Portrait of Ivan Bilibin

• 1901
• Canvas, oil. 142 х 110
• The State Russian Museum
• Ж-1876

Ivan Yakovlevich Bilibin (1876–1942), graphic artist, theatre artist and painter. He graduated from the Law Department of St Petersburg University (1896–1900) and studied at the Drawing School of the Society for the Encouragement of Arts (1895–1900), at Anton Ažbe’s school in Munich (1898) at the Princess Maria Tenisheva Art School (1898–1900) under Ilya Repin, and at the Higher Arts Institute of the Imperial Academy of Arts (1900–1904). He was a founding member of the World of Art union (1900–1917) and drew pictures for the journals Mir iskusstva (World of Art), Adskaya pochta (Hell’s Mail), Zhupel (Bugbear), Zolotoye runo (Golden Fleece) and others. From 1907 he worked in theatre. He illustrated and designed children’s books for St.Petersburg publishers such as bylinas, folk tales and tales from Pushkin (1900s), and in the 1930s he illustrated tales from Pushkin for the State Literature Publishers. He had his own profoundly individual way of designing books, at whose heart lay motifs from Russian folk art and from the Middle Ages.

Портрет Д. С. Стеллецкого

• 1901
• Canvas, oil. 96 х 98
• The State Russian Museum
• Ж-1885

Портрет З. Е. Прошинской

• 1901
• сharcoal , sanguine, chalk. 66,9 x 46,8
• The State Russian Museum
• Р-13500

Портрет М. И. Хейлика

• 1901
• Canvas, oil. 103 х 87
• The State Russian Museum
• Ж-1893

Портрет Ю. Е. Прошинской

• 1901
• Cardboard, сharcoal , sanguine, chalk. 48 х 33,6
• The State Russian Museum
• Р-6043

Portrait of Vasily Mahté

• Canvas, oil. 125 х 151
• The State Russian Museum
• Ж-4360

Boris Kustodiev painted a vast portrait gallery of his contemporaries. He was the first to describe himself as a portraitist, as he considered this genre to be his calling. Kustodiev, who was taught by Repin at the Imperial Academy of Arts from 1896 until 1903 and who was close to him in many ways, took a step further in the evolution of the portrait painting. He painted with a free dynamic touch, which preserved the vigour of his first impressions.

Vasily Vasilyevitch Mahté  (1856-1917) was an engraver, an art head teacher and an academician (1899). Kustodiev was his student in etching. In this painting, it is Mahté ’s wife, Ida Mahté , who is sitting at the table.

Портрет Д. Ф. Богословского

• 1902
• Canvas, oil. 69,5 х 108
• The State Russian Museum
• Ж-1894

Портрет Ю. Е. Кустодиевой

• Canvas, oil.
• The State Russian Museum
• Ж-1860

Портрет Н. В. Муравьева

• Canvas, oil. 54 х 35
• The State Russian Museum
• Ж-1881

Портрет Н. И. Бобрикова

• 1902–1903
• Canvas, oil. 60,5 х 43
• The State Russian Museum
• Ж-1887

Портрет П. А. Шевелева

• 1903
• Canvas, oil. 114 х 86
• The State Russian Museum
• Ж-1880

Портрет П. И. Саломона

• 1902–1903
• Canvas mounted on cardboard, oil. 61,7 х 46,5
• The State Russian Museum
• Ж-8111

Портрет Ю. Е. Кустодиевой

• 1903
• Paper, graphite pencil, . 36,8 х 27
• The State Russian Museum
• Р-60792

Morning

• 1904
• Canvas, oil. 108 х 126,5
• The State Russian Museum
• Ж-4356

This poetic work of plein-air painting is one of Boris Kustodiev’s earliest family portraits. Painted in Paris, Morning depicts the artist’s young wife Yulia (1880–1942) and their eldest son Kirill (1903–1971), who later became a painter.

