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“Vestidos simultáneos “ de Sonia Delaunay o la historia de un cuadro y de su autora.
En 1917, Sonia se encontraba en Barcelona cuando estalla la Revolución rusa y la caída del zar. Al dejar de recibir sus rentas decide aplicar sus conocimientos de pintura al mundo de la moda. Se establece con su familia en Madrid y abre una tienda en 1919. Diseña el vestuario de los ballets rusos de Diághilev (también exiliado en Madrid) y animada por sus éxitos en este campo, en 1923 abre otra tienda en París: Boutique Simultanée (Boutique Simultánea).
Sus vestidos mezclan recortes de diferentes telas de lujo y ordinarias texturas, colores lisos y estampados, recorta mangas, acorta faldas, para conseguir un efecto de modernidad. Apollinaire define su primer vestido como “pintura viviente”.
En este cuadro, el vestido central había sido diseñado para la actriz de cine Gloria Swanson. Acompañando os traigo un poco de música de esa época:
youtu.be/3twMobLkcb8
Muchas gracias por vuestros comentarios y visitas. Thank you for your visit and comments! Je vous remercie de votre visite et commentaires.
© Maria Dolores Acero. Todos los derechos reservados.
The Rite of Spring, commonly referred to by its original French title, Le Sacre du Printemps, is a ballet with music by the Russian composer Igor Stravinsky, original choreography by Nijinsky, under impresario Serge Diaghilev.
The music is widely acknowledged as one of the most influential, and most reproduced compositions in history.
These are often all the first flowers in our garden... it looks like all for one and one for all...
A pink Cyclamen, a snowdrop, a blue Muscari and a yellow mini, tête-à-tête Daffodil
Have a fine day and thank you for your support, M, (*_*)
And for more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
"yellow mini-daffodil", "tete a tete", snowdrop, Muscari, cyclamen, design, studio, black-background, colour, square, Hasselblad, "Magda indigo"
The Rite of Spring, commonly referred to by its original French title, Le Sacre du Printemps, is a ballet with music by the Russian composer Igor Stravinsky, original choreography by Nijinsky, under impresario Serge Diaghilev.
The music is widely acknowledged as one of the most influential, and most reproduced compositions in history.
These are often all the first flowers in our garden... it looks like all for one and one for all...
A pink Cyclamen, a snowdrop, a blue Muscari and a yellow mini, tête-à-tête Daffodil
Have a fine day and thank you for your support, M, (*_*)
And for more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
"yellow mini-daffodil", "tete a tete", snowdrop, Muscari, cyclamen, design, studio, black-background, colour, square, Hasselblad, "Magda indigo"
L’opéra Garnier, ou palais Garnier, est un théâtre national qui a la vocation d'être une académie de musique, de chorégraphie et de poésie lyrique.
L'édifice s'impose comme un monument particulièrement représentatif de l'architecture éclectique et du style historiciste de la seconde moitié du XIXe siècle. Sur une conception de l’architecte Charles Garnier retenue à la suite d’un concours, sa construction, décidée par Napoléon III dans le cadre des transformations de Paris menées par le préfet Haussmann et interrompue par la guerre de 1870, fut reprise au début de la Troisième République, après la destruction par incendie de l’opéra Le Peletier en 1873. Le bâtiment est inauguré le 5 janvier 1875 par le président Mac Mahon sous la IIIe République.
Wikipedia
The Rite of Spring, commonly referred to by its original French title, Le Sacre du Printemps, is a ballet with music by the Russian composer Igor Stravinsky, original choreography by Nijinsky, under impresario Serge Diaghilev.
The music is widely acknowledged as one of the most influential, and most reproduced compositions in history.
These are often all the first flowers in our garden... it looks like all for one and one for all...
