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As with many Russian intellectuals of his generation, the Russian Revolution and the imposition of the Bolsheviks had an existential impact on Ivan Yakovlevich Bilibin's life. In 1917, the year of the revolution, the artist, who was established at that time, left his homeland and went into exile. After the forced departure, the adventurer was drawn to Arabia. Over the next eight years, the artist tried to gain a foothold in Egypt, but eventually left Cairo and chose to live in Paris. The French capital had become the refuge and home of many Russian exiles, so Bilibin quickly made connections in their circles. The Russian exile community remained his point of orientation in the years until 1937. For members of the Russian elite, the artist worked as an interior designer and designed their residences in Paris. However, his life took an unusual turn in the politically troubled pre-war years in France. Whether out of conviction or increasing homesickness, or both, Bilibin returned to the Soviet Union in 1937 and took an active part in building a Soviet art scene. Even in the 1930s, the European avant-garde in painting, sculpture, and architecture looked to the USSR and followed the path there with interest. Bilibin accepted this challenge at the age of 61 and became a member of the All-Russian Academy of Artists in Leningrad. Just five years later, Bilibin died during the Leningrad blockade after the Third Reich invaded the Soviet Union.
Politics also played a crucial role in the artist's early Russian creative period in the years leading up to 1917. At the age of 24, he followed the intellectual orientation of the Russian elite to the West and took up art studies in Munich. After transferring to the Art Academy in St. Petersburg, Bilibin quickly established an excellent reputation in the field of newspaper and book graphics. However, the 26-year-old then found his calling during a project of the ethnographic department of the Museum of Nicholas III. As a photographer and illustrator, Bilibin collected evidence of Old Russian village culture between 1902 and 1904. His contact with his Slavic roots led him to study the fairy tales and legends of Russia, which he illustrated. In addition, he worked as a sought-after stage designer at the most famous Russian theaters.
In the 1905 revolution, Bilibin first appeared as a progressive bourgeois radical and provided the political illustrations for the satirical magazine "Zupel", which brought him into the eye of the tsarist secret police. In 1906 the magazine was officially banned and from then on the artist concentrated on ethnographic research, book illustrations and theater works. The Russian everyday culture and the peculiarities of the Russian soul did not let him go in the following years and he welcomed the revolutionary events of the spring of 1917. However, with the emerging victory of the Bolsheviks and the establishment of the Soviet Union, the bourgeois finally drew the consequences and left his homeland, but without ever leaving it behind completely.
As with many Russian intellectuals of his generation, the Russian Revolution and the imposition of the Bolsheviks had an existential impact on Ivan Yakovlevich Bilibin's life. In 1917, the year of the revolution, the artist, who was established at that time, left his homeland and went into exile. After the forced departure, the adventurer was drawn to Arabia. Over the next eight years, the artist tried to gain a foothold in Egypt, but eventually left Cairo and chose to live in Paris. The French capital had become the refuge and home of many Russian exiles, so Bilibin quickly made connections in their circles. The Russian exile community remained his point of orientation in the years until 1937. For members of the Russian elite, the artist worked as an interior designer and designed their residences in Paris. However, his life took an unusual turn in the politically troubled pre-war years in France. Whether out of conviction or increasing homesickness, or both, Bilibin returned to the Soviet Union in 1937 and took an active part in building a Soviet art scene. Even in the 1930s, the European avant-garde in painting, sculpture, and architecture looked to the USSR and followed the path there with interest. Bilibin accepted this challenge at the age of 61 and became a member of the All-Russian Academy of Artists in Leningrad. Just five years later, Bilibin died during the Leningrad blockade after the Third Reich invaded the Soviet Union.
Politics also played a crucial role in the artist's early Russian creative period in the years leading up to 1917. At the age of 24, he followed the intellectual orientation of the Russian elite to the West and took up art studies in Munich. After transferring to the Art Academy in St. Petersburg, Bilibin quickly established an excellent reputation in the field of newspaper and book graphics. However, the 26-year-old then found his calling during a project of the ethnographic department of the Museum of Nicholas III. As a photographer and illustrator, Bilibin collected evidence of Old Russian village culture between 1902 and 1904. His contact with his Slavic roots led him to study the fairy tales and legends of Russia, which he illustrated. In addition, he worked as a sought-after stage designer at the most famous Russian theaters.
In the 1905 revolution, Bilibin first appeared as a progressive bourgeois radical and provided the political illustrations for the satirical magazine "Zupel", which brought him into the eye of the tsarist secret police. In 1906 the magazine was officially banned and from then on the artist concentrated on ethnographic research, book illustrations and theater works. The Russian everyday culture and the peculiarities of the Russian soul did not let him go in the following years and he welcomed the revolutionary events of the spring of 1917. However, with the emerging victory of the Bolsheviks and the establishment of the Soviet Union, the bourgeois finally drew the consequences and left his homeland, but without ever leaving it behind completely.