Russian stage design by The World of Art artists

Konstantin Somov. Colombine’s Little Tongue. 1915. Watercolor and gouache on paper mounted on cardboard. Russian Museum, St. Petersburg
Konstantin Somov. Colombine’s Little Tongue. 1915. Watercolor and gouache on paper mounted on cardboard. Russian Museum, St. Petersburg

Russian stage design by The World of Art artists. All World of Art members were strongly attracted to the theater. Dobuzhinsky and Benois, Lanceray and Bilibin, Roerich and Somov, Kustodiev and Bakst, Vrubel and Korovin, Golovin and Vasnetsov are among them. Much later, in his memoirs, Benois admitted that throughout his life he worshipped the theater, that in his mind the concept of “artistry” was always associated with the concept of “theatricality”. The World of Art group played a preeminent role in the twentieth century stage design, whose significance transcends national boundaries. Implied is not only the extensive acknowledgment throughout Europe of Russian stage designers, but also their direct impact upon scene-painting the world over.

Sergei Sudelkin. stage design by The World of Art
Sergei Sudelkin. Set design for Kuzmin’s Amusements for Virgins (St. Petersburg, Maly Drama Theater). 1911. Oil on canvas. Museum of Russian Art, Kiev

Sergei Sudelkin. stage design by The World of Art
Sergei Sudelkin. Set design for Kuzmin’s Amusements for Virgins (left)

However, it should be emphasized that the miriskusniki did not initiate those changes that were to be observed in stage design in the first quarter of the twentieth century. They merely continued the innovations introduced much earlier by the Abramtsevo Colony and the Mamontovo Private opera founded in 1885.

Ivan Bilibin stage design by The World of Art
Ivan Bilibin in a Russian costume made after his design for Igor Stravinsky’s The Firebird, Paris

By that year Russian stage design, which had once flourished, had become degraded to the point where it had largely lost its links with everything progressive in contemporary national art. No longer did notable artists, but “professionals”, mostly of journeyman caliber, rule the roost, plunging this field into a stereotype hardly witnessed in any other domain of the visual arts. As a result, the stage designer’s role was reduced merely to the creation of a cliché-ridden backdrop, either conventional or narrative, and the same sets were often used for the most varied productions.

Alexander Benois. stage design by The World of Art
Alexander Benois. Italian comedy Billet Doux, 1905. Gouache, pen and ink, and pencil on paper mounted on cardboard. Tretyakov Gallery, Moscow

Mamontov’s private company did away with this practice. Eminent painters again turned to design decoration. At first these were the Wanderers, Victor Vasnetsov and Vasily Polenov, later – the juniors, Mikhail Vrubel and Konstantin Korovin. Enchancing the role of stage designer, they maintained a firm conviction in the essential role of the sets and costumes in the entire theatrical production. Further, by ousting the “narrativeness” of standard settings, Vrubel, Konstantin Korovin and, later, Golovin, created an atmosphere of poeticized “theatrical reality”.

Ida Rubinstein (seated center), Michel Fokine, Leon Bakst, and Olga Preobrajenska (standing at right) with Italian singers at La Scala, Milan. 1910s
Ida Rubinstein (seated center), Michel Fokine, Leon Bakst, and Olga Preobrajenska (standing at right) with Italian singers at La Scala, Milan. 1910s

Some World of Arts members had already undertaken stage design after such memorable productions as Rimsky-Korsakov’s opera The Tale of Tsar Saltan (1900, stage set by Vrubel) and The Maid of Pskov (1901, with décor by Golovin) and the ballet, The Little Humpbacked Horse (1901, with décor by Konstantin Korovin).

A new chapter in Russian stage design had began.

Sergei Sudelkin. stage design by The World of Art
Sergei Sudelkin. The Ballet. 1910. Oil on canvas. Russian Museum, St. Petersburg

Sergei Sudelkin. stage design by The World of Art
Sergei Sudelkin. The Ballet

In 1902, Benois executed the decors for Mariinsky Theater production of Wagner’s Gotterdammerung. Between 1902 and 1904, Bakst did the sets and costumes for production at the Alexandrinsky Theater, also in St. Petersburg, of Euripides’ tragedy Hippolytus and Sophocles’ Œdipis at Colonus. The characteristic World of Art style of stage design – the decorative, flat style that, despite the highly intensive color scheme, was nonetheless more in the nature of a drawing than a painting.

