvas, against which the brother and sister, the main characters of the fairy tale plot, are in the background. In this way, the master expresses his love for his native country, its nature, history and culture.

“Volga with his squad” (1903), to the epic “Volga”

The central plot of this painting was Russian life in ancient times and the struggle of the Russian people for the right to be free. The ornamental richness is amazing and remains relevant even today.

“During the entire conversation he stood behind the fence” (1904), to “The Tale of Tsar Saltan”

This illustration for the fairy tale shows the individuality and dissimilarity of Bilibin’s style from the works of other authors. Tsar Saltan is endowed with individual qualities, an easygoing disposition and a special soul. The painting impresses with the abundance of ornaments and ancient Russian patterns that decorate even the smallest parts of the canvas.

“The Astrologer before Dadon” (1906), to “The Tale of the Golden Cockerel”

A complex plot composition with its own character and special coloring of the illustrations. It is noticeable that every detail was worked out by the artist, therefore it is unique and unique. All the characters in the picture are clearly expressed, which makes the canvas much more natural.

“Strelchika in front of the Tsar and his retinue” (1919), to the fairy tale “Go there - I don’t know where”

A real Russian story, vividly reflecting the depth of the Russian soul, the culture of the Russian people, their traditions and foundations of that time. This canvas is filled with a huge amount of colors, making it look like a single whole.

Without exception, all illustrations by Ivan Bilibin are filled with meaning and unique graphics, have their own structure and special mood. From real and real ornaments, as well as detailed little things, the artist created a half-real, half-fictional world. In addition to the above illustrations, the wonderful Russian artist Ivan Yakovlevich Bilibin also created a huge number of different illustrations for fairy tales of Great Rus' and its epics.

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

Biography of Ivan Yakovlevich Bilibin: early years

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

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

First illustrations

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

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

A trip to the north

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

Design of the works of the great poet

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

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

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

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

Revolution and the double-headed eagle

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

Working in advertising

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

Teaching activities and personal life

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

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

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

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

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

Moving to Crimea

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

Life in Egypt

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

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

Work in Paris

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

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

Homecoming

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

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

Death

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

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

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

It's been more than twenty years since I've been in the tiny kitchen of our first apartment. It’s been a long time, but I can still remember in great detail a picture of a Russian hero that my grandmother cut out from some magazine and pasted on the refrigerator. It always seemed that this marvelous Russian hero was about to fly out on his wonderful horse through the window, hit Vanka with a mace from the third entrance, and then certainly marry me. And the picture was drawn by Ivan Bilibin, a magnificent master of “Old Russian” illustration.

The special “Bilibinsky” style is recognizable today at first sight: it is a perfect mastery of the art of book graphics, when the cover, text, font, drawings, andornamentssubordinated to one general idea Books, and masterly depiction of ancient Russian clothing and household items, Andreturn to the traditions of ancient Russian and folk art, with theirpatterned and decorative, Anda unique interpretation of epic and fairy tale images.

But the main thing is that Bilibin, from the awkwardness of peasant buildings, carved frames, embroidered tablecloths and towels, painted wooden and pottery, was able to create the atmosphere of Russian antiquity, epic and real fairy tale.

Ivan Bilibin became famous for his illustrations of Russian folk tales. Over the course of four years, he illustrated seven fairy tales: “Sister Alyonushka and Brother Ivanushka”, “White Duck”, “The Frog Princess”, “Marya Morevna”, “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf”, “ Feather of Finist Yasna-Falcon" and "Vasilisa the Beautiful".

The editions of fairy tales that I have preserved are small, large-format notebooks. All six books have the same cover from which Russians look fairy tale characters. In the reissue from IDM, everything is also under one cover. The names of the fairy tales are written in Slavic script, the page illustrations are surrounded by ornamental frames, like village windows with carved frames.

Pushkin's fairy tales with the master's drawings were also a huge success. Russian Museum Alexandra III bought illustrations for “The Tale of Tsar Saltan”, and acquired the entire illustrated series “Tales of the Golden Cockerel” Tretyakov Gallery. “The luxurious royal chambers are completely covered with patterns, paintings, and decorations. Here the ornament so abundantly covers the floor, ceiling, walls, clothes of the king and boyars that everything turns into a kind of unsteady vision that exists in a special illusory world and ready to disappear any moment."

