Léon Bakst | |
|---|---|
 Self-Portrait, 1893, oil on cardboard, 34 × 21 cm;Russian Museum,St. Petersburg | |
| Born | Leyb-Khaim Izrailevich Rosenberg 27 January 1866 (1866-01-27) Grodno,Grodno Governorate, Russian Empire |
| Died | 27 December 1924(1924-12-27) (aged 58)[1] Rueil-Malmaison, France |
| Education | St. Petersburg Academy of Arts |
| Movement | Modernist, Orientalist themes |
Léon (Lev) Samoylovich Bakst (Russian:Леон (Лев) Самойлович Бакст), bornLeyb-Khaim Izrailevich Rosenberg[2] (Russian:Лейб-Хаим Израилевич Розенберг; 8 February [O.S. 27 January] 1866[3][4] – 27 December 1924),[1][5] was a Russian painter andscene andcostume designer of Jewish origin.[6][7] He was a member of theSergei Diaghilev circle and theBallets Russes, for which he designed exotic, richly colouredsets andcostumes.[8] He designed the décor for such productions asCarnaval (1910),Spectre de la rose (1911),Daphnis and Chloe (1912),The Sleeping Princess (1921) and others.[9]
Leyb-Khaim Izrailevich (later Samoylovich) Rosenberg was born inGrodno, into a middle-class Jewish family. As his grandfather was an exceptional tailor, the Tsar gave him a very good position, and he had a huge and wonderful house inSaint Petersburg.[10] Later, when Leyb's parents moved to the capital, the boy Leyb would visit his grandfather's house every Saturday. He said that he had been very impressed as a youth by that house, always returning with pleasure. At the young age of twelve, Lejb won a drawing contest and decided to become a painter. However, the parents disapproved of it and even threw away his paints.[11]
In several years the parents divorced and started new families, it became impossible to live with a step-mother, so the four siblings separated and rented their own place. As the eldest, Lejb was in charge of two sisters and brother, he 'took all kinds of painting work'. After graduating fromgymnasium, he studied at theSt. Petersburg Academy of Arts as a noncredit student, because he had failed the entry. He also worked part-time as a book illustrator, gaining admission into the Imperial Academy in 1883.
At the time of his first exhibition (1889) he took the surname ofBakst, though the origin of the pseudonym is still unclear. There are at least three versions, according to the main one, his mother's grandmother had the maiden nameBakster.[12]Alexander Benois, a life-long friend of Leon, recalled that 'Leo gave a prolonged and confusing explanation that the surname was taken after some of distant relatives'.
At the beginning of the 1890s, Bakst exhibited his works with the Society ofWatercolourists.[11] From 1893 to 1897 he lived in Paris, where he studied at theAcadémie Julian.[13] He still often visitedSaint Petersburg. After the mid-1890s, Bakst became a member of the circle of writers and artists formed bySergei Diaghilev and Benois,[14] who in 1899 founded the influential periodicalMir iskusstva, meaning "World of Art". His graphics for this publication brought him fame.
Bakst continued painting, producing portraits ofFilipp Malyavin (1899),Vasily Rozanov (1901),Andrei Bely (1905),Zinaida Gippius (1906). He also worked as an art teacher for the children ofGrand Duke Vladimir Alexandrovich of Russia. In 1902, he took a commission fromTsarNicholas II to paintAdmiral Avellan and Russian sailors arriving in Paris, a painting he started there, during the celebrations from the 17 to 25 October 1893. However, it took him 8 years to finish this work.
In 1898, he showed his works in the Diaghilev-organizedFirst Exhibition of Russian and Finnish Artists; inWorld of Art exhibitions, as well as theMunichSecession, exhibitions of theUnion of Russian Artists, etc. During theRussian Revolution of 1905, Bakst worked for the magazinesZhupel,Adskaya Pochta,Mir Iskusstva (magazine) [ru], andSatirikon [ru], then for an art magazine calledApollon.