Nikolai Sapunov. stage design by The World of Art
Nikolai Sapunov. The Turkish Ceremony. Set design for Act 4 of Moliere’s Bourgeois Gentilhomme (Moscow, Nezlobin Theater). Tretyakov Gallery, Moscow
Nikolai Sapunov. The Turkish Ceremony. Set design for Act 4 of Moliere’s Bourgeois Gentilhomme (Moscow, Nezlobin Theater). Tretyakov Gallery, Moscow
Nikolai Sapunov. The Turkish Ceremony. Set design for Act 4 of Moliere’s Bourgeois Gentilhomme (Moscow, Nezlobin Theater). Tretyakov Gallery, Moscow
Nikolai Sapunov. stage design by The World of Art
Nikolai Sapunov. The Turkish Ceremony. Set design (detail)

Toward the close of 1907 a theatrical enterprise conceived by a circle of enthusiasts in the vein of The World of Art aesthetic was established in St. Petersburg. Called the Antique Theater, its base goal was to restore the forms and the methods of the ancient European theater, especially that of the Middle Ages and the fifteenth and sixteenth centuries, and consequently, to focus attention on the eleventh-century liturgical play, the miracle play and pastoral of the thirteenth century, the fifteenth-century morality play, and the street farces of the sixteenth century.

Leon Bakst. stage design by The World of Art
Leon Bakst. Costume design for Sophocles’ tragedy (Edipus at Colonus (St. Petersburg, Alexandrinsky Theater). 1904. Watercolor and pencil. Bakhrushin Theater Museum, Moscow

Most of the World of Art members worked for this theater: Dobuzhinsky and Benois, who had helped found it, acted as artistic and historical consultants. Benois designed the theater’s drop curtain. Dobuzhinsky executed the superb stage design for Adam de la Halle’s Jeu de Robin et Marion. Collaborating with them at the Antique Theater were also Lanceray, Bilibin, Roerich, the young graphic artist Chembers, and the architect Shchuko.

Mstislav Dobuzhinsky. The Blue Drawing Room. Set design for Act I of Turgenev’s A Month in the Country (Moscow Art Theater). 1909. Watercolor, gouache, and pencil on paper mounted on cardboard. Tretyakov Gallery, Moscow
Mstislav Dobuzhinsky. The Blue Drawing Room. Set design for Act I of Turgenev’s A Month in the Country (Moscow Art Theater). 1909. Watercolor, gouache, and pencil on paper mounted on cardboard. Tretyakov Gallery, Moscow

The same year of 1907 saw the beginning of the World of Art’s close association with the Moscow Art Theater, Konstantin Stanislavsky came specially to St. Petersburg to see for himself of what the members of this still progressive group were capable.

Alexander Golovin. stage design by The World of Art
Alexander Golovin. The Ballroom. Set design for Scene 2 of Lermontov’s The Masquerade (Petrograd, Alexandrinsky Theater), 1917. Size paints and gouache touched up with gold paint on cardboard. Bakhrushin Theater Museum, Moscow

Between 1909 and 1915 Benois, Dobuzhinsky, and Kustodiev designed an extensive range of productions in the classical repertoire at the Moscow Art Theater. Benois did the sets and costumes for the comedies of Moliere and Goldoni, as well as for three “little tragedies” by Pushkin; Dobuzhinsky executed the decors for the plays of Turgenev, Griboyedov, and Blok, as well as for Nikolai Stavrogin (an adaptation of Dostoyevsky’s novel, The Demons), and Kustodiev, for Saltykov-Shchedrin’s drama, The Death of Pazukhin.

Alexander Benois. stage design by The World of Art
Alexander Benois. Set design for Pushkin’s tragedy The Feast in Time of Plague (Moscow Art Theater). 1914. Gouache, charcoal and pastel on paper. Tretyakov Gallery, Moscow

Despite the artists’ remarkable individuality, their stage designs all display one definite style, a style reflecting the basic aesthetic principles common to the entire World of Art group. Though Bakst was unlike Dobuzhinsky, and while Roerich would appear to have little in common with either Sudelkin or Golovin, they all shared a common understanding of their task, which could be defined, on the one hand, as the attainment of an organic artistic unity of all the components of the production, and on the other, as the creation of a strikingly magnificent spectacle, capable of transporting the viewer into the irreal, romanticized world of a theater totally at variance with the commonplace of everyday life.

