Bilibin Vasnetsov message.docx - Message "Bilibin and Vasnetsov" "Outstanding Russian painters." Illustrations by Ivan Bilibin (165 works) - history in photographs Message on the topic of artists Vasnetsov and Bilibin

Ivan Yakovlevich Bilibin worked at the turn of two centuries and became famous as an artist, illustrator, and magnificent craftsman. theatrical scenery. He created own style in graphics, which the viewer really liked and found many imitators. The fate of this amazing master and his exquisite legacy in art invariably remains in the center of attention of a modern cultured person.

The beginning of the journey

Ivan Yakovlevich Bilibin was born on August 4 (16), 1876 in the village of Tarkhovka, near St. Petersburg. The artist's ancestors are famous Kaluga merchants, famous for their philanthropy and keen interest in the destinies of the fatherland. The artist’s father, Yakov Ivanovich Bilibin, was a naval doctor, then the head of a hospital and a medical inspector of the Imperial Navy, and participated in the Russian-Turkish war. The father dreamed of seeing his son become a lawyer, and young Ivan Bilibin, having graduated from high school, entered the Faculty of Law at St. Petersburg University.

The young man studied conscientiously, listened to the full course of lectures, defended thesis. But next to this completely practical prospect that promised a brilliant legal future, another dream always lived. He drew with passion since childhood. Simultaneously with his studies at the university, Bilibin studied the science of painting and graphics at the Drawing School of the Society for the Encouragement of the Arts. For a month and a half he took lessons in a private art school Austro-Hungarian artist Anton Azbe in Munich. It was here that the study of drawing was given special meaning and developed in students the ability to find individual artistic style. At home, Bilibin studied diligently in a painting workshop under the guidance of Ilya Repin.

Favorite topic

During Bilibin’s studies at the Higher Art School of the Academy of Arts, where Repin placed the young man, there was an exhibition of Viktor Vasnetsov, who wrote in a unique romantic manner on the themes of Russian myths and fairy tales. The exhibition was attended by many of our artists who would become famous in the future. Bilibin Ivan Yakovlevich was among them. Vasnetsov’s works struck the student to the very heart; he later admitted that he saw here what his soul was unconsciously yearning for and what his soul was yearning for.

In 1899-1902, the Russian Expedition for the Procurement of State Papers published a series of books equipped with excellent illustrations for folk tales. There were graphic paintings for the fairy tales “Vasilisa the Beautiful”, “The White Duck”, “Ivan Tsarevich and the Firebird” and many others. The author of the drawings was Ivan Yakovlevich Bilibin.

Illustrations for folk tales

His understanding of the national spirit and poetry that breathes Russian folklore was formed not only under the influence of a vague attraction to folk art. The artist passionately wanted to know and studied the spiritual component of his people, their poetics and way of life. In 1899, Ivan Yakovlevich Bilibin visited the village of Egny, in the Tver province, in 1902 he studied the culture and ethnography of the Vologda province, a year later the artist visited the Olonets and Arkhangelsk provinces. Bilibin brought a collection of works from his trips folk artists, photographs of wooden architecture.

His impressions resulted in journalistic works and scientific reports about folk art, architecture and national costume. An even more fruitful result of these travels were Bilibin’s original works, which revealed the master’s passion for graphics and a completely special style. Two bright talents lived in Bilibin - a researcher and an artist, and one gift fed the other. Ivan Yakovlevich worked with particular care on the details, not allowing himself to falsify a single line.

Style specifics

Why is Ivan Yakovlevich Bilibin so different in his style from other artists? Photos of his wonderful and joyful works help to understand this. On a piece of paper we see a clear patterned graphic outline, executed with extreme detail and colored with a whimsical watercolor range of the most cheerful shades. His illustrations for epics and fairy tales are surprisingly detailed, lively, poetic and not without humor.

Taking care of the historical authenticity of the image, which was manifested in the drawings in the details of costume, architecture, and utensils, the master knew how to create an atmosphere of magic and mysterious beauty. This is very close in spirit to creative association“World of Art” Ivan Yakovlevich Bilibin, whose biography is closely connected with this group of artists. They were all united by an interest in the culture of the past, in the alluring charms of antiquity.