A pink Cyclamen, a snowdrop, a blue Muscari and a yellow mini, tête-à-tête Daffodil
Have a fine day and thank you for your support, M, (*_*)
And for more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
"yellow mini-daffodil", "tete a tete", snowdrop, Muscari, cyclamen, design, studio, black-background, colour, square, Hasselblad, "Magda indigo"
Sergei Diaghilev was the impresario who brought together the most radical collection of artists, musicians, performers and choreographers from the Russian exiles in Paris during the first two decades of the 20th century. The dancing style, led by the great Vaslav Nijinsky (1889-1950) caused great controversy because, like Cubism in art, it forged a new way of perceiving rhythm and dance.
The statuette I have used here in this made photograph is clearly an Art Deco replica (I wouldn't be able to afford the original). But the style lent itself to producing the shadows which accentuate the radical dancing style of Les Ballet Russes. As far as still life is concerned this one is all about lighting and monochromatic tones.
Here is an interesting short film (narrated by Tilda Swinton) that shows how radical Les Ballet Russes was at the time. "Diaghilev and Les Ballets Russes" www.youtube.com/watch?v=lmsR8eR2-MI
The Rite of Spring, commonly referred to by its original French title, Le Sacre du Printemps, is a ballet with music by the Russian composer Igor Stravinsky, original choreography by Nijinsky, under impresario Serge Diaghilev.
The music is widely acknowledged as one of the most influential, and most reproduced compositions in history.
These are often all the first flowers in our garden... it looks like all for one and one for all...
A pink Cyclamen, a snowdrop, a blue Muscari and a yellow mini, tête-à-tête Daffodil
Have a fine day and thank you for your support, M, (*_*)
And for more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
"yellow mini-daffodil", "tete a tete", snowdrop, Muscari, cyclamen, design, studio, black-background, colour, square, Hasselblad, "Magda indigo"
Depicting the Russian ballerinas Ana Pavlova and Ida Rubinstein dancing Cléopâtre, van Dongen’s painting commemorates the 1909 inaugural season of Sergei Diaghilev’s Ballets Russes in Paris. The artist loved the modern and the exotic in both life and in art; brilliant colours, stylized curves and rhythmic composition of his painting evoke the languor of the dance and the exuberance of Parisian night life.
...ossia quella forza generatrice primordiale insita in ogni persona e in grado di sopravvivere alla stessa sua morte.
French postcard in the Collection Magie Noire by Editions Hazan, Paris, no. 6037, 1988. Photo: Serge Lido. Caption: Édith Piaf and Jean Cocteau, 1939.
Édith Piaf (1915-1963) is a cultural icon and is universally regarded as France's greatest popular singer. Her ballads, like La Vie en rose (1946) and Non, je ne regrette rien (1960), reflected her life. She appeared sporadically in films.
French poet, playwright, novelist, designer, filmmaker, visual artist and critic Jean Cocteau (1889-1963) was one of the most multi-talented artists of the 20th century. He was one of the creatives of the surrealist, avant-garde, and Dadaist movements. He is best known for his novels 'Le Grand Écart' (1923), 'Le Livre blanc' (1928), and 'Les Enfants Terribles' (1929); the stage plays 'La Voix Humaine' (1930), 'La Machine Infernale' (1934), 'Les Parents terribles' (1938), and 'L'Aigle à deux têtes' (1946); and the films Le sang d'un poète/The Blood of a Poet (1930), La belle et la bête/Beauty and the Beast (1946), Les Parents Terribles (1948), Orphée/Orpheus (1950), and Le testament d'Orphée/Testament of Orpheus (1960). He collaborated with the "Russian Ballet" company of Sergei Diaghilev and was active in many art movements, but he always remained a poet at heart.
And, please check out our blog European Film Star Postcards.
France, Paris, Rue Gluck, the private bank "Société Générale - Agence centrale", between rue Gluck, boulevard Haussmann & rue Halévy.
The originally seven buildings on the block dating from around 1870, were acquired by "Société Générale" in 1905. The architect Jacques Hermant then built the bank's head office, demolishing all the buildings with the exception of their preserved street façades.
This operation was accompanied by the creation of four levels of basements & a large glazed frame dome. The complex was inaugurated in June 1912. The facades & roofs on street as well as the large hall with its glass roof, the grand staircase & the vault were registered under the "Monuments Historiques" in 1977.
