What paintings did Bilibin paint? Fairytale illustrations
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 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 engraved in the memory of many generations, thanks to the imagination, work and artistic skill of the 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 canvas combines tangible images and important ideas, thanks to which the picture is 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 beautiful Vasilisa in her daily struggles and problems. In the picture large number 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 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 canvas 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 home 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 individual qualities, flexible disposition and special soul. The painting is impressive with its abundance of ornaments and ancient Russian patterns, which decorate even the smallest parts of the canvas.
“The Astrologer before Dadon” (1906), to “The Tale of the Golden Cockerel”
Not easy plot composition, which has its own character and special color 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 huge amount various illustrations for fairy tales Great Rus' and her epics.
Ivan Yakovlevich Bilibin - Russian artist, graphic artist, theater artist, member of the "World of Art", author of illustrations for Russian fairy tales and epics in a decorative and graphic ornamental manner based on the stylization of Russian folk and medieval art; one of the greatest masters of the national romantic movement in the Russian version of the Art Nouveau style.
BIOGRAPHY OF THE ARTIST
Ivan Bilibin was born on August 16 (August 4, old style) 1876, in Tarkhovka, near St. Petersburg. Coming from an old merchant family. He studied in the studio of Anton Azhbe in Munich (1898), as well as in the school-workshop of Princess Maria Klavdievna Tenisheva under Ilya Efimovich Repin (1898-1900). He lived in St. Petersburg and was an active member of the World of Art association.
In 1899, Bilibin came to the village of Egny, Vesyegonsky district, Tver province. Here he created illustrations for the first time in what later became the “Bilibin” style for his first book, “The Tale of Ivan Tsarevich, the Firebird and the Gray wolf».
During the revolution of 1905, the artist creates revolutionary caricatures.
Since 1907, Bilibin taught a graphic art class at the school of the Society for the Encouragement of the Arts, continuing teaching until 1917. Among his students at the school were G.I. Narbut, K.S Eliseev, L.Ya. Khortik, A. Roosileht, N.V. Kuzmin, Rene O’Connell, K.D. Voronets-Popova.
In 1915, he participated in the establishment of the Society for the Revival of Artistic Rus', along with many other artists of his time. After October Revolution Bilibin leaves for Crimea to Batiliman, where he lives until September. Until December 1919 he was in Rostov-on-Don, then with the retreat of the White Army he ended up in Novorossiysk.
February 21, 1920 On the steamer "Saratov" Bilibin sails from Novorossiysk. Since 1920 he has lived in Cairo. In Egypt, Bilibin is working on sketches of panels and frescoes in the Byzantine style for the mansions of wealthy Greek merchants.
In February 1923, Bilibin married the artist Alexandra Vasilievna Shchekatikhina-Pototskaya. In the summer of 1924 he traveled with his family through Syria and Palestine. In October 1924 he settled in Alexandria. In August 1925, Bilibin moved to Paris.
In 1936, the artist returned to his homeland and settled in Leningrad. Bilibin teaches at the All-Russian Academy of Arts and continues to work as an illustrator and theater artist.
Bilibin died in besieged Leningrad February 7, 1942 in the hospital at the All-Russian Academy of Arts. Buried in mass grave professors of the Academy of Arts near the Smolensk cemetery.
WORK OF IVAN BILIBIN
Bilibin began drawing very early, and subsequently clarified it this way: “As far as I can remember, I have always drawn.”
As an artist, Bilibin was “indelibly impressed” by the exhibition of works by V. M. Vasnetsov in the halls of the Academy of Arts (1898). The national romantic trend in painting of that time captured him as a supporter and successor of " contour line", which Fyodor Tolstoy was so keen on 100 years earlier and which became the textured basis of the drawing in modern Bilibin artistic style"modern".
Illustrations for six Russian fairy tales (starting with the first and most notable “Tales of Ivan Tsarevich, the Firebird and the Gray Wolf”), published in 1901-1903, immediately made Bilibin’s name famous. But he reached full social significance and creative heights in further work: two illustrative cycles “based on Pushkin” “The Tale of Tsar Saltan” and “The Tale of the Golden Cockerel” were acquired by the Russian Museum of Alexander III and Tretyakov Gallery respectively.
