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Advisory
Council of the Academy as his graduation piece. In October, the Council of the Academy again refuses to grant him his degree. Only after the vehement protests of some of the Academy's teachers, a campaign of support for the artist in the press, and the personal intervention of the President of the Academy, the Grand Duchess Maria Pavlovna, does the Advisory Council reverse its decision. Anisfeld is graduated in Jan. 1910.
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1911 â During the winter, Anisfeld executes A. N. Benoisâ designs for
Petrushka, and that Spring, in Rome and Paris, he creates the sets and costumes for The Undersea Kingdom. This is the only design work for Diaghilev's Russian Ballet which is entirely his own. He spends the summer in Capri. The New
504:
1909 â Anisfeld receives permission from the
Academy to go abroad, and spends April in Paris, where he shares a studio with S. Yaremich. As an executor of sets for Diaghilev's Russian Seasons, he spends a few weeks in Paris every Spring until 1912. In the Fall, Anisfeld submits Adam and Eve to the
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1904 â The
Council decides to give Anisfeld a one-time grant. With the understanding of the Academy that he will apply himself to his art studies, Anisfeld spends the summer traveling around Russia-and also every summer thereafter, until 1909. In December, he marries Frieda Glaeserman, the daughter
555:
1912 â After Fokine breaks from
Diaghilev, Anisfeld reaches an understanding with Fokin to design his productions for 1913. The artist spends the summer in Gris am Brenner in the Tyrol, and the winter-with Fokine-in Berlin and Stockholm. While in Petersburg, he lives on Vasilevsky Island, Sredny
760:
1934â1965 â The artist teaches painting there to a small group of students most summers. This is the so-called "Boris
Anisfeld School of Painting". He lives in Old Town Chicago, at the same location from the mid thirties almost until his death, at the Kogen Apartments, a purpose built apartment/
720:
1926 â Anisfeld becomes an
American citizen. 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. The Metropolitan Opera declines to accept his costumes and set designs for a production of
662:. An exhibition of Anisfelds's works is mounted at the Brooklyn Museum. Christian Brinton, a connoisseur of Russian art, is the organizer. 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.
473:. Anisfeld spends several months in the south of Russia for reasons of health. He finishes his courses at the Higher Art School of the Imperial Academy, and is granted a year to produce his graduation painting. Anisfeld undertakes his first work for the theater: the sets for
728:
1928 â Anisfeld moves to
Chicago with his wife and daughter. After some time in a residential hotel, Anisfeld and his family move to an apartment building on Ohio Street. That summer, the artist undertakes an automobile trip around the American South West. He visits
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directs after 1903. (In 1907, Kardovsky became a teacher of genre and portrait painting). Anisfeld takes a room on the
Petersburg Side, at Bolshaya Spasskaya Street, number 15, apt. 23. He shares the room with A. I. Savinov, who also studying with Kardovsky.
440:, Bolâshoi Prospekt, number 8/4, apt 34. Diaghilev organizes an exhibit of Russian art at the Paris Salon dâAutomne. Anisfeld is a participant, and is one of six Russian artists chosen as Societaires. Diaghilev's exhibition is continued in
699:(Snegourochka), with sets and costumes by Anisfeld, opens at the Metropolitan Opera, and is a great success. Max Rabinov conceives of a project to establish an institute for the performing arts at Stony Point New York, with Anisfeld,
431:
1906 â 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. One of his watercolors, Flowers is acquired by the
764:
1958 â The Art Institute organizes a retrospective exhibition of Anisfeld's works, at the insistence of his former students. Anisfeld's name returns from oblivion. The New York Times publishes a short biographical piece about him.
520:
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
452:, Anisfeld teaches at A. Zvansteva's art school. I. A. Repin supports Anisfelds's request to the Advisory Council of the Academy, for permission to travel abroad for half a year. He apparently uses only two or three months.
545:
York Metropolitan Opera buys Anisfeld's sets for Boris Godunov from the Paris Grand Opera. On Nov. 29, Anisfeld signs a contract with the management of the Imperial Theatres for the execution of sets and costumes for
492:
1908 â Anisfeld works for the satirical journal Satyricon, and participates in a number of exhibitions: the Fall exhibition of the Higher Art School of the Imperial Academy, and an exhibition in Vienna at the
477:âs Marriage of Zobeide, at V. F. Kommissarzhevskayaâs theater on Ofitserskaya Street, V. E. Meyerhold directing. In the Fall, Anisfeld works for the first time for Diaghilevâs Russian Seasons, executing
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Russian State Historical Archive, St. Petersburg (Đ ĐĐĐ), dep. 472, index 43 (501/2733), file 116; dep. 497, index 8, file 195; dep. 789, index 12, file Đ-22 (personal file); dep. 789, index 13, file 22
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1915 â 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.
598:
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
335:), into the family of Srul Ruvinovich Anisfeld, an estate manager, and Gitlya Istkovna Anisfeld. Until he is seventeen, the future artist lives in his parentsâ home. He learns German and French.
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troupe on the stage of the Manhattan Opera. This is the first time that an American audience has seen Anisfeld's theater work. The artist spends the summer in Venice, takes part in the
552:
1911â1913 â Anisfeld attends D. A. Kiplik's newly established workshop for pictorial materials and technique, at the Imperial Academy. He studies fresco technique.
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in the Austrian Alps. Anisfeld takes an apartment at No.7 Geislerovsky Pereulok, 6-on the Petersburg Side. This is to be his final address in Petersburg.
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1903 â The Academy's Advisory Council denies Anisfeld a one-time grant of financial aid. Yet twice â in March and December â his sketches are praised.