Worldview in drawings

From 1907 to 1911, Bilibin created a number of unsurpassed illustrations for epics and fairy tales. poetic works Alexander Sergeevich Pushkin. Here are delightful and exquisite pictures for “The Tale of the Golden Cockerel” and “The Tale of Tsar Saltan.” The illustrations became not just an addition, but a kind of continuation of these verbal works, which, without a doubt, Master Bilibin read with his soul.

Ivan the Tsarevich and the frog who turned into a princess, and Yaga, Ilya Muromets and Nightingale the Robber, Elena the Beautiful, Churila Plenkovich, Svyatogor - how many heroes did Ivan Yakovlevich feel with his heart and “revive” on a piece of paper!

Folk art also gave the master some techniques: ornamental and popular print methods of design artistic space, which Bilibin brought to perfection in his creations.

Activities in print media

Ivan Bilibin worked as an artist and in magazines of that time. He created masterpieces of printing, which greatly contributed to the growth of this industry and its introduction into popular culture. The publications “People's Reading Room”, “Golden Fleece”, “Artistic Treasures of Russia” and others could not do without Bilibin’s elegant and meaningful vignettes, headpieces, covers and posters.

Worldwide fame

The works of the Russian graphic master became known abroad. They were shown at exhibitions in Prague and Paris, Venice and Berlin, Vienna, Brussels and Leipzig. They were reprinted by foreign magazines, and foreign theaters ordered Bilibin to design sketches for performances.

Satirical drawings

For the decade between 1920-1930, Ivan Yakovlevich fruitfully and successfully worked on the design of theatrical productions: he made drawings for opera seasons at the Champs-Elysees Theater, worked at the Russian Opera in Paris enterprise, and created outlandish sketches for Stravinsky’s ballet “The Firebird.”

Return

Life in exile was rich and free, but the artist was haunted by a growing longing for Russia. During his voluntary exile, he did not accept foreign citizenship anywhere, and in 1935 he took Soviet citizenship. At the same time, he created the monumental panel “Mikula Selyaninovich” for the building of the Soviet embassy in the capital of France. A year later, the artist and his family returned to their homeland. Bilibin was warmly received new government and became a professor at the graphic workshop of the Institute of Painting, Sculpture, and Architecture of the Academy of Arts in Leningrad. He did not leave work in the field book graphics.

Died in besieged Leningrad in 1942 from hunger and was buried in a common professorial grave at the Smolensk cemetery.

The amazing Russian artist Ivan Yakovlevich Bilibin left a distinct and vivid mark on the history of world art. Paintings, frescoes, graphics and other examples of his inspiring creativity are now kept in public and private collections. They decorate the halls of the Russian Museum in St. Petersburg and are exhibited in the Theater Museum. Bakhrushin in Moscow, in the Kiev Museum of Russian Art, in London's Victoria and Albert Museum, in the Paris National Gallery, in the Oxford Ashmolean Museum and many others.

Ivan Yakovlevich Bilibin - famous Russian artist, illustrator. Born on August 4, 1876 in the village of Tarkhovka, St. Petersburg province, he passed away on February 7, 1942 in Leningrad. The main genre in which Ivan Bilibin worked is considered to be book graphics. In addition, he created various paintings, panels and made decorations for theatrical productions, was engaged in the creation of theatrical costumes.

Still most admirers of the talent of this wonderful Russian know him for his merits in the fine arts. I must say that Ivan Bilibin had good school to study the art of painting and graphics. It all started with the drawing school of the Society for the Encouragement of the Arts. Then there was the studio of the artist A. Aschbe in Munich; at the school-workshop of Princess Maria Tenisheva, he studied painting under the guidance of Ilya Repin himself, then, under his leadership, he studied at the Higher art school Academy of Arts.