Ivan Tsarevich and the Firebird Ivan Tsarevich and Vasilisa the Beautiful Ivan Tsarevich and the Frog Princess
After February Revolution Bilibin drew a drawing of a double-headed eagle, which was used as the coat of arms of the Provisional Government, and since 1992 this eagle has been featured on coins of the Bank of Russia.
Book, magazine and newspaper illustration constituted only part of Bilibin’s professional life.
Since 1904, he declared himself as a highly gifted theater artist and an expert in ancient costumes different nations, but above all Russian. Having begun collaboration with the Ancient Theater, newly organized in St. Petersburg (the idea of director and theater theorist N.N. Evreinov), Bilibin participated in S. Diaghilev’s enterprise, creating sketches of Russian costumes for M. Mussorgsky’s opera “Boris Godunov” (1908), Spanish costumes for Lope de Vega's comedy "The Sheep Spring" and for Calderon's drama "The Purgatory of St. Patrick" (1911), etc. Bilibin vividly demonstrated the art of decorating in the famous production of N. Rimsky-Korsakov's opera "The Golden Cockerel" (production at the Moscow Theater S . Zimin in 1909).
Bilibin also has works related to church painting. In it he remains himself, preserves individual style. After leaving St. Petersburg, Bilibin lived for some time in Cairo and actively participated in the design of a Russian house church in the premises of a clinic set up by Russian doctors. The iconostasis of this temple was built according to his design.
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.
BILIBINSKY STYLE
Bilibin's drawing is characterized by a graphic representation. Starting work on the drawing, Bilibin sketched a sketch of the future composition. Black ornamental lines clearly limit the colors, set volume and perspective in the plane of the sheet. Filling watercolor paints black and white graphic drawing only emphasize given lines. Bilibin generously uses ornament to frame his drawings.
INTERESTING FACTS FROM THE LIFE OF IVAN BILIBIN
Ivan Yakovlevich Bilibin intended to become a lawyer, diligently studied at the Faculty of Law of St. Petersburg University and successfully graduated full course in 1900.
For those involved in the revival of native traditions, I strongly recommend reading the article to the end.
In the previous article about the fashion for Russian patterns in clothing during the late 19th century and early 20th century, we talked about certain “tricks” that appear at a time when interest in Russian culture increases.
Let's explore this topic in more detail using the example of creativity for everyone famous artist Ivan Yakovlevich Bilibin (1876 - 1942).
Most of those who were born in the USSR began to comprehend this world with Russian fairy tales “Vasilisa the Beautiful”, “Sister Alyonushka and Brother Ivanushka”, “Marya Morevna”, “Feather of Finista-Yasna Sokol”, “ White duck", "The Frog Princess". Almost every child also knew the fairy tales of Alexander Sergeevich Pushkin - “The Tale of the Fisherman and the Fish”, “The Tale of Tsar Saltan”, “The Tale of the Golden Cockerel”.
Parents and grandparents read fairy tales from children's books with pictures. And we knew every fairy tale by heart and every picture in our favorite book. Pictures from books with fairy tales were one of our first images that we naturally absorbed as children. Exactly as in these pictures, we later imagined Vasilisa the Beautiful.
And most of these pictures belonged to the brush of Ivan Yakovlevich Bilibin. Can you imagine what influence this artist had on our worldview, our perception of Russian myths, epics and fairy tales? Who is he?
Ivan Bilibin was born on August 4 (August 16), 1876, in Tarkhovka, near St. Petersburg.
The Bilibin family is a separate topic for consideration; let’s just say that this family is from merchants, and subsequently, factory owners. That's enough for now.
Next, we look at where Ivan Yakovlevich studied. He studied in the studio of Anton Azhbe in Munich (1898), as well as in the school-workshop of Princess Maria Klavdievna Tenisheva under Ilya Efimovich Repin (1898-1900). Systematic drawing lessons under the guidance of Ilya Repin and acquaintance with the magazine and society “World of Art” (!) contributed to the development of skill and general culture Bilibina. On the work of Bilibin great influence rendered by Japanese (!) woodcut (wood engraving).
Ivan Yakovlevich Bilibin - considered a Russian artist, graphic artist, theater artist, author of illustrations for Russian epics and fairy tales in a decorative and graphic ornamental manner based on the stylization of motifs of Russian folk and medieval art, one of the largest masters of the “national-romantic” movement in the Russian version Art Nouveau style (!).
