Diaghilev e os Ballets Russos, 1909-1929: quando arte dançava com música

Léon Bakst, Russian, 1866–1924, Costume design for Vaslav Nijinsky as the Faun from The Afternoon of a Faun, 1912, graphite, tempera, and gold paint on paper, Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund

National Gallery of Art

East Building Mezzanine

até 06 de outubro de 2013

Aleksandr Golovin, Russian, 1863–1930, Costume worn by Fyodor Chaliapin in title role in the Coronation scene from Boris Godunov, c. 1908, silk and metal thread, glass beads, imitation pearls, metal, painted silk lining, replacement fur, V&A, London © Victoria and Albert Museum, London

O Balé Russo, a empresa mais inovadora da dança do século 20, impulsionou a arte do espetáculo a novas alturas através de colaborações inovadoras entre artistas, compositores, coreógrafos, dançarinos e designers de moda.

The Ballets Russes—the most innovative dance company of the 20th century—propelled the performing arts to new heights through groundbreaking collaborations between artists, composers, choreographers, dancers, and fashion designers.

Alexandre Benois, Russian, 1870–1960, Costume worn by Lydia Lopokova as a Sylph from Les Sylphides, c. 1916, silk and cotton net, with metal armature for the wings, V&A, London, Cyril Beaumont Bequest © Victoria and Albert Museum, London

Fundada pelo empresário russo Serge Diaghilev (1872-1929), em Paris, em 1909, a empresa combinou tradições russas e ocidentais com uma dose saudável de modernismo, emocionando e surpreendendo o público com a sua poderosa fusão de coreografia, música e design.

Founded by Russian impresario Serge Diaghilev (1872–1929) in Paris in 1909, the company combined Russian and Western traditions with a healthy dose of modernism, thrilling and shocking audiences with its powerful fusion of choreography, music, and design.

Léon Bakst, Russian, 1866–1924, Costume for a Brigand from Daphnis and Chloe, 1912, wool, cotton, and paint, V&A, London © Victoria and Albert Museum, London

Apresentando mais de 130 figurinos originais, conjunto de desenhos, pinturas, esculturas, gravuras e desenhos, fotografias e cartazes, Diaghilev e o Balé Russo também incorpora trechos de filmes em uma instalação multimídia teatral.

Showcasing more than 130 original costumes, set designs, paintings, sculptures, prints and drawings, photographs, and posters, Diaghilev and the Ballets Russes also incorporates film clips in a theatrical multimedia installation. 

Pablo Picasso, Spanish, 1881–1973, Costume for the Chinese Conjuror from Parade, c. 1917, silk satin fabric with silver tissue and black thread, cotton hat with woolen pigtail, V&A, London © Victoria and Albert Museum, London

Adaptado a partir da exposição concebida e exibida pela primeira vez no Victoria and Albert Museum (V & A) em 2010, a apresentação em Washington se baseia na rica pesquisa, incluindo cerca de 80 obras do V & A renomada coleção de artefatos de dança, e acrescenta cerca de 50 objetos, generosamente oferecido por mais de 20 empréstimos, públicos e privados.

Adapted from the exhibition conceived by and first shown at the Victoria and Albert Museum (V&A) in 2010, the presentation in Washington draws upon that rich survey, including some 80 works from the V&A’s renowned collection of dance artifacts, and adds about 50 objects, generously offered by more than 20 lenders, private and public.

Mikhail Larionov, Russian, 1881–1964, Costume for the Buffoon's Wife from The Tale of the Buffoon, 1921, cane‑stiffened felt and cotton, V&A, London © Victoria and Albert Museum, London

O sucesso de Diaghilev dependia principalmente de sua capacidade de identificar e reunir os artistas mais criativos de sua época.

Diaghilev’s success depended primarily on his ability to identify and bring together the most creative artists of his day.