Автопортрет

• 1904
• Paper, graphite and coloured pencils, watercolours. 31,3 x 20,3
• The State Russian Museum
• Р-53189

Танцовщица в кабаре

• 1904
• Canvas, pastel. 88,5 х 71,5
• The State Russian Museum
• Ж-5943

Self-Portrait (Out Hunting)

• 1905
• Canvas, oil. 70 х 109
• The State Russian Museum
• Ж-6384

Hunting was one of the artist's favourite pastimes. In one of his early self-portraits, he appears at a hunt. Originally the figure was portrayed in full, with a dog and hunting trophies. He later cut off some of the canvas, leaving only the upper part of the body. The portrait was painted in September. It wonderfully conveys the lyrical feeling of late autumn. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 294.

Акакий Акакиевич на Невском проспекте

• 1905
• Paper, charcoal pencil. 20,3 x 32
• The State Russian Museum
• Р-999

Акакий Акакиевич у Петровича

• 1905
• Paper, charcoal pencil.
• The State Russian Museum
• Р-5000

Будочник

• 1905
• Paper, charcoal pencil.
• The State Russian Museum
• Р-5003

Kustodiev Boris Mikhailovich

Painter. Studied under Vasily Savinsky and Ilya Repin at the Higher School of Art, Imperial Academy of Arts (1896-1903). Fellow of the Imperial Academy of Arts in France and Spain (1903-1904). Academician of painting (1909). Founding member of the New Society of Artists (1904) and member of the Union of Russian Artists (1907), World of Art (1910) and the Association of Artists of Revolutionary Russia (1923). Contributed to exhibitions (from 1900). Contributed to the periodical exhibitions of the Moscow Society of Lovers of the Arts (1900-1901), Spring Exhibitions of the Imperial Academy of Arts (1900-1903) and the exhibitions of the New Society of Artists (1904-1908), Union of Russian Artists (1907-1910), World of Art (1910-1924), Association of Artists of Revolutionary Russia (1923, 1925) and the International Exhibitions in Munich (1901, gold medal; 1909) and Malmo (1914, gold medal). Designed for theatres in Moscow and St Petersburg (from 1911). 

Portrait of Ivan Bilibin

• 1901
• Canvas, oil. 142 х 110
• The State Russian Museum
• Ж-1876

Ivan Yakovlevich Bilibin (1876–1942), graphic artist, theatre artist and painter. He graduated from the Law Department of St Petersburg University (1896–1900) and studied at the Drawing School of the Society for the Encouragement of Arts (1895–1900), at Anton Ažbe’s school in Munich (1898) at the Princess Maria Tenisheva Art School (1898–1900) under Ilya Repin, and at the Higher Arts Institute of the Imperial Academy of Arts (1900–1904). He was a founding member of the World of Art union (1900–1917) and drew pictures for the journals Mir iskusstva (World of Art), Adskaya pochta (Hell’s Mail), Zhupel (Bugbear), Zolotoye runo (Golden Fleece) and others. From 1907 he worked in theatre. He illustrated and designed children’s books for St.Petersburg publishers such as bylinas, folk tales and tales from Pushkin (1900s), and in the 1930s he illustrated tales from Pushkin for the State Literature Publishers. He had his own profoundly individual way of designing books, at whose heart lay motifs from Russian folk art and from the Middle Ages.

Портрет Д. С. Стеллецкого

• 1901
• Canvas, oil. 96 х 98
• The State Russian Museum
• Ж-1885

Портрет З. Е. Прошинской

• 1901
• сharcoal , sanguine, chalk. 66,9 x 46,8
• The State Russian Museum
• Р-13500

Портрет М. И. Хейлика

• 1901
• Canvas, oil. 103 х 87
• The State Russian Museum
• Ж-1893

Портрет Ю. Е. Прошинской

• 1901
• Cardboard, сharcoal , sanguine, chalk. 48 х 33,6
• The State Russian Museum
• Р-6043

Portrait of Vasily Mahté

• Canvas, oil. 125 х 151
• The State Russian Museum
• Ж-4360

Boris Kustodiev painted a vast portrait gallery of his contemporaries. He was the first to describe himself as a portraitist, as he considered this genre to be his calling. Kustodiev, who was taught by Repin at the Imperial Academy of Arts from 1896 until 1903 and who was close to him in many ways, took a step further in the evolution of the portrait painting. He painted with a free dynamic touch, which preserved the vigour of his first impressions.