But Bilibin himself considered himself a “nationalist artist.”
Art Nouveau, at that time, sought to become a unified synthetic style, in which all elements from the human environment were executed in the same key. Art Nouveau artists drew inspiration from art Ancient Egypt(!) and other ancient civilizations. The art of Japan, which became more accessible in the West with the beginning of the Meiji era, had a noticeable influence on the Art Nouveau style. A feature of Art Nouveau was the abandonment of right angles and lines in favor of smoother, curved lines. Art Nouveau artists often took ornaments from flora. « Business card Herman Obrist's embroidery “Strike of the Scourge” became this style.
Further - more interesting.
Bilibin, living in St. Petersburg, was an active member of the World of Art association.
The founders of the "World of Art" (1898-1924) were the St. Petersburg artist Alexander Nikolaevich Benois and “theatrical figure and philanthropist” Sergei Pavlovich Diaghilev
Reader, take the time to find information on the Internet about what kind of people they were. You will immediately understand the essence of the association you belonged to or were close to:
Bakst Lev Samoilovich
Tsionglinsky Yan Frantsevich
Dobuzhinsky Mstislav Valerianovich
Roerich Nikolai Konstantinovich
Purvit Wilhelm
Vereisky Georgy Semyonovich
Lansere Evgeniy Evgenievich
Chambers Vladimir Yakovlevich
Mitrokhin Dmitry Isidorovich
Ostroumova-Lebedeva Anna Petrovna
Levitan Isaac Ilyich
Yakovlev Alexander Evgenievich
Somov Konstantin Andreevich
Golovin Alexander Yakovlevich
Grabar Igor Emmanuilovich
Korovin Konstantin Alekseevich
Kustodiev Boris Mikhailovich
Serov Valentin Alexandrovich
Vrubel Mikhail Alexandrovich
Sketch of a group portrait of the artists of the World of Art. From left to right: I.E. Grabar, N.K. Roerich, E.E. Lanceray, B.M. Kustodiev, I.Ya. Bilibin, A.P. Ostroumova-Lebedeva, A.N. Benoit, G.I. Narbut, K.S. Petrov-Vodkin, N.D. Milioti, K.A. Somov, M.V. Dobuzhinsky.
What a fun Wednesday!
Now do you understand why Bilibin’s “gingerbread kingdoms” are frankly unreal and permeated with sly irony?
Now do you understand why Bilibin had an anti-monarchical-LIBERAL worldview?
That is why the artist took part in the satirical magazines “Zhupel” and “Hellish Mail”, which appeared during the First Russian Revolution of 1905. His political grotesqueries stand out for their evil sarcasm, merciless to the existing system. Such, in particular, is the caricature of Nicholas II (“Donkey 1/20 life-size”, 1906), for which he was even subjected to a brief administrative arrest!
Yes, Bilibin was on an expedition to the Russian North (1905–1908).
Yes, I was interested in the “pre-Petrine” era.
Yes, everything unique in his work began with an exhibition of Moscow artists in 1899, at which Bilibin saw Vasnetsov’s painting “Bogatyrs”.
That is why, brought up in a St. Petersburg environment, far from being interested in the national past, the artist unexpectedly showed interest in Russian antiquity, fairy tales, and folk art!
Yes, Bilibin was interested in the atmosphere of Russian antiquity, epic, fairy tale. And he had a wealth of material from the expedition, photographs of embroidery on tablecloths, towels, peasant buildings, utensils, and clothing. There were sketches made in the village of Yegny. These are painted wooden and pottery, houses with carved frames and piers.
But Bilibin, despite the careful technique of execution of his works, did not strive to convey the originality of the patterns, ornaments and decorations of our ancestors!
But it was Russian patterns and ornaments that were the favorite motif ancient Russian masters and carried a deep semantic load.
But from genuine ornaments and details, Bilibin created a half-real, half-fantastic image! All page illustrations are surrounded by ornamental frames, just like village windows with carved frames. But these ornamental frames do not convey originality and tradition, but reflect only Bilibin’s view and have only a decorative function!
In the fairy tale “Vasilisa the Beautiful,” the illustration with the Red Horseman (the sun) is surrounded by flowers for some reason.
And the Black Horseman (night) are mythical birds with human heads.
The illustration with Baba Yaga's hut is surrounded by a frame with toadstools (what else could be next to Baba Yaga? Yes?).