Henri Matisse, French, 1869–1954, Costume for a Mandarin from The Song of the Nightingale, 1920, satin, paint, and tinsel, V&A, London © Victoria and Albert Museum, London

Reconhecendo a vitalidade da arte contemporânea, ele chamou Léon Bakst, Natalia Goncharova, Pablo Picasso, Henri Matisse, e Giorgio de Chirico, entre outros, para criar designs conjunto dinâmico e trajes requintadamente decorados que partilhavam uma estética unificada.

Recognizing the vitality of contemporary art, he called upon Léon Bakst, Natalia Goncharova, Pablo Picasso, Henri Matisse, and Giorgio de Chirico, among others, to create dynamic set designs and exquisitely decorated costumes that shared a unified aesthetic.

Giorgio de Chirico, Italian, 1888–1978, Set design (scene 2) for The Ball, 1929, graphite and tempera on paper, Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund



Sonia Delaunay, French, 1885–1979, Costume for title role from Cleopatra, 1918, silk, sequins, mirror, and beads, wool yarn, metallic thread braid, lamé, Los Angeles County Museum of Art, Costume Council Fund © Pracusa 2012003; Digital Image © 2013 Museum Associates / LACMA / Licensed by Art Resource, NY

Eles, por sua vez, trouxe os mais importantes desenvolvimentos artísticos do início do século 20, incluindo-futurismo, cubismo e surrealismo, para o palco do ballet.

They in turn brought the most important artistic developments of the early 20th century—including futurism, cubism, and surrealism—to the ballet stage. 

Eugène Druet, French, 1868–1917, Vaslav Nijinsky in Siamese Dance from The Orientals, 1910, gelatin silver print, Lent by The Metropolitan Museum of Art, Gilman Collection, Gift of The Howard Gilman Foundation, 2005

Diaghilev também encomendou dezenas de balés de compositores inovadores, como Igor Stravinsky, Sergei Prokofiev, e Erik Satie, e renomados dançarinos conhecidos por seu brio técnico, tornando a empresa um terreno fértil para a inovação musical e coreográfica: Mikhail Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska, e George Balanchine expandiu dramaticamente todo o vocabulário de movimento.

Diaghilev also commissioned ballet scores from innovative composers such as Igor Stravinsky, Sergei Prokofiev, and Erik Satie, and featured dancers noted for their technical brio, making the company a breeding ground for musical and choreographic innovation: Mikhail Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska, e George Balanchine expandiu dramaticamente todo o vocabulário de movimento. 

Amedeo Modigliani, Italian, 1884–1920, Léon Bakst, 1917, oil on canvas, National Gallery of Art, Washington, Chester Dale Collection

As produções da trupe – especialmente a famosa Sagração da Primavera, agora comemorando o seu 100 º aniversário instigado uma revolução na dança.

The troupe’s productions—notably the infamous Rite of Spring, now celebrating its 100th anniversary—instigated a revolution in dance. 

Jacques‑Émile Blanche, French, 1861–1942, Vaslav Nijinsky in Siamese Dance, c. 1910, oil on canvas, Collection of Ann and Gordon Getty, San Francisco

Esta exposição pretende destacar essas e outras conexões promovidas por Diaghilev.

This exhibition seeks to highlight these and other connections fostered by Diaghilev. 


Alexandre Benois, Russian, 1870–1960, Design for the front cloth from Petrushka (Copenhagen revival), 1925, pen, ink, and tempera on paper, Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund

Organizada pelo Victoria and Albert Museum, em Londres, em colaboração com a National Gallery of Art, Washington.

Organized by the Victoria and Albert Museum, London, in collaboration with the National Gallery of Art, Washington.

Coco Chanel, French, 1883–1971, Costumes for La Perlouse and a Gigolo from The Blue Train, 1924, knitted wool and wool, V&A, London © Victoria and Albert Museum, London


Nicholas Roerich, Russian, 1874–1947, Costumes for two Maidens and an Elder from The Rite of Spring, 1913, wool, leather, metal belts and necklace, napped cotton, wood, and fur, V&A, London © Victoria and Albert Museum, London