Rue Gluck in the 9th arrondissement of Paris starts at Place Jacques-Rouché & ends at Diaghilev Square. Due to its proximity to the Opera House, this street bears the name of Christoph Willibald Gluck, 1714-178, a German composer.
The department store building with the green light stripes decoration is a "Galeries Lafayette", one of the large traditional French department store chain, founded in 1893 in number 1 rue La Fayette & which is today present internationally in numerous major cities.
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Au cimetière de Novodievitchi.
La pierre tombale d’Anna Pavlova, décédée en 1931. La grande dame du ballet russe était entrée à l’école de danse du Théâtre impérial à l’âge de 10 ans. Elle avait été la grande vedette de la troupe du théâtre Marinsky, dont elle devint la première danseuse en 1903. Au cours de sa remarquable carrière, elle a triomphé dans « La Mort du Cygne » en 1907.
Anna Pavlovna (Matveyevna) Pavlova (Russian: Анна Павловна (Матвеевна) Павлова; February 12 [O.S. January 31] 1881 – January 23, 1931) was a Russian prima ballerina of the late 19th and the early 20th centuries. She was a principal artist of the Imperial Russian Ballet and the Ballets Russes of Sergei Diaghilev. Pavlova is most recognized for the creation of the role The Dying Swan and, with her own company, became the first ballerina to tour ballet around the world. She toured South America and India.
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Two photos today relate to an exhibition at the National Gallery of Australia, Canberra, in 2011. This first one is of a replica poster in our own collection. It is one of the costume designs by Russian artist Léon Bakst (1866-1924) for Sergei Diaghilev's Les Ballet Russes production of Shéhérazade (1910). The music was written by Nikolai Rimsky-Korsakov.
nga.gov.au/exhibition/balletsrusses/default.cfm?MnuID=4&a...
The costume was to be worn by the character Shah Zeman, the brother of the ruler of Persia, in one of the stories from "The Arabian Nights". nga.gov.au/exhibition/balletsrusses/Default.cfm?IRN=74158...
Sergei Diaghilev (1872-1929) was the impresario who founded Les Ballet Russes.
LE SACRE DU PRINTEMPS
The Rite of Spring, commonly referred to by its original French title, Le Sacre du Printemps, is a ballet with music by the Russian composer Igor Stravinsky, original choreography by Nijinsky, under impresario Serge Diaghilev. The music is widely acknowledged as one of the most influential, and most reproduced compositions in history.
These are often all the first flowers in our garden... it looks like all for one and one for all... A pink Cyclamen, a snowdrop, a blue Muscari and a yellow mini, tête-à-tête Daffodil
THANX, M, (*_*)
Have a fine day and thanx for your support, M, (*_*)
And for more of my other work or if you want to purchase, visit here: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
The Island of San Michele (isola di San Michele) is an island in the Venetian Lagoon. It is associated with the sestiere of Cannaregio, from which it lies a short distance northeast
San Cristoforo was selected to become a cemetery in 1807, when under French occupation, it was decreed that burial on the mainland (or on the main Venetian islands) was unsanitary. The canal that separated what was once two islands was filled in during 1836, and subsequently the larger island became known as San Michele. Bodies were carried to the island on special funeral gondolas. Among those buried there are Igor Stravinsky, Joseph Brodsky, Jean Schlumberger, Christian Doppler, Frederick Rolfe, Horatio Brown, Sergei Diaghilev, Ezra Pound, Luigi Nono, Catherine Bagration, Franco Basaglia, Paolo Cadorin, Zoran Mušič, Helenio Herrera, Emilio Vedova, and Salvador de Iturbide y Marzán. The cemetery is still in use today.
The cemetery contains 7 war graves from World War I of officers and seamen of the British merchant and Royal Navy.[Wikipedia]
Russian born composer, pianist and conductor Igor Stravinsky photographed between 1920 and 1925. My restoration and colorization of a Bain News Service image in the Library of Congress archive.