Alexander Benois. stage design by The World of Art
Alexander Benois. Set design for the inn room in Goldoni’s La Locandiera (Moscow Art Theater). 1913. Watercolor on paper. Stanislavsky Memorial Museum, Moscow
 Leon Bakst. stage design by The World of Art
Leon Bakst. Costume design for Bœotian in Tcherepnin’s ballet Narcisse (Diaghilev Company). 1911. Watercolor and lead pencil on paper. Theater Museum, St. Petersburg
Leon Bakst. stage design by The World of Art
Leon Bakst. Costume design for the Bœotian girls in Tcherepnin’s ballet Narcisse (Diaghilev Company). 1911. Watercolor and lead pencil on paper. Theater Museum, St. Petersburg
Leon Bakst. stage design by The World of Art
Leon Bakst. Costume design for Orpheus in an unrelealized production of Roger-Ducasse’s ballet (St. Petersburg, Mariinsky Theater) 1915. Watercolor, gouache, India ink, and silver paint on paper. Silberstein collection, Moscow
Leon Bakst. stage design by The World of Art
Leon Bakst. Costume design for Florestan in Schumann’s Le Carnaval (Diaghilev Company). 1910. Theater Museum, St. Petersburg
Leon Bakst. stage design by The World of Art
Leon Bakst. Costume design for the dancer Tamara Karsavina. 1907. Watercolor, Indian ink, pencil and gold paint on paper. Russian museum, St. Petersburg
Leon Bakst. stage design by The World of Art
Leon Bakst. Costume design for the Blue God in Hahn’s Le Dieu Bleu (Diaghilev Company). 1912. Watercolor, gouache, and gold paint on paper. Bakhrushin Theater Museum, Moscow
Leon Bakst. stage design by The World of Art
Leon Bakst. Costume design for Richard Strauss’ Le Legende de Joseph (Diaghilev Company). 1914. Watercolor, pencil and gold paint. Russian museum, St. Petersburg
Alexander Benois. stage design by The World of Art
Alexander Benois. Costume design for Stanislavsky’s Le Rossignol (Diaghilev Company). 1914. Watercolor on paper. Russian museum, St. Petersburg
Alexander Benois. stage design by The World of Art
Alexander Benois. Set design for the seashore in Stanislavsky’s Le Rossignol (Diaghilev Company). 1914. Tempera on paper mounted on canvas. Russian museum, St. Petersburg
Alexander Benois. stage design by The World of Art
Alexander Benois. Costume design for Truffaldino in Goldoni’s The Servant of Two Masters (Petrograd, Bolshoi Drama Theater). 1920. Watercolor on paper. Dobychin collection. St. Petersburg
Alexander Benois. stage design by The World of Art
Alexander Benois. Costume design for the dancing girl in Stravinsky’s Petrouchka (Diaghilev Company). 1911. Watercolor and gouache on paper. Russian museum, St. Petersburg
Alexander Benois. stage design by The World of Art
Alexander Benois. Venetian Fete in the Sixteenth Century. Set design for an unrealized production of Debussy’s Les Jeux (Festivities). 1912. Gouache and watercolor on paper mounted on cardboard. Tretyakov Gallery, Moscow
Alexander Benois. stage design by The World of Art
Alexander Benois. Set design for scene 2 of Tcherepnin’s Le Pavillon d’Armide (St. Petersburg, Mariinsky Theater). 1907. Watercolor on paper. Russian museum, St. Petersburg
Ivan Bilibin. Dadon’s Palace. Set design for Act 1 of Rimsky-Korsakov’s The Golden Cockerel (Zimin’s Opera House). 1909. Pushkin Museum, Leningrad
Ivan Bilibin. Dadon’s Palace. Set design for Act 1 of Rimsky-Korsakov’s The Golden Cockerel (Zimin’s Opera House). 1909. Pushkin Museum, Leningrad
Ivan Bilibin. Dadon’s Palace. Set design (detail)
Ivan Bilibin. Dadon’s Palace. Set design (detail)
Alexander Golovin. The Volga Bank. Set design for Act I of Ostrovsky’s drama The Thunderstorm (Petrograd, Alexandrinsky Theater). 1916. Tempera on cardboard. Bakhrushin Theater Museum, Moscow