I.Ya. Bilibin lived most of his life in St. Petersburg. He was a member of the World of Art association. I began to show interest in the ethnographic style of painting after I saw the painting “Bogatyrs” by the great artist Viktor Mikhailovich Vasnetsov at one of the exhibitions. For the first time, he created several illustrations in his recognizable “Bilibino” style after he accidentally ended up in the village of Egny in the Tver province. The Russian hinterland with its dense, untrodden forests, wooden houses, similar to those very fairy tales of Pushkin and the paintings of Viktor Vasnetsov, inspired him so much with its originality that, without thinking twice, he began creating drawings. It was these drawings that became illustrations for the book “The Tale of Ivan Tsarevich, the Firebird and Gray wolf" We can say that it was here, in the heart of Russia, in its distant settlements lost in the forests, that all the talent of this wonderful artist. After that, he began to actively visit other regions of our country and write more and more illustrations for fairy tales and epics. It was in the villages that the image of ancient Rus'. People continued to wear ancient Russian costumes, held traditional holidays, decorated their houses with intricate carvings, etc. Ivan Bilibin captured all this in his illustrations, making them head and shoulders above the illustrations of other artists due to realism and precisely noted details.

His work is a tradition of ancient Russian folk art in a modern way, in accordance with all the laws of book graphics. What he did is an example of how modernity and the culture of our past can coexist great country. Being, in fact, an illustrator of children's books, his art attracted the attention of a much larger audience of viewers, critics and connoisseurs of beauty.

Ivan Bilibin illustrated such tales as: “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf” (1899), “The Tale of Tsar Saltan” (1905), “Volga” (1905), “The Golden Cockerel” (1909) ), “The Tale of the Golden Cockerel” (1910) and others. In addition, he designed the covers of various magazines, including: “World of Art”, “Golden Fleece”, publications of “Rosehip” and “Moscow Book Publishing House”.

Ivan Yakovlevich Bilibin is famous not only for his illustrations in the traditional Russian style. After the February revolution, he painted a double-headed eagle, which was first the coat of arms of the Provisional Government, and from 1992 to this day adorns the coins of the Bank of Russia. The great Russian artist died in Leningrad during the siege on February 7, 1942 in a hospital. Last job became an illustration for the epic “Duke Stepanovich”. He was buried in the mass grave of professors of the Academy of Arts near the Smolensk cemetery.

The brilliant words of Ivan Yakovlevich 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!".

