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“During [Erté]’s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars â€� St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century â€�

In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company �

It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an offspring of the brilliant foreign colony in the imperial capital. Before 1890 he formed a club of fellow-pupils who were called ‘The Nevsky Pickwickiansâ€�. They were joined by the young Jew, Leon Rosenberg, who later took the name of one of his grandparents, Bakst. Another member introduced his cousin to the group―Serge Diaghilev. From these origins emerged the Mir Iskustva (World of Art) society, the forerunner of the whole modern movement in Russia. Soon after its foundation in 1899 both Benois and Bakst produced their first work in the theatre, The infiltration of the members of Mir Iskustva into the Imperial theatre was due to the patronage of its director Prince Volkonsky who appointed Diaghilev as an assistant. But under Volkonsky’s successor Diagilev lost his job and was barred from further state employment. He then devoted his energies and genius to editing the Mir Iskustva magazine and to a series of exhibitions which introduced Russia to work of foreign artists â€� These culminated in the remarkable exhibition of Russian portraiture held at the Taurida Palace in 1905, and the Russian section at the salon d'Autumne in Paris the following year. This was the most comprehensive Russian exhibition ever held, from early icons to the young Larionov and Gontcharova. Diagilev’s ban from Russian theatrical life also led to a series of concerts in Paris in 1907, at which he introduced contemporary Russian composers, the production Boris Godunov the following year with Chaliapin and costumes and décor by Benois and Golovin, and then in 1909, on May 19, the first season of the ballet Russes at the Châtelet Theatre.”
― Charles Spencer, Erte