Alexander Golovin. The Volga Bank. Set design for Act I of Ostrovsky’s drama The Thunderstorm (Petrograd, Alexandrinsky Theater). 1916. Tempera on cardboard. Bakhrushin Theater Museum, Moscow
Alexander Golovin. Careno’s Room. Set design for Hamsun’s play At the Gate of the Kingdom (St. Petersburg, Alexandrinsky Theater). 1908. Gouache heightened with white on paper. Bakhrushin Theater Museum, Moscow
Alexander Golovin. Careno’s Room. Set design for Hamsun’s play At the Gate of the Kingdom (St. Petersburg, Alexandrinsky Theater). 1908. Gouache heightened with white on paper. Bakhrushin Theater Museum, Moscow
Mstislav Dobuzhinsky. Curtain design for Lunacharsky’s drama Oliver Cromwell (Moscow, Maly Theater). 1920-21. Watercolor and pencil on paper. Maly Theater Museum, Moscow
Mstislav Dobuzhinsky. Curtain design for Lunacharsky’s drama Oliver Cromwell (Moscow, Maly Theater). 1920-21. Watercolor and pencil on paper. Maly Theater Museum, Moscow
Mstislav Dobuzhinsky. Set design for the prologue to Remizov’s mystery-play A Devilish Act on a Certain Husband and also Life’s Disputes with Death (St. Petersburg, Vera Komissarzhevskaya’s Theater). 1907. Gouache and watercolor with bronze and silver powder. Bakhrushin Theater Museum, Moscow
Mstislav Dobuzhinsky. Set design for the prologue to Remizov’s mystery-play A Devilish Act on a Certain Husband and also Life’s Disputes with Death (St. Petersburg, Vera Komissarzhevskaya’s Theater). 1907. Gouache and watercolor with bronze and silver powder. Bakhrushin Theater Museum, Moscow
Mstislav Dobuzhinsky. By Izora’s Window. Set design for an unreleased Moscow Art Theater production of Blok’s The Rose and the Cross. 1916-17. Gouache on gray paper. Pushkin House (Academy of sciences Instutute of Russian Literature), St. Petersburg
Mstislav Dobuzhinsky. By Izora’s Window. Set design for an unreleased Moscow Art Theater production of Blok’s The Rose and the Cross. 1916-17. Gouache on gray paper. Pushkin House (Academy of sciences Instutute of Russian Literature), St. Petersburg
Nikolai Sapunov. Two stage costume designs. 1910. Gouache on cardboard. Brodsky Memorial Museum, St. Petersburg
Nikolai Sapunov. Two stage costume designs. 1910. Gouache on cardboard. Brodsky Memorial Museum, St. Petersburg
Sergei Sudelkin. Harlequin’s Garden. 1915-16. Oil on cardboard. Radishchev Art Museum, Saratov
Sergei Sudelkin. Harlequin’s Garden. 1915-16. Oil on cardboard. Radishchev Art Museum, Saratov
Konstantin Somov. Curtain design for Moscow’s Free Theater. 1913. Watercolor on paper mounted on cardboard. Bakhrushin Theater Museum, Moscow
Konstantin Somov. Curtain design for Moscow’s Free Theater. 1913. Watercolor on paper mounted on cardboard. Bakhrushin Theater Museum, Moscow
Sergei Sudelkin. Petrouchka. 1915. Watercolor on paper. Museum of Russian Art (Abramyan collection) Yerevan
Sergei Sudelkin. Petrouchka. 1915. Watercolor on paper. Museum of Russian Art (Abramyan collection) Yerevan
Sergei Sudelkin. Costume design for Shaw’s Caesar and Cleopatra (St. Petersburg, New Drama Theater), 1909. Gouache on paper. Theater Museum, St. Petersburg
Sergei Sudelkin. Costume design for Shaw’s Caesar and Cleopatra (St. Petersburg, New Drama Theater), 1909. Gouache on paper. Theater Museum, St. Petersburg
Sergei Sudelkin. Park in front of the Castle. Set design for Tchaikovsky’s The Swan Lake. 1911. Oil on canvas. Russian Museum, St. Petersburg
Sergei Sudelkin. Park in front of the Castle. Set design for Tchaikovsky’s The Swan Lake. 1911. Oil on canvas. Russian Museum, St. Petersburg
Sergei Sudelkin. Saxon Figurines. 1911. Oil on canvas. Russian Museum, St. Petersburg
Sergei Sudelkin. Saxon Figurines. 1911. Oil on canvas. Russian Museum, St. Petersburg