The words of Bilibin himself are perfectly suited to the re-release of books with his illustrations by the Meshcheryakov Publishing House: “Only quite recently, like America, was discovered the old artistic Rus', covered with dust. But even under the dust it was beautiful, so beautiful that the first momentary impulse is quite understandable those who opened it: return! return!"

And in this impulse, quite recently the IDM published a book, which included all the works with illustrations by Bilibin, previously published in two separate editions: andPushkin's fairy tales, and Russian folk tales, and epics. Having seen this publication live, I thought - should I buy it? And this despite the fact that I already have all the same things in separate books. Unfortunately, I didn’t have the old editions with me to compare in detail, but the new collection differs offhand only in that the paper is coated, not offset, and the magenta color balance is normal this time. The quality of the book is excellent. Inside is the same as under the cut, only bigger. In general, I recommend it to everyone.

There is for sale a collection of Russian folk tales with drawings by Bilibin for “Tales from the Hut,” published in 1936 in Paris. In Russia this book with works French period the artist's work has never been published in its entirety before. But I haven’t seen her live, so I can’t judge the quality.
An illustrated collection of Pushkin, where Bilibin’s drawings include:
Andersen, about whom I already wrote:

Artist-lawyer

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

Storyteller artist

Almost every Russian person knows Bilibin’s illustrations from the books of fairy tales that were read to him at bedtime as a child. Meanwhile, these illustrations are more than a hundred years old. From 1899 to 1902, Ivan Bilibin created a series of six “Fairy Tales” published by the Expedition for the Procurement of State Papers. Afterwards, the same publishing house published Pushkin’s fairy tales about Tsar Saltan and the Golden Cockerel and the slightly less well-known epic “Volga” with illustrations by Bilibin. I wonder what famous illustration to “The Tale of Tsar Saltan...” with a barrel floating on the sea, reminiscent of the famous “Great Wave” by the Japanese artist Katsushika Hokusai. The process of I. Ya. Bilibin’s graphic drawing was similar to the work of an engraver. First, he sketched a sketch on paper, specified the composition in all details on tracing paper, and then translated it onto whatman paper. After this, using a kolinsky brush with a cut end, likening it to a chisel, I drew a clear wire outline with ink along the pencil drawing. Bilibin's books look like painted boxes. It was this artist who first saw a children's book as a holistic, artistically designed organism. His books are like ancient manuscripts, because the artist thinks through not only the drawings, but also all the decorative elements: fonts, ornaments, decorations, initials and everything else.

Double headed eagle

The same double-headed eagle that is now used on coins of the Bank of Russia belongs to the brush of the heraldry expert Bilibin. The artist painted it after February Revolution as the coat of arms for the Provisional Government, and since 1992 this eagle has again become the official Russian symbol. The bird looks fabulous, not ominous, because it was drawn by a famous illustrator of Russian epics and fairy tales. The double-headed eagle is depicted without royal regalia and with lowered wings; the inscription “Russian Provisional Government” and the characteristic “forest” Bilibinsky ornament are written in a circle. Bilibin transferred the copyright to the coat of arms and some other graphic designs to the Goznak factory.

Theater artist

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

The artist and the church

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

Return to homeland and death

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

A descendant of an old merchant family, a lawyer in love with fine arts, Ivan Bilibin long and persistently built his creative line. The drawing school of the Society for the Encouragement of the Arts, Anton Ashbe's school-workshop in Munich, and classes in the Tenishev workshop with Ilya Repin gave Bilibin a professional basis, but he became an original master thanks to a carefully structured individual program. The artist more than once participated in archaeological expeditions in the Russian North, made sketches of wooden huts and temples, costumes, embroideries, utensils, collected icons, popular prints and gingerbread boards, and knew many folk songs and ditties. No wonder authoritative art critic Silver Age Alexander Benois, noting Bilibin’s natural talent, noted: “His persistent study of folk motifs gives him healthy food: at the same time, his colorfulness develops in him and his technique is nurtured.”

“Only quite recently, like America, they discovered the old artistic Rus', vandalized, covered with dust and mold. But even under the dust she was beautiful..."- Ivan Bilibin (1876–1942) wrote at the beginning of the twentieth century, calling on domestic masters to revive high culture past and on its basis create a new “big style”.