Vasily Vasilyevitch Mahté  (1856-1917) was an engraver, an art head teacher and an academician (1899). Kustodiev was his student in etching. In this painting, it is Mahté ’s wife, Ida Mahté , who is sitting at the table.

Портрет Д. Ф. Богословского

• 1902
• Canvas, oil. 69,5 х 108
• The State Russian Museum
• Ж-1894

Портрет Ю. Е. Кустодиевой

• Canvas, oil.
• The State Russian Museum
• Ж-1860

Портрет Н. В. Муравьева

• Canvas, oil. 54 х 35
• The State Russian Museum
• Ж-1881

Портрет Н. И. Бобрикова

• 1902–1903
• Canvas, oil. 60,5 х 43
• The State Russian Museum
• Ж-1887

Портрет П. А. Шевелева

• 1903
• Canvas, oil. 114 х 86
• The State Russian Museum
• Ж-1880

Портрет П. И. Саломона

• 1902–1903
• Canvas mounted on cardboard, oil. 61,7 х 46,5
• The State Russian Museum
• Ж-8111

Портрет Ю. Е. Кустодиевой

• 1903
• Paper, graphite pencil, . 36,8 х 27
• The State Russian Museum
• Р-60792

Morning

• 1904
• Canvas, oil. 108 х 126,5
• The State Russian Museum
• Ж-4356

This poetic work of plein-air painting is one of Boris Kustodiev’s earliest family portraits. Painted in Paris, Morning depicts the artist’s young wife Yulia (1880–1942) and their eldest son Kirill (1903–1971), who later became a painter.

Автопортрет

• 1904
• Paper, graphite and coloured pencils, watercolours. 31,3 x 20,3
• The State Russian Museum
• Р-53189

Self-Portrait (Out Hunting)

• 1905
• Canvas, oil. 70 х 109
• The State Russian Museum
• Ж-6384

Hunting was one of the artist's favourite pastimes. In one of his early self-portraits, he appears at a hunt. Originally the figure was portrayed in full, with a dog and hunting trophies. He later cut off some of the canvas, leaving only the upper part of the body. The portrait was painted in September. It wonderfully conveys the lyrical feeling of late autumn. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 294.

Портрет Л. П. Альбрехта

• 1905
• Cardboard, pastel. 67 х 76,7
• The State Russian Museum
• Ж-4361

Александр I

• 1906
• Canvas, oil. 340 х 172
• The State Russian Museum
• ЖБ-964

Портрет Н. А. Подсосова

• 1906
• Canvas, oil. 99 х 125
• The State Russian Museum
• Ж-5519

Портрет Д. С. Стеллецкого

• 1907
• Graphite pencil, sanguine. 36,6 x 26,7
• The State Russian Museum
• Р-5006

Портрет З. Е. Прошинской

• 1901
• сharcoal , sanguine, chalk. 66,9 x 46,8
• The State Russian Museum
• Р-13500

Портрет Ю. Е. Прошинской

• 1901
• Cardboard, сharcoal , sanguine, chalk. 48 х 33,6
• The State Russian Museum
• Р-6043

Портрет Ю. Е. Кустодиевой

• 1903
• Paper, graphite pencil, . 36,8 х 27
• The State Russian Museum
• Р-60792

Bathing

• 1912
• plywood, oil. 35 х 40
• The State Russian Museum
• Ж-8011

Boris Kustodiev acquired a virtuoso mastery of painting in a wide Impressionist manner in the early 1900s. The artist employed this knowledge in his own effective portraits and lyrical landscapes painted in delicate tones.