Konstantin Somov. Curtain design
Konstantin Somov. Curtain design
Konstantin Somov. Curtain design
Konstantin Somov. Curtain design
Alexander Benois. The Fair. Set design for Stravinsky’s Petrouchka (Diaghilev Company). 1911. Watercolor and gouache heightened with white on paper. Bolshoi Theater Museum, Moscow
Alexander Benois. The Fair. Set design for Stravinsky’s Petrouchka (Diaghilev Company). 1911. Watercolor and gouache heightened with white on paper. Bolshoi Theater Museum, Moscow
Alexander Benois. The Fair. Set design
Alexander Benois. The Fair. Set design
Mstislav Dobuzhinsky. The Blue Drawing Room. Set design for Act I of Turgenev’s A Month in the Country (Moscow Art Theater). 1909. Watercolor, gouache, and pencil on paper mounted on cardboard. Tretyakov Gallery, Moscow
Mstislav Dobuzhinsky. The Blue Drawing Room. Set design for Act I of Turgenev’s A Month in the Country (Moscow Art Theater). 1909. Watercolor, gouache, and pencil on paper mounted on cardboard. Tretyakov Gallery, Moscow
Alexander Benois. The Blackamoor’s Room. Set design for Stravinsky’s Petrouchka (Diaghilev Company). 1911. Watercolor and gouache on paper. Bolshoi Theater Museum, Moscow
Alexander Benois. The Blackamoor’s Room. Set design for Stravinsky’s Petrouchka (Diaghilev Company). 1911. Watercolor and gouache on paper. Bolshoi Theater Museum, Moscow
Alexander Golovin. Dr. Vangel’s Garden. Set design for Act I of Ibsen’s Lady from the Sea (St. Petersburg Alexandrinsky Theater). 1905. Pastel on cardboard. Bakhrushin Theater Museum, Moscow
Alexander Golovin. Dr. Vangel’s Garden. Set design for Act I of Ibsen’s Lady from the Sea (St. Petersburg Alexandrinsky Theater). 1905. Pastel on cardboard. Bakhrushin Theater Museum, Moscow
Alexander Benois. Set design for Taneyev’s Cupid Revenge (St. Petersburg, Hermitage Theater). 1900. Watercolor and charcoal on paper. Chudinovsky collection, St. Petersburg
Alexander Benois. Set design for Taneyev’s Cupid Revenge (St. Petersburg, Hermitage Theater). 1900. Watercolor and charcoal on paper. Chudinovsky collection, St. Petersburg
Alexander Golovin. Kremlin Square. Set design for Act I of Mussorgsky’s Boris Godunov (St. Petersburg, Mariinsky Theater). 1911. Watercolor and pen and ink on paper. Russian museum, St. Petersburg
Alexander Golovin. Kremlin Square. Set design for Act I of Mussorgsky’s Boris Godunov (St. Petersburg, Mariinsky Theater). 1911. Watercolor and pen and ink on paper. Russian museum, St. Petersburg
Mstislav Dobuzhinsky. The Blue Drawing Room
Mstislav Dobuzhinsky. The Blue Drawing Room
Nicholas Roerich. In the Monastery. Set design for Maeterlinck’s Soeur Beatrice (Petrograd, Musical Drama Theater). 1914. Tempera on cardboard. Russian museum, St. Petersburg
Nicholas Roerich. In the Monastery. Set design for Maeterlinck’s Soeur Beatrice (Petrograd, Musical Drama Theater). 1914. Tempera on cardboard. Russian museum, St. Petersburg
Sergei Sudelkin. Set design for Benavente’s The SeamySide of Life (St. Petersburg, Russian Drama Theater). 1912. Tempera on cardboard. Picture Gallery of Armenia, Yerevan
Sergei Sudelkin. Set design for Benavente’s The SeamySide of Life (St. Petersburg, Russian Drama Theater). 1912. Tempera on cardboard. Picture Gallery of Armenia, Yerevan
Nikolai Sapunov. The Ball. Set design for Act 2 of Schnitzler’s The Scarf of Columbine (St. Petersburg, House of Interludes), 1910. Tempera on cardboard. Picture Gallery of Armenia, Yerevan
Nikolai Sapunov. The Ball. Set design for Act 2 of Schnitzler’s The Scarf of Columbine (St. Petersburg, House of Interludes), 1910. Tempera on cardboard. Picture Gallery of Armenia, Yerevan
