ТВОРЧЕСТВО ЛЬВА БАКСТА КАК ТЕАТРАЛЬНОГО ДЕКОРАТОРА

Lev S. Bakst (1866-1924) experienced a rare lifetime of fame. None of the artists, his compatriots, at that time enjoyed such success and popularity abroad. Paris and London,              Monte-Carlo and New York were captivated by the subtle plasticity and spicy luxury of Bakst's costumes and sets. His theatrical work-the design of S.P. Diaghilev's Russian seasons in Paris-brought him to fame. Meanwhile, the work on S.P. Diaghilev left in the shadow of L.S. Bakst's theatrical work on Sergey Pavlovich's competitors. But the biggest customers were the “three graces” of L.S. Bakst – Anna Pavlova, Ida Rubinstein, Maria Kuznetsova. Muses and customers, famous for their talent and beauty, inspired the artist to create the brightest works. Before the First world war, L.S. Bakst was, without exaggeration, the most famous artist in the world. He was so high above everyone else that he didn't need to join groups to promote his works. L.S. Bakst has exhibited in major museums on both sides of the Atlantic, including the Louvre and the Art Institute of Chicago. The national assemblies of France bought the master's works even before his exhibitions. In Europe and America, beautiful albums dedicated to his work were released, which other artists could only dream of. At the age of 40, L.S. Bakst was awarded the highest award of France – the Legion of Honor. Major collectors in Europe literally hunted for the works of L.S. Bakst, who did not seek contacts with galleries. A hundred years later, fate played a cruel joke on L.S. Bakst. When he was alive, he towered over everyone, and now he doesn't get anywhere. It is not in the books about Russian Paris either. It is not present in the studies devoted to the stylistic trends of French Art. L.S. Bakst is even pushed from his territory-scenography: in books and in exhibition catalogues dedicated to: “Russian Ballet” by S.P. Diaghilev, most of all they write about the artists of the Paris school who came to replace him. In this publication, the author, as a result of studying bibliographic sources about L.S. Bakst, reveals the fullness and diversity of his theatrical work. The creative path of the master is carefully traced, his best sketches of scenery and costumes are analyzed.