And Baba Yaga herself is terrible and scary!
Bilibin, having the opportunity to revive the art of the pre-Petrine era, created modernism, a “remake”, that is, a “fake” - “decoy”. Very carefully executed, with elaboration of fonts, stylized as an old manuscript, distinguished by patterned design and bright decorativeness of the “Dummy”!
Maybe that’s why “The Tale of the Golden Cockerel” was the most successful for the artist? Bilibin achieves special brilliance and invention in his illustrations. 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.
Just like in “The Tale of Tsar Saltan”
When the Bolsheviks came to power, Ivan Bilibin participated in the propaganda of the Denikin government, and in 1920 he was evacuated with the White Army from Novorossiysk, lived in Cairo and Alexandria, where he worked actively in Alexandria, traveled around the Middle East, studying artistic heritage ancient civilizations and the Christian Byzantine Empire.
Then, in 1925, he moved to Paris. In 1925 he settled in France: the works of these years included the design of the magazine “Firebird”, “Anthology on the History of Russian Literature”, books by Ivan Bunin, Sasha Cherny, as well as the painting of a Russian temple in Prague, scenery and costumes for Russian operas “The Tale of Tsar Saltan” (1929), “ The Tsar's Bride"(1930), "The Legend of the City of Kitezh" (1934) N.A. Rimsky-Korsakov, “Prince Igor” by A.P. Borodin (1930), “Boris Godunov” by M.P. Mussorgsky (1931), to the ballet “The Firebird” by I.F. Stravinsky (1931).
Bilibin created many colorful panels to decorate private homes and restaurants. His decorative style - patterned, exotically catchy - became a kind of standard of the “Russian style”, that is, “Russian style”, abroad, nourishing nostalgic memories. Also designed a number Orthodox churches in Egypt and Czechoslovakia.
The “national-Bolshevik” turn in politics, the spread of the ideas of “Soviet patriotism” that were characteristic of Stalin era, contributed, oddly enough, to Bilibin’s return to his homeland. Having decorated the Soviet embassy in Paris with monumental patriotism (1935-1936), he again settled in Leningrad.
The storyteller Bilibin should be thanked for the double-headed eagle, which is depicted on the coat of arms of the Central Bank of the Russian Federation, on ruble coins and paper bills. It is interesting that this eagle was originally located on the seal of the provisional government.
IN art gallery paper money modern Russia On the ten-ruble “Krasnoyarsk” banknote, the Bilibin tradition is clearly visible: a vertical patterned path with forest ornaments - such frames edged Bilibin’s drawings on the themes of Russian folk tales. By the way, collaborating with financial authorities Tsarist Russia, Bilibin transferred the copyright to many of his graphic designs to the Gosznak factory.
IN last decade throughout his life, Bilibin taught at the All-Russian Academy of Arts, still acting in the role of book and theater artist: again staged “The Tale of Tsar Saltan” (as an opera by Nikolai Andreevich Rimsky-Korsakov in State Theater opera and ballet named after Sergei Mironovich Kirov, 1936-1937, and as a book by Alexander Sergeevich Pushkin, published in the same years in Goslit).
Sergei Eisenstein planned to involve Ivan Yakovlevich as an artist to work on the film “Ivan the Terrible,” but Bilibin’s death did not allow this idea to come true.
Ivan Bilibin died on February 7, 1942, in besieged Leningrad. Why did he choose this outcome? Maybe because, despite his worldview, he sometimes felt love for his Motherland?
This can be evidenced by the words of Bilibin: “Only quite recently, like America, they discovered the old artistic Rus', vandalized, covered with dust and mold. But even under the dust it was beautiful, so beautiful that the first momentary impulse of those who discovered it is quite understandable: to return it! return!"
Everyone who believes in the revival of native traditions, who contributes to this, must reject attempts to falsify and distort traditional, primordial images.
Yes, pictures in books with fairy tales attract the child’s attention and arouse interest. But we must take into account what kind of pictures these are and whether they really reflect the wisdom that our ancestors passed on to us. It is best not to entice with pictures, but simply read fairy tales to the child and give him the opportunity to imagine and create images himself.
Encourage him to develop these images and draw them independently.
The result will be amazing!