"Igor Fyodorovich Stravinsky (1882 – 1971) was a Russian-born composer, pianist, and conductor. He is widely considered one of the most important and influential composers of the 20th century. Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Serge Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913). The latter transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design. His "Russian phase", which continued with works such as Renard, L'Histoire du soldat, and Les noces, was followed in the 1920s by a period in which he turned to neoclassicism. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue, and symphony) and drew from earlier styles, especially those of the 18th century. In the 1950s, Stravinsky adopted serial procedures. His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells, and clarity of form and instrumentation." (Wikipedia)
Prior to having the new main gallery, exhibition space was at a premium and costumes could seldom be displayed, so much of the Museum’s costume collection has been in deep storage for years. In preparation for Art & Artifice: 75 Years of Design at San Francisco Ballet, the Museum began re-exploring a number of the costumes in its own collection. In the process, three costumes previously mislabeled as having come from San Francisco Ballet productions were correctly identified as actually belonging to the Ballet Russe.
The costumes all date from the 1937 production of Michel Fokine’s ballet Le Coq d’Or (The Golden Cockerel). From its premiere in 1914, the ballet was considered one of the greatest achievements of Diaghilev’s Ballets Russes, particularly for its inspired sets and costumes designed by Natalia Goncharova. When Col. de Basil’s Ballet Russe remounted the ballet in 1937, the Golden Cockerel (formerly represented by an onstage prop and an offstage singing voice) was made into a dancing character, for which Fokine created new choreography and Goncharova designed a spectacular golden costume, executed by Karinska. Tatiana Riabouchinska danced the role to great acclaim around the world, including San Francisco.
One of two identical costumes for the Golden Cockerel worn by Riabouchinska is among the costumes rediscovered in MPD’s collection. The other two are beautifully painted and appliquéd dresses worn by female attendants of King Dodon. All three of these costumes, newly conserved, are on display in the Art & Artifice exhibition. Goncharova’s designs were important points of departure for San Francisco Ballet’s own version of Le Coq d’Or, choreographed by Adolph Bolm and designed by Nicolas Remisoff. This rediscovery is a significant one, as very few museums in the United States have original Ballet Russe costumes in their collections. The Museum of Performance & Design also has four other documented Ballet Russe costumes in its collection, and more discoveries may lie ahead! ©2008 Museum of Performance & Design.
Tempera sur papier marouflé sur carton, Collection Ivan Morozov, Galerie nationale Tretiakov, Moscou.
Alexandre Iakovlevitch Golovine (en russe : Александр Яковлевич Головин), né 17 février 1863 (1er mars dans le calendrier grégorien) à Moscou et mort le 17 avril 1930 à Detskoïe Selo, est un peintre russe et décorateur de théâtre. Il a créé les costumes de ballets d'Alexandre Gorski et a participé aux spectacles de Serge de Diaghilev de Constantin Stanislavski, et de Vsevolod Meyerhold.
Wikipedia
Teatro Real (Royal Theatre) or simply El Real, as it is known colloquially, is a major opera house located in Madrid. Founded in 1818 and inaugurated on 19 November 1850, it closed in 1925 and reopened in 1966. Beginning in 1988 it underwent major refurbishing and renovation works and finally reopened in 1997 with a capacity of 1,746 seats. Today the Teatro Real opera is one of the great theaters of Europe hosting large productions involving leading international figures in opera singing, musical direction, stage direction and dance. The theater offers visitors guided tours in several languages, including the auditorium, stage, workshops and rehearsal rooms.
Founded by King Ferdinand VII in 1818, and after thirty-two years of planning and construction, a Royal Order on 7 May 1850, decreed the immediate completion of the "Teatro de Oriente" and the building works were finished within five months. The Opera House, located just in front of the Palacio Real, the official residence of the Queen who ordered the construction of the theatre, Isabel II, was finally inaugurated on 19 November 1850, with Donizetti's La favorite.