Ivan Bilibin paintings

Baba Yaga. Illustration for the fairy tale Vasilisa the Beautiful

White Rider. The fairy tale of Vasilisa the Beautiful

Illustration for the epic Volga

Illustration for the fairy tale White Duck

Fairy tale Marya Morevna

Illustration for the Tale of the Golden Cockerel

The Tale of Tsar Saltan

Illustration for the Tale of Tsar Saltan

The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf

Illustration for the Tale of Ivan Tsarevich, the Firebird and the Gray Wolf

Illustration for the fairy tale Feather of Finist the Bright Falcon

Fairy tale Go there, I don’t know where

Illustration for the fairy tale Sister Alyonushka and Brother Ivanushka

Illustration for the fairy tale The Frog Princess

Kashchei the Immortal. To the fairy tale Marya Morevna

Red Rider. Illustration for the fairy tale Vasilisa the Beautiful

Ivan Yakovlevich Bilibin - famous Russian artist, illustrator. Born on August 4, 1876 in the village of Tarkhovka, St. Petersburg province - he passed away on February 7, 1942 in Leningrad. The main genre in which Ivan Bilibin worked is considered to be book graphics. In addition, he created various paintings, panels and scenery for theatrical productions, and was involved in the creation of theatrical costumes.Still, most of the admirers of the talent of this wonderful Russian Slavic artist know him for his merits in the fine arts. I must say that Ivan Bilibin had a good school to study the art of painting and graphics. It all started with the drawing school of the Society for the Encouragement of the Arts. Then there was the studio of the artist A. Aschbe in Munich; At the school-workshop of Princess Maria Tenisheva, he studied painting under the guidance of Ilya Repin himself, then, under his leadership, there was the Higher Art School of the Academy of Arts. I.Ya. Bilibin lived most of his life in St. Petersburg. He was a member of the World of Art association. I began to show interest in the ethnographic style of painting after I saw the painting “Bogatyrs” by the great artist Viktor Mikhailovich Vasnetsov at one of the exhibitions. For the first time, he created several illustrations in his recognizable “Bilibino” style after he accidentally ended up in the village of Egny in the Tver province. The Russian hinterland with its dense, untouched forests, wooden houses, similar to those very fairy tales of Pushkin and the paintings of Viktor Vasnetsov, inspired him so much with its originality that he, without thinking twice, began creating drawings. It was these drawings that became illustrations for the book “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf.” We can say that it was here, in the heart of Russia, in its distant settlements lost in the forests, that all the talent of this wonderful artist manifested itself. After that, he began to actively visit other regions of our country and write more and more illustrations for fairy tales and epics. It was in the villages that the image of ancient Rus' was still preserved. People continued to wear ancient Russian costumes, held traditional holidays, decorated their houses with intricate carvings, etc. Ivan Bilibin captured all this in his illustrations, making them head and shoulders above the illustrations of other artists thanks to realism and precisely noted details. His work is the tradition of ancient Russian folk art in a modern way, in accordance with all the laws of book graphics. What he did is an example of how modernity and the culture of the past of our great country can coexist. Being, in fact, an illustrator of children's books, his art attracted the attention of a much larger audience of viewers, critics and connoisseurs of beauty. In particular, and thanks to people like this artist, many of our compatriots began to be interested in the past, to engage in problems of history and the restoration of traditions and customs of their ancestors. Ivan Bilibin illustrated such tales as: “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf "(1899), "The Tale of Tsar Saltan" (1905), "Volga" (1905), "The Golden Cockerel" (1909), "The Tale of the Golden Cockerel" (1910) and others. In addition, he designed the covers of various magazines, including: “World of Art”, “Golden Fleece”, publications of “Rosehipnik” and “Moscow Book Publishing House”. Ivan Yakovlevich Bilibin is famous not only for his illustrations in the traditional Russian style. After the February revolution, he painted a double-headed eagle, which was first the coat of arms of the Provisional Government, and from 1992 to this day adorns the coins of the Bank of Russia. The great Russian artist died in Leningrad during the siege on February 7, 1942 in a hospital. The last work was an illustration for the epic "Duke Stepanovich". He was buried in the mass grave of professors of the Academy of Arts near the Smolensk cemetery. Brilliant words of Ivan Yakovlevich 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: return it!

MBOU secondary school No. 2

Completed
Student 3 "B" class:
Gazimagomedova Kistaman
Makhachkala
Viktor Vasnetsov and Ivan Bilibin brought a whole string of fairy-tale heroines to the audience.
In addition to “Indescribable Beauty,” these magical girls had something else to show off:
Each has its own character and its own unique story.

The frog princess knows how to conjure: at a feast she will put bones in one sleeve and wine in the other.
will pour out; then he will go dancing: he will wave right hand forests and waters will become, he will wave his left
different birds will fly.
The nameless fairy-tale maiden, to find her friend Finist the Clear Falcon,
trampled three pairs of iron shoes, broke three cast iron staffs and three breads
gnawed away stones; but she achieved her goal - such a stubborn character.
Princess Nesmeyana has everything in life except a good mood.
And the beautiful princess from the fairy tale “The White Duck” was bewitched and for some time
turned into a duck.
Both artists worked hard to dress their heroines correctly: clearly,
that Princess Nesmeyana would not wear a sundress and bast shoes of the simple girl Vasilisa, but
You cannot offer the frog princess the same dress as the Nesmeyans. But this is not enough: it was necessary
show viewers what fairytale palaces look like.
Vasnetsov was the first to resolve this issue when Savva Mamontov started hosting
stage “The Snow Maiden” by A. N. Ostrovsky at home for Christmas, and instructed Vasnetsov to write
scenery (and also play the role of Santa Claus). “Until one or two in the morning, you used to write and
moving a wide paint brush over a canvas spread on the floor, I remembered
an artist, but you yourself don’t know what will happen.” He painted the chambers of the fairy-tale Tsar Berendey, and
it looked like the chambers of a real tsar, an ancient Russian who lived in the 17th century: the ceilings
painted, the walls are painted with flowers and herbs; arches, figured columns, and behind the windows -
high “tent” roofs.
Therefore, in order to be closer to the fairy tale, artists and storytellers were interested in how people
lived before, what things they used and how they made life more elegant.
Bilibin traveled around the Russian North: he looked at how “ancient, felled churches
stuck to the banks of the northern rivers, like wooden utensils arranged in a spacious
northern hut and how the village dandies dress up in their ancient outfits" (this
words of the artist himself). He not only traveled, but also carried out a scientific task:
collected a collection of products from talented locals for the Russian Museum in St. Petersburg