Alexander Golovin. Spanish dance. Set design for Glinka’s Jota of Aragon (St. Petersburg Mariinsky Theater). 1915. Tempera on cardboard. Russian museum, St. Petersburg
Alexander Golovin. Spanish dance. Set design for Glinka’s Jota of Aragon (St. Petersburg Mariinsky Theater). 1915. Tempera on cardboard. Russian museum, St. Petersburg
Sergei Sudelkin. At Olympia’s, set design for Offenbach’s The Tales of Hoffmann (Moscow, Zimin’s Opera House). 1915 Watercolor and gouache on paper. Bakhrushin Theater Museum, Moscow
Sergei Sudelkin. At Olympia’s, set design for Offenbach’s The Tales of Hoffmann (Moscow, Zimin’s Opera House). 1915 Watercolor and gouache on paper. Bakhrushin Theater Museum, Moscow
Sergei Sudelkin. At Olympia’s, set design
Sergei Sudelkin. At Olympia’s, set design
Mstislav Dobuzhinsky. Set design
Mstislav Dobuzhinsky. Set design
Mstislav Dobuzhinsky. Set design for de la Halle’s pastorale Le jeu de Robin et Marion (St.Petersburg, Antique Theater). 1907. Watercolor heightened with white on paper with pasted-on strip of gold tinfoil and touched up with bronze paint. Bakhrushin Theater Museum, Moscow
Mstislav Dobuzhinsky. Set design for de la Halle’s pastorale Le jeu de Robin et Marion (St.Petersburg, Antique Theater). 1907. Watercolor heightened with white on paper with pasted-on strip of gold tinfoil and touched up with bronze paint. Bakhrushin Theater Museum, Moscow
Nikolai Sapunov. The Mystic Gathering, Set design for Blok’s Balaganchik (The Fairground Booth) at Vera Komissarzhevskaya’s Theater, st. Petersburg, 1909. Tempera, pen, and charcoal with bronze, gold, and silver paint. Tretyakov Gallery, Moscow
Nikolai Sapunov. The Mystic Gathering, Set design for Blok’s Balaganchik (The Fairground Booth) at Vera Komissarzhevskaya’s Theater, st. Petersburg, 1909. Tempera, pen, and charcoal with bronze, gold, and silver paint. Tretyakov Gallery, Moscow
Alexander Golovin. Set design for the prologue to Rimsky-Korsakov’s Maid of Pskov. 1901. Gouache on cardboard. Tretyakov Gallery, Moscow
Alexander Golovin. Set design for the prologue to Rimsky-Korsakov’s Maid of Pskov. 1901. Gouache on cardboard. Tretyakov Gallery, Moscow
Alexander Golovin. The Commander’s Tomb
Alexander Golovin. The Commander’s Tomb
Alexander Golovin. The Commander’s Tomb. Set design for Act 3 of Dargomyzhsky’s The Stone Guest (Petrograd, Mariinsky Theater). 1917. Tempera with bronze and silver paint on plywood. Russian museum, St. Petersburg
Alexander Golovin. The Commander’s Tomb. Set design for Act 3 of Dargomyzhsky’s The Stone Guest (Petrograd, Mariinsky Theater). 1917. Tempera with bronze and silver paint on plywood. Russian museum, St. Petersburg
Alexander Golovin. The Gambling Room. Set design for scene 7 of Lermontov’s The Masquerade (Petrograd, Alexandrinsky Theater). 1917. Size paints and gouache touched up with gold paint. Bakhrushin Theater Museum, Moscow
Alexander Golovin. The Gambling Room. Set design for scene 7 of Lermontov’s The Masquerade (Petrograd, Alexandrinsky Theater). 1917. Size paints and gouache touched up with gold paint. Bakhrushin Theater Museum, Moscow
Alexander Golovin. Don Juan’s Dining Room. Set design for Act 4 of Moliere Don Juan (St. Petersburg Mariinsky Theater). 1910. Tempera on canvas. Russian museum, St. Petersburg
Alexander Golovin. Don Juan’s Dining Room. Set design for Act 4 of Moliere Don Juan (St. Petersburg Mariinsky Theater). 1910. Tempera on canvas. Russian museum, St. Petersburg

All images are scanned from the “The world of art movement” book.
«Мир искусства» Объединение русских художников начала XX века
Альбом (на английском языке)
Издательство «Аврора». Ленинград, 1991
Изд. «1043. (30-00)