Merchant’s Wife

• 1915
• Canvas, oil. 204 x 109
• The State Russian Museum
• Ж-1870

Boris Kustodiev continued to paint moving and colourful images even after illness had deprived him of the power to move independently. As the artist himself correctly noted, he inhabited a magical kingdom of recollections, daydreams and nostalgic visions. Kustodiev’s motifs and subjects symbolised a life that had disappeared irrevocably into the past, yet had still lost none of its tart aroma. With their portly figures, ruddy cheeks and flowing movements, his haughty merchant’s wives personified the Russian national ideal of health and beauty. They were often the heroines of Boris Kustodiev’s half-ironic, halfadmiring picture panels. After the revolution, the artist’s images of merchant’s wives were perceived as a vision of a life that had slipped irrevocably into the past — the comfortable and regulated lifestyle of the merchant class, which had existed in Russia for centuries and had now vanished forever. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 305.

Натурщица. Правая нога, левая ступня

• 1915
• paper mounted on cardboard, graphite pencil, sanguine. 51,3 x 62,2
• The State Russian Museum
• Р-8125

Merchant’s Wife at Tea

• 1918
• Canvas, oil. 120 x 120
• The State Russian Museum
• Ж-1868

Boris Kustodiev continued to paint moving and colourful images even after illness had deprived him of the power to move independently. As commentators and the artist himself correctly noted, he inhabited a magical kingdom of recollections, daydreams and nostalgic visions. Kustodiev’s motifs and subjects symbolised a life that had disappeared irrevocably into the past, yet had still lost none of its tart aroma. Merchant’s Wife at Tea is an excellent example of an artistic recollection of resplendent beauties, azure evenings, unhurried teadrinking ceremonies and a seemingly permanent way of life. The sumptuous still-life on the table, the gleaming samovar, the bright watermelon, the marble shoulders of the heroine — the painterly beauty and expressiveness of every detail fill the canvas with light and colour. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 304.

Два портрета Аннушки

• 1918
• Paper, . 34,7 х 48,2
• The State Russian Museum
• РС-800

Женщина, пьющая чай

• 1918
• Paper, graphite and coloured pencils, . 66,6 x 48,8
• The State Russian Museum
• Р-40996

Молодая купчиха в клетчатом платочке

• 1919
• Paper, , . 30,8 х 27
• The State Russian Museum
• РС-804

Портрет И. Б. Kустодиевой, дочери художника

• 1919
• Paper, , white pigment.
• The State Russian Museum
• РС-791

Portrait of O. Myasoyedova

• 1920
• Paper, . 42 х 38
• The State Russian Museum
• РС-20926

Купчиха с зеркалом

• 1920
• Canvas, oil. 141 x 108
• The State Russian Museum
• Ж-7654

Купальщица

• 1921
• Paper, lithography.
• The State Russian Museum
• С.Гр.-2715

Купальщица

• 1921
• Canvas, oil. 62,4 х 72
• The State Russian Museum
• ЖС-569

Женский портрет (Портрет невесты барина Лапутина)

• 1922
• Paper, ink, nib.
• The State Russian Museum
• РС-782

Портрет Евдокимовой

• 1925
• Paper, graphite and coloured pencils. 33,8 х 27,3
• The State Russian Museum
• РС-6651

Купальщица, сидящая на берегу

• 1926
• .
• The State Russian Museum
• С.Гр.-10568

Осень

• 1926
• .
• The State Russian Museum
• С.Гр.-10588

Портрет И. Н. Ивановой

• 1926
• Canvas, oil. 67 х 70
• The State Russian Museum
• Ж-8841

Деревня Маурино Костромской губернии

• 1905
• Canvas, oil. 23 х 33
• The State Russian Museum
• Ж-6980

Сжатое поле со снопами

• 1905
• Paper, graphite pencil. 33,7 х 49,3
• The State Russian Museum
• Р-45793

Гулянье на Волге

• 1909
• Canvas, oil. 100 х 125
• The State Russian Museum
• Ж-1873

Деревенский праздник

• 1910
• Cardboard, tempera. 34,2 х 101
• The State Russian Museum
• Ж-5511

Bathing

• 1912
• plywood, oil. 35 х 40
• The State Russian Museum
• Ж-8011

Boris Kustodiev acquired a virtuoso mastery of painting in a wide Impressionist manner in the early 1900s. The artist employed this knowledge in his own effective portraits and lyrical landscapes painted in delicate tones.

