M. V. Dobuzhinsky
was the son of an artillery officer, a descendant of the ancient Lithuanian Russianized kind. After the first year the law faculty of St. Petersburg University Dobuzhinsky
tried to enter the Arts, . but was not accepted and was engaged in private studios until 1899, . when, . graduated from university, . went abroad and continued his art studies at the studios of Munich,
. Back in 1901. in St. Petersburg, he became friendly with the "World of Art" and became one of the most notable of its representatives. Dobuzhinsky
He made his debut in the schedule - pictures in magazines and books, . cityscape, . which managed to impressively convey their perception of St. Petersburg as a city, . where the majestic classical architecture phantasmagoric connects with ugly realities of urbanism in the XX,
. Theme of the city soon became one of the key in his creativity, he turned to her in the landscape cycle is created in the wake of frequent visits to Russia and abroad; urban landscape is an important component of many of his works. Dobuzhinsky
engaged and easel graphics, and painting, taught successfully - first with L. S. Bakst, a private art school E. N. Zvantseva, and later in various educational institutions, and after the revolution he ever design a festive decoration of streets, comprise one of the curators of the Hermitage, and even read popular lectures on the art. But the most weighty was his work in theater and in the book graphics. Soon after, he successfully designed the few performances in the old theater and theater in. F. Commissioner-zhevskoy (1907-08), Moscow Art Theater, invited him to stage the play and. S. Turgenev's Month in the Country "(1909). The great success of its enforcement of the scenery has initiated close cooperation with the renowned theater artist. The peak of this collaboration was the scenery for the play "Nikolai Stavrogin" (1913) based on the novel O. M. Dostoevsky's "Demons". Acute expressiveness and conciseness rare pioneering work done this phenomenon, anticipate the future opening of the domestic scenery. Theater Dobuzhinsky
not leave in the future, but in the 1920. the greatest success he was destined to achieve already in the book chart. Sensitivity to radical changes in art during the previous decade had helped him to depart from the canons "miriskusnicheskoy" book graphic. This was evident already in the figures to "swineherd" H.-K. Andersen (1917), followed by drawings of "Poor Liza" H. M. Karamzin and Tupeynomu artist "H. S. Leskov (1922) and, finally, to the "white nights" F. M. Dostoevsky (1925), have become masterpieces of Russian book graphics. In its motion for a new Dobuzhinsky
was an ally of young artists, while dramatically transformed the design of children's books, as evidenced by his brilliant illustrations 1925. to Merry alphabet "H. Pavlova, "Primus" On. E. Mandelstam, "Barmaley K. I. Chukovsky.
Sensible perception of the events unfolding in the post-revolutionary Russia, made Dobuzhinsky
in 1925. take Lithuanian citizenship and move to Kaunas. Life in exile was not so prosperous as he had hoped. Resistance of local chauvinists deprived him of opportunities to engage in teaching, to which he is sought. Fortunately, it enjoys excellent relations with Kaunas theater, where he designed the performances. Doing the same book graphic was not possible due to lack of orders from the publisher. Two happy exceptions are the illustrations for "The Three Fat Men S. K. Oleshi (1928), filled with more on order from Moscow, as well as "Eugene Onegin" (1936), in which he realized his long-standing idea deeply original reading of the novel A. S. Pushkin.
In 1939, Mr.. Dobuzhinsky
went to the U.S. to work with actor and director M. A. Chekhov on the performance of "Demons", but due to the outbreak of World War II in Lithuania did not return. The last years of life were most difficult for him - he has failed and refused to adapt to a stranger to him the American way of life and mores of the American art market. He often experienced financial difficulties, he lived in solitude, communicating with only a narrow circle of Russian emigres, and tried to use every possibility that at least a while to get into Europe.