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
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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
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.
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.
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
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
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
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
Amedeo Modigliani, Italian, 1884–1920, Léon Bakst, 1917, oil on canvas, National Gallery of Art, Washington, Chester Dale Collection
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
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
National Gallery of Art
East Building Mezzanine
até 06 de outubro de 2013
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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.
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
