Letter L (Alphabet) - Alexandre Benois
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Beschreibung
An atmospheric illustration by Alexandre Benois from his 1904 alphabet series, featuring a moonlit forest scene and the Cyrillic letter L.
This illustration by Alexandre Benois forms part of his celebrated alphabet series, created in 1904. Benois, a founding member of the Mir Iskusstva (World of Art) group, brought a distinct theatrical sensibility to his graphic work. The composition centres on the Cyrillic letter L, framed within a decorative, organic border that suggests a portal into a fairy-tale realm.
The imagery depicts a dense, shadowed forest, rendered with a focus on atmospheric depth and muted, earthy tones. Tall, vertical tree trunks dominate the foreground, creating a rhythmic structure that draws the eye toward the moonlit clearing in the distance. A personified moon, featuring a human face, peers through the foliage, adding a touch of folklore and whimsy to the scene. Below the main illustration, the Russian words for forest and moon are presented, anchoring the visual narrative in the linguistic context of the alphabet.
Benois employs a calligraphic line quality, particularly in the lettering and the delicate rendering of the undergrowth. The work balances naturalistic observation with a stylised, decorative approach typical of the early twentieth-century Russian avant-garde. The palette remains largely restricted to shades of green, brown, and cream, allowing the red accents of the lettering to provide a clear visual hierarchy. This piece reflects the artist's interest in historical aesthetics, book design, and the synthesis of text and image. It remains a fine example of the high standards of illustration produced by the Mir Iskusstva circle, where the physical book was treated as a unified work of art.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Letter L (Alphabet) - Alexandre Benois
Artist Biography
Alexandre Benois
Born in 1870 in St Petersburg into a family of architects and artists, Benois was largely self-taught after a brief, dissatisfying spell as an unregistered student at the Academy of Arts. He studied law at university and educated himself through trips to Italy, Spain, and France. By the 1890s he was Russia's pre-eminent art critic, and in 1898 he co-founded the journal Mir iskusstva (World of Art) with Sergei Diaghilev, backed by Princess Tenisheva and the industrialist Savva Mamontov. The journal opposed the didactic social realism of the Peredvizhniki and insisted that Russian art engage seriously with European modernism.
As a painter, Benois worked primarily in watercolour and gouache until 1905. His Russian history series of 1907-10, commissioned by publisher Iosif Knoebel, depicted Petrine and Catherinian court life with careful archival precision; his three editions of illustrations for Pushkin's Bronze Horseman (1903, 1905, 1916-22) remain defining images of the poem. Theatre absorbed him most fully. He wrote the libretto for Stravinsky's Petrouchka (1911), designed the first Ballets Russes Paris season, and headed the Moscow Arts Theatre's art production section from 1913 to 1915.
From 1918 to 1926 he directed the Picture Gallery at the Hermitage, a formidable institutional role through years of revolutionary upheaval. He left Russia permanently in 1926, settling in Paris the following year, and spent his final decades producing more than sixty theatre and opera productions across La Scala, the Paris Opéra, and major houses in London and New York. He died in Paris in February 1960.
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