craftsmen, photographed ancient wooden churches and chapels. He became real
an expert ancient architecture, ancient costume and peasant life. And in
Bilibin books fairy world created from historically accurate parts. Maybe not
to doubt: the way Vasilisa the Beautiful was dressed, ordinary people dressed, not fairy tales
girls.
Vasnetsov also acquired various antique items. In his workshop there was a light with
an iron stand with a pallet into which a splinter was clamped: the splinter burned, gave light, and
the coals fell into a pan where water was poured. There were real harps and a big one from ancient times
times, a chest with “suns”, and two weapons, axes. Touching these
things, the artist found himself in a fairy-tale world much faster than before. By the way,
Koshchei the Immortal had exactly the same chest (we saw it in the picture).
Suits were kept in the chest that stood in Vasnetsov’s house. Not all of them were
truly antique, they were mostly sewn by the painter’s relatives and friends for
home theater performances. Friends and relatives posed in the same costumes
Vasnetsov for the painting “The Sleeping Princess”.
At the end of his life, the artist became so accustomed to fairy-tale princesses that he left the paintings with them.
in my studio for good. Everyone thought that he had not finished his work yet. But probably
the main reason is different: these, so different, princesses supported him in sadness and
joy.

Fairy tale "Vasilisa the Beautiful" 1899

There are many children's book illustrators. One of the outstanding illustrators is Ivan Yakovlevich Bilibin. It was his illustrations that helped create an elegant and accessible children's book.

Focusing on the traditions of ancient Russian and folk art, Bilibin developed a logically consistent system of graphic techniques that remained fundamental throughout his entire work. This graphic system, as well as the originality of Bilibin’s interpretation of epic and fairy tale images gave the opportunity to talk about a special Bilibin style.

Fragment of a portrait of Ivan Bilibin by Boris Kustodiev 1901

It all started with an exhibition of Moscow artists in 1899 in St. Petersburg, at which I. Bilibin saw the painting “Bogatyrs” by V. Vasnetsov. Brought up in a St. Petersburg environment, far from any fascination with the national past, the artist unexpectedly showed interest in Russian antiquity, fairy tales, and folk art. In the summer of the same year, Bilibin left for the village of Egny, Tver province, to see for himself dense forests, transparent rivers, wooden huts, hear fairy tales and songs. Paintings from the exhibition of Viktor Vasnetsov come to life in the imagination. Artist Ivan Bilibin begins to illustrate Russian folk tales from Afanasyev's collection. And in the fall of the same year, the Expedition for Procurement of State Papers (Goznak) began publishing a series of fairy tales with Bilibin’s drawings. Over the course of 4 years, Bilibin 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”, “Vasilisa the Beautiful”. Editions of fairy tales are of the type of small, large-format notebooks. From the very beginning, Bilibin's books were distinguished by their patterned designs and bright decorativeness. The artist did not create individual illustrations, he strove for an ensemble: he drew the cover, illustrations, ornamental decorations, font - everything was stylized as an old manuscript.