Хоровод

• 1912
• Cardboard, gouache. 23,1 x 37
• The State Russian Museum
• Р-13503

Изба. Костромская губерния

• 1909–1917
• Canvas, oil. 53 х 64
• The State Russian Museum
• Ж-1871

Крестный ход

• 1915
• Paper, gouache. 17,8 x 27,9
• The State Russian Museum
• Р-54734

Торговец шарами

• 1915
• Paper, watercolours, gouache, graphite pencil. 47 х 15,7
• The State Russian Museum
• Р-54732

Shrovetide

• 1916
• Canvas, oil. 89 x 190,5
• The State Russian Museum
• Ж-4358

Much of Boris Kustodiev’s artistic heritage is given over to pictures depicting all the originality of Russian folk life, with its bright fairs, noisy bazaars and merry public festivities at Shrovetide. The artist loved everything Russian — wooden utensils, painted toys, garish sarafans and headscarfs, peasant huts with traditional carvings. Much of this defined the style of his works — decorative, gaudy colours and somewhat simplified interpretation of form. Such employment of the devices of folk art was typical of the masters of the World of Art. Stepan Krachkovsky wrote to Kustodiev on 22 March 1916: «Repin wrote to me that he is in raptures over your Shrovetide.» Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 306.

Масленица

• 1916
• Canvas, oil. 47 х 80,5
• The State Russian Museum
• Ж-11161

Fair Booths

• 1917
• Canvas, oil. 80 x 93
• The State Russian Museum
• Ж–4357

This type of scene depicting crowds of people out enjoying themselves and watching a performance by street artists was very much favoured by Kustodiev. The picture gives a sense of the diversity of provincial life. Play and Passion in Russian Fine Art. St-Petersburg. 1999. P. 93.

Закат

• Canvas mounted on cardboard, oil. 32 x 44,5
• The State Russian Museum
• Ж-11160

Merchant’s Wife at Tea

• 1918
• Canvas, oil. 120 x 120
• The State Russian Museum
• Ж-1868

Boris Kustodiev continued to paint moving and colourful images even after illness had deprived him of the power to move independently. As commentators and the artist himself correctly noted, he inhabited a magical kingdom of recollections, daydreams and nostalgic visions. Kustodiev’s motifs and subjects symbolised a life that had disappeared irrevocably into the past, yet had still lost none of its tart aroma. Merchant’s Wife at Tea is an excellent example of an artistic recollection of resplendent beauties, azure evenings, unhurried teadrinking ceremonies and a seemingly permanent way of life. The sumptuous still-life on the table, the gleaming samovar, the bright watermelon, the marble shoulders of the heroine — the painterly beauty and expressiveness of every detail fill the canvas with light and colour. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 304.

Лето (Поездка в „Терем“)

• 1918
• Canvas, oil. 65,5 х 183,5
• The State Russian Museum
• Ж-1867

Shrovetide

• 1919
• Canvas, oil. 88 х 106
• The State Russian Museum
• ЖС-1295

Осень

• 1919
• Paper, . 24,3 х 34,1
• The State Russian Museum
• РС-789

Сельский праздник

• 1919
• Cardboard, oil. 18 х 18
• The State Russian Museum
• Ж-8020

Архиерей

• 1921
• .
• The State Russian Museum
• С.Гр.-15454

Весна

• 1921
• Paper, lithography.
• The State Russian Museum
• С.Гр.-2719

Танцовщица в кабаре

• 1904
• Canvas, pastel. 88,5 х 71,5
• The State Russian Museum
• Ж-5943

В ложе

• 1912
• Cardboard, pastel. 33,6 х 47,3
• The State Russian Museum
• Ж-8027

Живоедова

• Paper, watercolours, graphite and coloured pencils.
• The State Russian Museum
• Р-59943

Улица в Крутогорске

• Cardboard, watercolours, gouache, graphite pencil.
• The State Russian Museum
• Р-54730

Площадь в Крутогорске

• Cardboard, watercolours, gouache, graphite pencil.
• The State Russian Museum
• Р-54731

