[4] 1901 – Due to poor health (according to a medical certificate), Anisfeld takes a leave of absence, and spends the summer in Odessa.

That summer, he and his wife travel along the Neva and the Western Dvina, and then via the Dnepr to Crimea, where they spend some time in Gurzuf, and meet Maxim Gorky.

1905–06 – Anisfeld does illustrations for the satirical journals Zhupel (Bugbear), Adskaya Pochta, and V. L. Burtsyev's Calendar of the Russian Revolution.

[5] 1906 – Anisfeld stays in Paris in Jan. and Feb. For the first time, he participates in exhibitions of the Union of Russian Artists, in Moscow, and of the World of Art in Petersburg.

A. Repin supports Anisfelds's request to the Advisory Council of the Academy, for permission to travel abroad for half a year.

He finishes his courses at the Higher Art School of the Imperial Academy, and is granted a year to produce his graduation painting.

1909 – Anisfeld receives permission from the Academy to go abroad, and spends April in Paris, where he shares a studio with S. Yaremich.

1910 – P. I. Chaikovsky's ballet The Four Seasons, staged by the pupils of the Imperial School of Choreography at their annual review on March 26, is apparently the first collaborative project of Anisfeld and Fokine.

Anisfeld executes Bakst's designs for Sheherezade in Paris, and spends the summer in Concarneau in Brittany.

1911 – During the winter, Anisfeld executes A. N. Benois’ designs for Petrushka, and that Spring, in Rome and Paris, he creates the sets and costumes for The Undersea Kingdom.

On Nov. 29, Anisfeld signs a contract with the management of the Imperial Theatres for the execution of sets and costumes for Islamey.

1911–1913 – Anisfeld attends D. A. Kiplik's newly established workshop for pictorial materials and technique, at the Imperial Academy.

13, Anisfeld signs a contract with the management of the Imperial Theaters to design the sets and costumes for Liszt's Les Preludes.

Anisfeld is in London, where he creates sets and costumes for V. Nizhinsky's productions of L'Apres- midi d’un Faune, Les Sylphides and Le Spectre de la Rose, at the Palace Theater.

The artist spends the summer in Venice, takes part in the Baltic Exhibition in Malmö, Sweden, and returns to Petersburg through Finland at the outbreak of the War.

In Petersburg, he is commissioned to paint murals in the villa of the wife of the banker A. M. Wourgaft, on Kamenny Ostrov (Stony Island) Some time that year or possibly a little later, he has preliminary discussions with the Jousupoffs about decorative work in their Fontanka palace.

1915 – Anisfeld becomes a member of the Jewish Society for the Encouragement of the Arts, and participates in a number of charitable auctions for the support of needy artists and other social groups.

[6] The exhibition, which in the course of two years, will travel to several major American cities, sets off a lively discussion about the merits of his art.

[7] On Dec. 27, the Metropolitan Opera's premiere of The Blue Bird, with sets and costumes by Anisfeld, is celebrated at a ball in the Waldorf Astoria presided over by Mrs. W. K. Vanderbilt, who initiated a so-called Campaign for Happiness.

1921 – The Association of Russian and Ukrainian artists organizes an auction of the works of Anisfeld and Roerich at the Plaza Hotel on May 28.

Max Rabinov conceives of a project to establish an institute for the performing arts at Stony Point New York, with Anisfeld, S. Sudeikin, L. Bakst and Iu.

He wins a gold medal from the Philadelphia exposition for his painting Hispania, and designs costumes for two productions of Mikhail Mordkin's Russian Ballet.

With Max Rabinov acting as an intermediary, Anisfeld conducts negotiations about a possible project with the Mexico City Opera.

After some time in a residential hotel, Anisfeld and his family move to an apartment building on Ohio Street.

1930 – A fire at a warehouse in Stony Point NY destroys the sets for The Snow Maiden and Love of Three Oranges.