602:
Some time that year or possibly a little later, he has preliminary discussions with the Jousupoffs about decorative work in their Fontanka palace.
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1917 â In August, Anisfeld gets an exemption from military service. He completes at least eight major paintings for an exhibition at the
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1901 â Due to poor health (according to a medical certificate), Anisfeld takes a leave of absence, and spends the summer in Odessa.
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1919 â Anisfeld signs a contract with the Kingore Gallery in New York on Dec. 20. On Dec. 27, the Metropolitan Opera's premiere of
725:. With Max Rabinov acting as an intermediary, Anisfeld conducts negotiations about a possible project with the Mexico City Opera.
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1913 â On Mar. 13, Anisfeld signs a contract with the management of the Imperial Theaters to design the sets and costumes for
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1933 â Anisfeld's wife commits suicide. His daughter, Morella Borisovna Anisfeld, buys him a house in Central City Colorado.
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1925 â Anisfeld executes the sets and costumes for a children's pantomime The Magic Night. It is performed five times at the
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The Boris Anisfeld Exhibition. 1918â1919â1920.With Introduction and Catalogue of the Paintings by Christian Brinton, 1918
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1921 â The Association of Russian and Ukrainian artists organizes an auction of the works of Anisfeld and Roerich at the
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590:, at the Palace Theater. The theater's fire brigade destroys the set for Faune. Liszt's Les Preludes is performed by
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1914 â In Feb. and Mar. Anisfeld is in London, where he creates sets and costumes for V. Nizhinsky's productions of
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1930 â A fire at a warehouse in Stony Point NY destroys the sets for The Snow Maiden and Love of Three Oranges.
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held by the Jerome Lawrence and Robert E. Lee Theatre Research Institute, The Ohio State University Libraries.
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studio complex for artists known as Carl Street Studios, established by artists Sol Kogen and Edgar Miller.
501:, and allows him to submit another painting in the following year. The Anisfeldsâ daughter Morella is born.
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654:, the editor of the Petrograd paper Ryech, and a collector of Anisfeld's theater sketches, addressed to
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1907 â The Russian Exhibition from the Salon dâ Automne is shown in a drastically abbreviated form in
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and across Canada to New York. The artist is already acquainted with the New York impresario
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presided over by Mrs. W. K. Vanderbilt, who initiated a so-called Campaign for Happiness.
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in St. Petersburg. His first teacher is P. O. Kovalevsky, a painter of battle pictures.
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1928â1958 â Anisfeld frequently spends the summers in the Western US. (Colorado and
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National Archive of Republic of Moldova, ChiÈinÄu, dep. 152, index 1, file 269 (47)
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of a Pskov merchant. She, apparently, had been taking art lessons with Anisfeld.
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Les Preludes. The work is to be completed on Mar. 13. He spends the summer in
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1885 â Anisfeld learns to play the violin, and begins to take up drawing.
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State Russian Museum, St. Petersburg, dep.1, index 27, file 890, 894, 896
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1918 â Anisfeld arrives in New York with a letter of recommendation from
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612:, Spain, in connection with a staging of The Undersea Kingdom. He paints
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manages to safeguard Anisfeld's apartment and studio for some time.
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1878 â October 2. Boris Izrailevich (Srulevich) Anisfeld is born in
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State Archive of the Region of Odessa, dep. 368, index 1, file 58
688:. The reviews are mixed, but Anisfeld's sets are highly praised.
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1905â06 â Anisfeld does illustrations for the satirical journals
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311:(1878â1973) was a Russian-American painter and theater designer.
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1929â1957 â Anisfeld teaches at the Art Institute of Chicago.
549:. The work is to be completed not later than Jan. 15, 1912.
353:. He meets V. A. Izdebsky, S. L. Abugov, and D. D. Burliuk.
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1923 â Anisfeld joins the Scene Painters Union, along with
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with his wife and daughter in Sept. His route takes him to
428:, and V. L. Burtsyev's Calendar of the Russian Revolution.
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623:, receives an export permit for his paintings, and leaves
658:, the New York publicist and translator of M. Gorky and
684:, with sets and costumes by Anisfeld, premieres at the
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393:. Anisfeld joins a circle of artists who are close to
389:âdiscoversâ the young painter, and introduces him to
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Boris Anisfeld. The Kingore Galleries, New York 1919
101:. Unsourced material may be challenged and removed.
824:catalogue raisonné of the works of Boris Anisfeld
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397:. That summer, he and his wife travel along the
992:School of the Art Institute of Chicago faculty
977:White Russian emigrants to the United States
540:, 1911 (pencil, watercolor and silver paint)
703:, L. Bakst and Iu. Urban as collaborators.
444:, at the Kunstsalon Schulte. Together with
64:Learn how and when to remove these messages
972:American people of Moldovan-Jewish descent
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241:Learn how and when to remove this message
223:Learn how and when to remove this message
161:Learn how and when to remove this message
842:Boris Anisfeld, Catalogue Raisonné, p.11
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485:in cooperation with Ye. Ye. Lancere,
680:on May 28. Sergei Prokofiev's opera
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782:Lingenauber/Sugrobova-Roth (2011).
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608:1916 â Anisfeld makes a trip to
556:Prospekt, number 3/15, apt. 14.
426:Zhupel (Bugbear), Adskaya Pochta
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436:. Anisfeld is now living on
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678:Plaza Hotel
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629:Vladivostok
538:Silver fish
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419:Maxim Gorky
417:, and meet
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788:DĂŒsseldorf
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616:portrait.
567:, France,
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633:Yokohama
446:L. Bakst
401:and the
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