Léon Bakst

[12] Alexander Benois, a life-long friend of Leon, recalled that 'Leo gave a prolonged and confusing explanation that the surname was taken after some of distant relatives'.

After the mid-1890s, Bakst became a member of the circle of writers and artists formed by Sergei Diaghilev and Benois,[14] who in 1899 founded the influential periodical Mir iskusstva, meaning "World of Art".

Bakst continued painting, producing portraits of Filipp Malyavin (1899), Vasily Rozanov (1901), Andrei Bely (1905), Zinaida Gippius (1906).

He produced scenery for Cléopâtre (1909), Scheherazade (1910), Carnaval (1910), Narcisse (1911), Le Spectre de la Rose (1911), L'après-midi d'un faune (1912) and Daphnis et Chloé (1912).

The story is depicted in seven panels that line the walls of an oval, theatrical styled "Bakst room" in the Buckinghamshire manor house.

American silk industry businessman Arthur Selig invited Bakst to create textile design, their collaboration had great success.

When Bakst received the news, he suffered a nervous breakdown, becoming so ill that he couldn't tolerate any irritants such as light, noise, or touch.

His servant, Linda, exploited his condition to steal his money — she took all the honoraria that came to the house and intimidated the artist, forcing him to include her and her husband as heirs to his will.

By chance he managed to send a note to an influential friend and patron Alice Warder Garrett (1877–1952), an art philanthropist, who helped his sister Sofia rescue Léon.

Garrett became Bakst's representative in the United States upon her return home in 1920, organizing two exhibitions of the artist's work at New York's Knoedler Gallery, as well as subsequent traveling shows.

Léon Bakst was also a prolific writer, his literary legacy in three languages includes novels, numerous publications in magazines, critics, essays, letters to friends and colleagues.

[5] His many admirers amongst the most famous artists of the time, poets, musicians, dancers and critiques, formed a funeral procession to accompany his body to his final resting place, in the Cimetière des Batignolles, in Paris 17th Arrondissement, during a very moving ceremony.

Carnival in Paris in Honour of the Russian Navy ; c. 20th-century .
Uriel da Costa (1897), an imaginary portrait of Biblical Criticism father and freedom of speech forerunner, was one of Léon Bakst earliest paintings
Terror Antiquus depicted destruction of Atlantis , Lion Gate of Mycenae , Tiryns and Acropolis of Athens , with Kore presiding over to symbolize chaos and inevitability of human force; 1908, oil on canvas, 250 × 270 cm, Russian Museum.
Bakst in 1916
One of Bakst's last paintings: Portrait of Rachel Strong, future Countess Henri de Boisgelin ; 1924, oil on canvas, 130×89 cm, Museum of Avant-Garde Mastery .
Bakst's Portrait of Alexander Benois (1898), watercolour and pastel on paper, 65×100 cm, Russian Museum .