Wonderful Ivan Bilibin. This artist is famous for his illustrations for children's books with Russian folk tales. He took his characters, surroundings, and atmosphere of each drawing from the Russian tradition. Fortunately, ours is so rich that we don’t need to invent anything. Epic and fairy tale characters in his drawings they give books new life. When reading such books, you can imagine that you are watching a cartoon.
As is known about the artist himself, who grew up in St. Petersburg, at first he showed no interest in Russian antiquity, but studied more portraits, landscapes, etc. It all started when in 1899 he attended an exhibition of a wonderful Russian artist. His painting Bogatyrs was so amazing young artist that he developed an extraordinary interest in the history of Russian culture. By coincidence, that same summer Ivan ends up in the village of Egny, in the Tver region. Here it is located in the very heart of the Russian forest, where legends and fairy tales still live, and goblins and mermaids are almost real creatures.
The first book illustrated by I. Bilibin is a collection of fairy tales by Afanasyev. Over the next seven years, he illustrated seven fairy tales, including: Sister Alyonushka and Brother Ivanushka, the Frog Princess, Vasilisa the Beautiful and others. Bilibin's drawings are distinguished by their bright decorative execution, patterning, attractive design, frames and a subtle sense of the work. Many people in our country literally grew up with his drawings and illustrations. Often, fairy tales are understood exactly as the artist saw them. He approached each work very carefully and scrupulously. He accurately recreated the clothing, utensils, and character of buildings typical of that time.
In his case, she received a new life. If earlier these were some sketches made quickly and almost hastily, now these are real works of art. Ivan Bilibin, in order to constantly improve his skills, constantly studied fine arts and was often on trips to remote villages and villages. In distant and forgotten corners of Russia he studied national clothes, rituals, customs that have been preserved for a long time and have practically not been subjected to any trends of civilization.
(1876-1942) made illustrations for Russian folk tales “The Frog Princess”, “The Feather of Finist-Yasna Falcon”, “Vasilisa the Beautiful”, “Marya Morevna”, “Sister Alyonushka and Brother Ivanushka”, “White Duck”, for fairy tales A. S. Pushkin - “The Tale of Tsar Saltan” (1904-1905), “The Tale of the Golden Cockerel” (1906-1907), “The Tale of the Fisherman and the Fish” (1939) and many others.
I. Ya. Bilibin developed a system of graphic techniques that made it possible to combine illustrations and design in one style, subordinating them to the plane book page. Characteristics Bilibin style: beauty of patterned design, exquisite decorativeness color combinations, subtle visual embodiment of the world, a combination of bright fabulousness with a sense of folk humor, etc.
The artist strove for an ensemble solution. He emphasized the plane of the book page with a contour line, lack of lighting, coloristic unity, conventional division of space into plans and unification various points view in composition.
One of Bilibin’s significant works was illustrations for “The Tale of Tsar Saltan” by A. S. Pushkin. This fairy tale with its colorful pictures of ancient Russian life gave rich food Bilibin's fantasy. With amazing skill and great knowledge, the artist depicted ancient costumes and utensils. He reflected the main episodes Pushkin's fairy tale. However, different sources of stylization are noticeable between the sheets of the series. The illustration depicting Saltan looking into the little room is emotional and reminiscent of I. Ya. Bilibin’s winter landscapes from life. The scenes of receiving guests and feasts are very decorative and rich in motifs of Russian ornament. A leaf with a barrel floating on the sea is reminiscent of Hokusai's famous "Wave".
The process of I. Ya. Bilibin's graphic drawing was reminiscent of the work of an engraver. Having sketched a sketch on paper, he clarified the composition in all details on tracing paper, and then translated it onto whatman paper. After this, using a core brush with a cut end, likening it to a chisel, I ran it along pencil drawing clear wire outline in ink. IN mature period creativity, Bilibin abandoned the use of the pen, which he sometimes resorted to in his early illustrations. For his impeccable firmness of line, his comrades jokingly nicknamed him “Ivan the Steady Hand.”
In I. Ya. Bilibin’s illustrations of 1900-1910, the composition, as a rule, unfolds parallel to the plane of the sheet. Large figures appear in majestic, frozen poses. The conditional division of space into plans and the combination of different points of view in one composition make it possible to maintain flatness. The lighting completely disappears, the color becomes more conventional, important role the unpainted surface of the paper acquires, the way of marking the contour line becomes more complicated, and a strict system of strokes and dots is formed.