The names of the fairy tales are written in Slavic script. To read, you need to look closely at the intricate design of the letters. Like many graphic artists, Bilibin worked on decorative type. He knew fonts well different eras, especially the Old Russian charter and semi-statut. For all six books, Bilibin draws the same cover, on which the Russians are placed fairy tale characters: three heroes, the bird Sirin, the Serpent-Gorynych, the hut of Baba Yaga. All page illustrations are surrounded by ornamental frames, like rustic windows with carved frames. They are not only decorative, but also have content that continues the main illustration. In the fairy tale “Vasilisa the Beautiful,” the illustration with the Red Horseman (sun) is surrounded by flowers, and the Black Horseman (night) is surrounded by 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?). But the most important thing for Bilibin was the atmosphere of Russian antiquity, epic, fairy tale. From authentic ornaments and details, he created a half-real, half-fantastic world. Ornament was a favorite motif of ancient Russian masters and main feature art of that time. These are embroidered tablecloths, towels, painted wooden and pottery, houses with carved frames and piers. In his illustrations, Bilibin used sketches of peasant buildings, utensils, and clothing made in the village of Yegny.

Fairy tale "Vasilisa the Beautiful" 1900

Fairy tale "Vasilisa the Beautiful" Black Horseman 1900

Bilibin proved himself to be a book artist; he did not limit himself to making individual illustrations, but strived for integrity. Feeling the specificity of book graphics, he emphasizes the plane with a contour line and monochromatic watercolor painting. Systematic drawing lessons under the guidance of Ilya Repin and acquaintance with the magazine and society “World of Art” contributed to the growth of skill and general culture Bilibina. The expedition to the Vologda and Arkhangelsk provinces on the instructions of the ethnographic department of the World of Art society was of decisive importance for the artist. Bilibin became acquainted with the folk art of the North, saw with his own eyes ancient churches, huts, utensils in the house, ancient outfits, embroidery. Contact with the original artistic source national culture forced the artist to practically overestimate his early works. From now on, he will be extremely accurate in depicting architecture, costume, and everyday life. From his trip to the North, Bilibin brought back many drawings, photographs, and a collection of folk art. Documentary substantiation of every detail becomes the artist’s constant creative principle. Bilibin's passion for ancient Russian art was reflected in the illustrations for Pushkin's fairy tales, which he created after a trip to the North in 1905–1908. Work on fairy tales was preceded by the creation of sets and costumes for Rimsky-Korsakov’s operas “The Tale of the Golden Cockerel” and “The Tale of Tsar Saltan” by A.S. Pushkin.

Fairy tale "Vasilisa the Beautiful" Red Horseman 1902

Bilibin achieves special brilliance and invention in his illustrations for the fairy tales of A.S. Pushkin. 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, existing in a special illusory world and ready to disappear. “The Tale of the Golden Cockerel” was the most successful for the artist. Bilibin combined the satirical content of the fairy tale with the Russian popular print into a single whole. Beautiful four illustrations and a spread completely tell us the content of the fairy tale. Let us remember the popular print, which contained a whole story in a picture. Were a huge success Pushkin's tales. 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 storyteller Bilibin should be thanked for the fact that the double-headed eagle depicted on the coat of arms of the Central Bank of the Russian Federation, on ruble coins and paper bills does not look like an ominous imperial bird, but like a fairy-tale, magical creature. And in art gallery paper money modern Russia on the ten-ruble “Krasnoyarsk” banknote, the Bilibin tradition is clearly visible: a vertical patterned path with a forest ornament - such frames edged Bilibin’s drawings on Russian themes folk tales. By the way, collaborating with the financial authorities of Tsarist Russia, Bilibin transferred the copyright to many of his graphic designs to the Gosznak factory.

"The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf" 1899

Epic "Volga" Volga with his squad 1903

In 1921 I.Ya. Bilibin left Russia, lived in Egypt, where he worked actively in Alexandria, traveled around the Middle East, studying artistic heritage ancient civilizations and the Christian Byzantine Empire. 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 Fairy Tale” about 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).

Golynets G.V. I.Ya.Bilibin. M., fine arts. 1972. P.5