Beginning in 1909, Bakst worked mostly as a stage-designer, designingsets forGreek tragedies. In 1908, he gained attention as a scene-painter forDiaghilev with theBallets Russes. He produced scenery forCléopâtre (1909),Scheherazade (1910),Carnaval (1910),Narcisse (1911),Le Spectre de la Rose (1911),L'après-midi d'un faune (1912) andDaphnis et Chloé (1912).[15] During this time, Bakst lived in western Europe because, as a Jew, he did not have the right to live permanently outside thePale of Settlement in the Russian Empire [needs references as inconsistent with his full ability to live and work in St Petersburg and other areas of the Empire. (Masters and specialists with skills were usually exempted from such limitations)].
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Despite being known for his work as a stage designer, art was also commissioned by various English families during theArt Deco era. During this time, he produced such works as the Sleeping Beauty series forJames andDorothy de Rothschild atWaddesdon Manor in 1913. The story is depicted in seven panels that line the walls of an oval, theatrical styled "Bakst room" in theBuckinghamshire manor house.[16]
During his visits to Saint Petersburg, he taught inZvantseva's school, where one of his students wasMarc Chagall (1908–1910). Bakst described Chagall as a favorite, because when told to do something, he would listen carefully, but then he would take his paint and his brushes and do something completely different from the assignment.[17]
In 1914, Bakst was elected a member of theImperial Academy of Arts. Bakst's comprehensive, many-sided talent showed itself in various areas — he worked as a designer of clothes, set decorations, interiors, textile, etc. Apart from a series of interior designs for the Rothschilds, he also designed exhibitions for ‘Mir Iskusstva’ society and occupied a post of a furniture and interior designer at ‘Sovremennoe Iskusstvo’ (rus. ‘Modern Art’). American silk industry businessman Arthur Selig invited Bakst to create textile design, their collaboration had great success.[16]
During this period his work was widely shown in the United States. Martin Birnbaum, manager of the Berlin Photographic Company in New York City, organized an exhibition of Bakst's work in 1913 in New York that then traveled to Detroit (1913), Buffalo (1914), Cincinnati (1914), Chicago (1914) and Montreal (1914).[18]After the Revolution of 1917 Leon's sister died from hunger in Russia. When Bakst received the news, he suffered a nervous breakdown, becoming so ill that he couldn't tolerate any irritants such as light, noise, or touch. His servant, Linda, exploited his condition to steal his money — she took all the honoraria that came to the house and intimidated the artist, forcing him to include her and her husband as heirs to his will. By chance he managed to send a note to an influential friend and patron Alice Warder Garrett (1877–1952), an art philanthropist, who helped his sister Sofia rescue Léon. They first met in Paris in 1914, when Mrs. Garrett was accompanying her diplomat husband in Europe, Bakst soon depended upon Garrett as both a confidante and agent.[16]
In 1922, Bakst broke off his relationship with Diaghilev and the Ballets Russes. During this year, he visitedBaltimore and, specificallyEvergreen House — the residence of his American friend Alice Garrett. Garrett became Bakst's representative in the United States upon her return home in 1920, organizing two exhibitions of the artist's work at New York'sKnoedler Gallery, as well as subsequent traveling shows. When in Baltimore, Bakst re-designed the dining room of Evergreen into a shocking acidic yellow and 'Chinese' red confection. The artist transformed the house's small c. 1885 gymnasium into a colourfully Modernist private theatre. This is believed to be the only extant private theatre designed by Bakst.
Léon Bakst was also a prolific writer, his literary legacy in three languages includes novels, numerous publications in magazines, critics, essays, letters to friends and colleagues.[19]
Bakst died on 27 December 1924, in a clinic inRueil Malmaison, near Paris, fromlung problems (oedema).[5] His many admirers amongst the most famous artists of the time, poets, musicians, dancers and critiques, formed a funeral procession to accompany his body to his final resting place, in the Cimetière des Batignolles, in Paris 17th Arrondissement, during a very moving ceremony.[14]
In late 2010, theVictoria and Albert Museum in London presented an exhibit of Bakst's costumes and prints.[20]
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