The further development of the Bilibin style is that in later illustrations the artist moved from popular print techniques to the principles: the colors become more sonorous and richer, but the boundaries between them are now marked not by a black wire outline, but by tonal thickening and a thin colored line. The colors appear radiant, but retain locality and flatness, and the image sometimes resembles cloisonne enamel.
Artist's works:
Palace of Dodona. Scenery sketch for the first act of N. A. Rimskaya-Korsakov’s opera “The Golden Cockerel.” 1909
Illustration for Russian folk tale“Go there - I don’t know where, bring that - I don’t know what...”
Crimea. Batiliman. 1940
Book sign by A. E. Benakis. 1922
Ending for the magazine "World of Art". 1899
Ivan the Tsarevich and the Firebird. Illustration for “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf.” 1899
Vasilisa the Beautiful leaves Baba Yaga's house. Illustration for the fairy tale “Vasilisa the Beautiful.” 1899
Cover for the fairy tale “Vasilisa the Beautiful.” 1899
Baba Yaga. Illustration for the fairy tale “Vasilisa the Beautiful.” 1900
Vasilisa the Beautiful and the White Horseman. Illustration for the fairy tale “Vasilisa the Beautiful.” 1900
Screensaver for the fairy tale “Vasilisa the Beautiful”. 1900
Red Rider. Illustration for the fairy tale “Vasilisa the Beautiful.” 1900
Black Rider. Illustration for the fairy tale “Vasilisa the Beautiful.” 1900
Red Rider (Noon or Sun). Illustration for the fairy tale “Vasilisa the Beautiful.” 1902
Screensaver for the fairy tale “The Feather of Finist Yasna-Falcon”. 1900
Maiden and Finist Yasen-Falcon. Illustration for the fairy tale “The Feather of Finist Yasna-Falcon.” 1900
Girl in the forest. Illustration for the fairy tale “The Feather of Finist Yasna-Falcon.” 1900
Screensaver for the fairy tale “The Frog Princess”. 1899
Illustration for the story “Once upon a time there was a king...” from the book “The Frog Princess”. 1900
Drawing from the book “The Frog Princess”. 1901
Screensaver for the fairy tale “Marya Morevna”. 1900
Good fellow, Ivan Tsarevich and his three sisters. Illustration for the fairy tale “Marya Morevna”. 1901
Ivan Tsarevich and “the army is a beaten force.” Illustration for the fairy tale “Marya Morevna”. 1901
Kashchei the Immortal. Illustration for the fairy tale “Marya Morevna”. 1901
Screensaver for the fairy tale “Sister Alyonushka and Brother Ivanushka.” 1901
Sister Alyonushka and brother Ivanushka. Illustration for the fairy tale “Sister Alyonushka and Brother Ivanushka.” 1901
The ending to the fairy tale “Sister Alyonushka and Brother Ivanushka.” 1902
Children and a white duck. Illustration for the fairy tale “The White Duck”. 1902
Volga with her squad. Illustration for the epic "Volga". 1903
Kem River. Open letter.1904
The village of Poduzhemie. Sketch open letter. 1904
“Here he shrank to a point, turned into a mosquito...” Illustration for “The Tale of Tsar Saltan” by A.S. Pushkin. 1904
“During the entire conversation he stood behind the fence...” Illustration for “The Tale of Tsar Saltan” by A.S. Pushkin. 1904
Feast. Illustration for “The Tale of Tsar Saltan” by A.S. Pushkin. 1905
Trade guests at Saltan's. Illustration for “The Tale of Tsar Saltan” by A.S. Pushkin. 1905
Vologda girl in festive attire. Drawing for a postcard. 1905
Dadonov's army. U-turn. Illustration for “The Tale of the Golden Cockerel” by A.S. Pushkin. 1906
Stargazer before Dadon. Illustration for “The Tale of the Golden Cockerel” by A.S. Pushkin. 1906
King Dadon in front of the Shamakhan queen. Illustration for “The Tale of the Golden Cockerel” by A.S. Pushkin. 1906
Cover for “The Tale of the Fisherman and the Fish” by A.S. Pushkin. 1908
Archer in front of the king and retinue. Illustration for the fairy tale “Go there - I don’t know where.” 1919
Andrey the shooter and Strelchikha. 1919
