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ed into the group, Diaghilev was aided by Benois in developing his knowledge of Russian and Western art. In two years, he had voraciously absorbed this new obsession (even travelling abroad to further his studies) and came to be respected as one of the most learned of the group. In the late 1890s, Diaghilev created several art exhibitions that were intended to introduce the contemporary artists to the local public and, later, to the Europeans. The exposition of British and German watercolorists in 1897 at the Imperial Society for the Encouragement of the Arts became a huge success—one which Diaghilev repeated in 1898 with the exhibition of the Russian and Finnish artists at the Stieglitz Academy with the works of those such as Mikhail Vrubel, Valentin Serov, and Isaac Levitan. In the same year he opened an exhibition of young Russian painters in Germany. Though the young art connoisseur had no private fortune, he managed to gain the protection and support of such high nobility as the Grand Duke Vladimir Alexandrovich and later even Nicholas II. The Russian-Finnish exhibition of 1898 became the first action of the recently formed society ‘Mir iskusstva’, establis