Boris Kustodiev. Portrait of I.Ya. Bilibina, 1901

A St. Petersburg esthete, a passionate collector of antiques and art, an artistic person by nature, sociable and witty, Ivan Yakovlevich gained fame as a book illustrator not only among the discerning artistic elite, but also among the ignorant layman. Thin notebook books published by the Expedition for Procurement of State Papers “The Tale of Ivan Tsarevich, the Firebird and Gray wolf", "Vasilisa the Beautiful", "The Frog Princess", "The Feather of Finist Yasna-Falcon", "Marya Morevna", "Sister Alyonushka and Brother Ivanushka", "White Duck", "Volga" (1901–1903) surprised with the unusual large format and a carefully thought-out “beautiful book” system. Russian fairy tales and epics, decorated in the “Bilibin” style, acquired a special appeal; the viewer was captivated by the spectacular presentation of images and colorful power.

The artist freely conveyed the gloomy atmosphere of the magical world, the eerie unreality and irony of everyday scenes. Sacred significance coexisted with funny jokes in the folk spirit. Russian nature, with all its recognition, acquired monumentality and significance. Admirers noticed in the compositions the “crystal purity” of visual solutions and the melodiousness of folklore motifs, careful finishing and love for details. “All the works of Ivan Yakovlevich Bilibin - be it the smallest ending - are always made with love, intelligence, culture and with great artistic inspiration and skill”, - spoke about fellow artist Ostroumova-Lebedeva. Art critics analyzed clarity and rigidity outline drawing, precision of compositions, emotional intensity of color spots, laconic forms, elegance of stylizations and a desire for ornamentation.

Illustration by Ivan Bilibin for “The Tale of Tsar Saltan” by A.S. Pushkin, 1904–1905

Engraving "The Great Wave off Kanagawa" by Katsushika Hokusai, 1829–1832

Its external simplicity creative method deceptive. An astute viewer will note in the style of Ivan Bilibin the influence of Russian popular prints and Japanese engravings, paintings by Viktor Vasnetsov, drawings by Aubrey Beardsley and William Morris. As a man of the Art Nouveau era, Bilibin could not ignore the synthesis of decorative and visual arts, and as a member of the artistic association “World of Art”, he wanted to test his strength in a variety of creative activities. He was inventive and strived for professional perfection, as if playfully constructing complex ornaments that framed his graphic compositions. Tireless in his work, Ivan Yakovlevich designed books, worked in the field of theatrical and decorative art, made drawings for magazines, created sketches of posters and advertising brochures, playing cards, postcards, postage stamps, labels, bookplates. The popularity of the “Bilibin” style gave rise to many epigones, but among the artist’s students was Georgy Narbut, who managed to develop his mentor’s techniques into an original creative manner.

Illustration by Georgy Narbut for the Russian fairy tale “The Wooden Eagle”, 1909

Life was not kind to Bilibin, there were periods of failures and creative disappointments, there were painful years of revolution and civil war, when the artist, having lost everything, found himself in a foreign land without a livelihood. In emigration, he managed not only to survive, but to find a “second wind”, new themes and means of expression. His works of the 1920s–1930s depict the mysterious Egypt and the exotic East, knightly culture and the carnival splendor of the Baroque. Sensitive to everything new, the artist uses elements and style of Art Deco in his works. Having achieved recognition among discerning European audiences, he returned to his homeland, taught, worked as a theater artist, and illustrated books. Thoughts about creativity did not leave him until last days, before his death in besieged Leningrad.

Bilibin's works were popular in the Soviet Union; for many today he is the ideal book artist, best illustrator Russian folk tales. And even though researchers talk about the contradictions and limitations of the “Bilibin” style, there are no fewer fans of Ivan Yakovlevich’s work. This means that the model created by the master works, in which carefully collected ethnographic materials, the principles of designing the book as a single ensemble, the aesthetics of Art Nouveau, the clarity of stylistic techniques and the originality of the author’s solutions are melted together. And, undoubtedly, the artist’s sincere love for folk art, his faith in the “voice of blood”, which will help to gain the power and expressiveness of the “grand style”.