Léon Bakst

Leyb-Khaim Izrailevich (later Samoylovich) Rosenberg was born in Grodno, Grodno Governorate of the Russian Empire (now Belarus) 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 in Saint Petersburg. 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, Leyb won a drawing contest and decided to become a painter. However, the parents disapproved of it and even threw away his paints. Following the divorce and remarriage of his parents, Bakst found it impossible to live with his new stepmother. Consequently, he moved into a rented apartment with his three siblings (two sisters and a brother). As the eldest child, he assumed financial responsibility for the family, supporting them by taking on various painting commissions and working as a book illustrator. After completing his studies at the gymnasium, he attempted to enter the St. Petersburg Academy of Arts; however, he initially failed the entrance examination. He was permitted to attend classes as an auditor (non-credit student) until he eventually gained full admission in 1883. At the time of his first exhibition (1889) he took the surname of Bakst, 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 name Bakster. 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 of Watercolourists. From 1893 to 1897 he lived in Paris, where he studied at the Académie Julian. He still often visited Saint Petersburg. After the mid-1890s, Bakst became a member of the circle of writers and artists formed by Sergei Diaghilev and Benois, who in 1899 founded the influential periodical Mir iskusstva, meaning "World of Art". His graphics for this publication brought him fame.

Bakst continued painting, producing portraits of Filipp Malyavin (1899), Vasily Rozanov (1901), Andrei Bely (1905), Zinaida Gippius (1906). He also worked as an art teacher for the children of Grand Duke Vladimir Alexandrovich of Russia. In 1902, he took a commission from Tsar Nicholas II to paint Admiral 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-organized First Exhibition of Russian and Finnish Artists; in World of Art exhibitions, as well as the Munich Secession, exhibitions of the Union of Russian Artists, etc. During the Russian Revolution of 1905, Bakst worked for the magazines Zhupel, Adskaya Pochta, Mir Iskusstva (magazine), and Satirikon, then for an art magazine called Apollon. Beginning in 1909, Bakst worked mostly as a stage-designer, designing sets for Greek tragedies. In 1908, he gained attention as a scene-painter for Diaghilev with the Ballets Russes. He produced scenery for Cléopâtre (1909), Scheherazade (1910), Carnaval (1910), Narcisse (1911), Le Spectre de la Rose (1911), L'après-midi d'un faune (1912) and Daphnis et Chloé (1912). During this time, Bakst lived in western Europe because, as a Jew, he did not have the right to live permanently outside the Pale 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)].

Despite being known for his work as a stage designer, art was also commissioned by various English families during the Art Deco era. During this time, he produced such works as the Sleeping Beauty series for James and Dorothy de Rothschild at Waddesdon Manor in 1913. The story is depicted in seven panels that line the walls of an oval, theatrical styled "Bakst room" in the Buckinghamshire manor house.

During his visits to Saint Petersburg, he taught in Zvantseva's school, where one of his students was Marc 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.In 1914, Bakst was elected a member of the Imperial 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. 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). 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, exploit

Marc Chagall, My Life, St.-Petersburg, Azbuka, 2000, ISBN 5-267-00200-3 Codell, Julie," Convergences: Art History, Museums and Scholar-Agent Martin Birnbaum's Transatlantic Art for the Public," Art Markets, Agents and Collectors, eds. A. Turpin and S. Bracken. Bloomsbury, 2021, 316–327 Léon Bakst, Serov et moi en Grèce, translation and introduction by Olga Medvedkova, preface by Véronique Schiltz, TriArtis Editions, 2015, 128 p., 24 illustrations (ISBN 978-2-916724-56-0; OCLC 902790439) Usova, M. N. (2016). ""Трехфамилие" Бакста: Рабинович, Розенберг, Бакст. От Лейбы Рабиновича до Леона Бакста" [Three Surnames of Leon Bakst: Rabinovich, Rosenberg, Bakst. From Leyb Rabinovich to Leon Bakst]. Journal of the Vaganova State Ballet Academy (in Russian). 5 (46): 72–82. Bowlt, J. E.; Chernukhina, A.; Kovaleva, O.; Terkel, E. (2008). ""Words of Magic": The Literary heritage of Leon Bakst" (PDF). The Tretyakov Gallery (1): 80–82. André Levinsohn: Ballets Russes. Die Kunst des Léon Bakst (Die bibliophilen Taschenbücher. 666). Harenberg-Edition, Dortmund 1992, ISBN 3-88379-666-2. Horst Schumacher: Bakst, Leon. In: Manfred Brauneck, Wolfgang Beck (Hrsg.): Theaterlexikon 2. Schauspieler und Regisseure, Bühnenleiter, Dramaturgen und Bühnenbildner. Rowohlts Enzyklopädie im Rowohlt Taschenbuch Verlag. Reinbek bei Hamburg, August 2007, ISBN 978 3 499 55650 0, S. 33.