У входа в парк усадьбы Купавиной

• Paper, watercolours, gouache, graphite pencil.
• The State Russian Museum
• Р-54733

Эскиз костюмов к комедии А. Н. Островского „Не было ни гроша, да вдруг алтын“

• Paper, watercolours.
• The State Russian Museum
• РС-5918

Комната в доме Прокофия Пазухина

• Paper, watercolours, gouache, graphite pencil.
• The State Russian Museum
• Р-60793

Общественный сад на высоком берегу Волги (Гулянье на берегу Волги)

• Paper, graphite pencil.
• The State Russian Museum
• РС-790

Princess Anfisa. Costume design for Yevgeny Zamyatin’s The Flea

• 1924
• Paper, watercolours. 34 х 25
• The State Russian Museum
• РС-20927

Блоха

• Paper, chromolithography.
• The State Russian Museum
• Гр.Пл-1587

Блоха

• Paper, chromolithography.
• The State Russian Museum
• Гр.пл-2160

Портрет З. Е. Прошинской

• 1901
• сharcoal , sanguine, chalk. 66,9 x 46,8
• The State Russian Museum
• Р-13500

Портрет Ю. Е. Прошинской

• 1901
• Cardboard, сharcoal , sanguine, chalk. 48 х 33,6
• The State Russian Museum
• Р-6043

Портрет Ю. Е. Кустодиевой

• 1903
• Paper, graphite pencil, . 36,8 х 27
• The State Russian Museum
• Р-60792

Автопортрет

• 1904
• Paper, graphite and coloured pencils, watercolours. 31,3 x 20,3
• The State Russian Museum
• Р-53189

Акакий Акакиевич на Невском проспекте

• 1905
• Paper, charcoal pencil. 20,3 x 32
• The State Russian Museum
• Р-999

Акакий Акакиевич у Петровича

• 1905
• Paper, charcoal pencil.
• The State Russian Museum
• Р-5000

Будочник

• 1905
• Paper, charcoal pencil.
• The State Russian Museum
• Р-5003

Возвращение Акакия Акакиевича из гостей. „Вдали, бог знает где, мелькал огонек в какой-то будке…“

• 1905
• Paper, charcoal pencil.
• The State Russian Museum
• Р-5001

Сжатое поле со снопами

• 1905
• Paper, graphite pencil. 33,7 х 49,3
• The State Russian Museum
• Р-45793

Манифестация

• 1906
• Paper, . 33,9 х 27,2
• The State Russian Museum
• Р-5008

Портрет Д. С. Стеллецкого

• 1907
• Graphite pencil, sanguine. 36,6 x 26,7
• The State Russian Museum
• Р-5006

Пасущиеся лошади

• 1909
• paper mounted on cardboard, watercolours, gouache, сharcoal . 24,5 x 35
• The State Russian Museum
• Р-53035

Голова Петра Великого

• 1910
• paper mounted on cardboard, сharcoal , . 52,7 х 34,8
• The State Russian Museum
• Р-56343

Групповой портрет художников «Мира искусства»

• 1910
• Paper, watercolours, graphite pencil. 26 x 30
• The State Russian Museum
• Р-60071

Автопортрет

• 1910–1914
• сharcoal , chalk. 50,1 х 45,7
• The State Russian Museum
• Р-8127

Автопортрет (в шубе)

• 1912
• Paper, watercolours, graphite pencil. 24,3 x 25,6
• The State Russian Museum
• Р-49274

Из книг Р. Нотгафт. Экслибрис

• 1912
• Paper, .
• The State Russian Museum
• Аф-49194

Хоровод

• 1912
• Cardboard, gouache. 23,1 x 37
• The State Russian Museum
• Р-13503

Портрет С. М. Сомова

• 1913
• paper mounted on cardboard, watercolours, gouache, graphite pencil. 47,7 x 31,8
• The State Russian Museum
• Р-6046

Портрет графа В. Н. Коковцова

• 1913
• Paper, watercolours, white pigment, graphite pencil. 52,2 x 30,7
• The State Russian Museum
• Р-6047