The Teatro soon became one of the most prestigious opera houses in Europe. For over five decades it hosted the most renowned singers and composers of the time. In the early period, it saw famous opera singers such as Alboni, Frezzolini, Marietta Gazzaniga, Rosina Penco, Giulia Grisi, Giorgio Ronconi, Italo Gardoni, Mario de Candia and Antonio Selva among many others. In 1863, Giuseppe Verdi visited the theatre for the Spanish premiere of his La forza del destino. At its peak, in the last quarter of the 19th century, the Teatro hosted world renowned artists such as Adela Borghi, Marie Sasse, Adelina Patti, Christina Nilsson, Luisa Tetrazzini, Mattia Battistini, Julián Gayarre, Angelo Masini, Francesco Tamagno and Enrico Tamberlick. In 1925, the Ballets Russes of Diaghilev performed in the theatre with the presence of Nijinsky and Stravinsky.
From 1867 to 1925 the Teatro Real also housed the Madrid Royal Conservatory. In December 1925 a Royal Order ordered its activities to be discontinued owing to the damage that the construction of the Metro de Madrid had caused to the building. The government set out to restore it and ordered numerous projects to be drawn out for its renovation, such as that from architect Urdanpilleta Flórez, who proposed a monumental remodeling of the building. However, financial difficulties prevented the completion of these projects and led to a simple restoration, sponsored by the Juan March Institute, and carried out first by the architect Manuel Gonzalez Valcárcel, and later by architects Miguel Verdú Belmonte and Francisco Rodriguez Partearroyo.
The theatre reopened in 1966 as a concert hall as well as the main concert venue for the Spanish National Orchestra and the RTVE Symphony Orchestra. The reopening was celebrated with a concert of the Spanish National Orchestra conducted by Rafael Frühbeck de Burgos, and the Orfeón Donostiarra. In 1969, the 14th Eurovision Song Contest was held at the theatre, featuring an onstage metal sculpture created by surrealist Spanish artist Amadeo Gabino.
In the 1990s, the house was remodeled to host opera again. The building was completed in late 1995, then the process of technical, administrative, artistic and functional organization began which led to the opening of the theatre in 1997. The remodeling was based on the old classical style of opera house with only basic modernization leaving many seats without a view of the stage. A considerable percentage of seats have a limited or zero view of the stage and a live stream of operas and ballets is projected on the upper side walls of the house so that the entire audience can follow the performance regardless of their view of the stage.
The first opera program performed for the reopening was Manuel de Falla’s El sombrero de tres picos and La vida breve, which was immediately followed by the world premiere of Spanish composer Antón García Abril's Divinas Palabras (actually commissioned to open the house) with Plácido Domingo in the cast. The company staged the first modern revival of Vicente Martín y Soler's Il burbero di buon cuore in 2007, and the world premiere of Philip Glass' opera The Perfect American in 2013.
Célèbre et controversé, le danseur et chorégraphe d'origine russe Serge Lifar s'est affirmé au cours du xxe siècle comme l'un des plus ardents défenseurs de la danse à laquelle il a dédié sa vie. Doté d'une exceptionnelle plastique, il a joint à l'harmonie gestuelle un sens dramatique mis au service de ses rôles aux Ballets russes de Serge de Diaghilev puis à l'Opéra de Paris. Idole du Tout-Paris, des photographes de presse, de la radio, il a usé de son prestige médiatique pour réhabiliter la condition du ballet et du danseur. Il a conçu et souvent créé – c'est-à-dire dansé lors de la première représentation de l'œuvre – deux cents chorégraphies expressives d'une action, d'un caractère, en s'attachant plus à révéler et servir la personnalité des solistes que la complexité des ensembles. Charismatique, il a su transmettre le lyrisme de son néo-classicisme, attirer un nouveau public, communiquer par ses conférences et écrits sa passion pour son art.
Papill_homme est une dénomination tpoute personnelle de cette statue qui n'a rien à voir avec son nom exacte que j'ignore d’ailleurs
Rue des Mathurins 09/01/2023 11h35
Chapelle Expiatoire at the left, a woman dressed in red at the right.
Rue des Mathurins
Rue des Mathurins is a street in the 8ème and 9ème arrondissement of Paris in the quartier Madeleine. This street starts at rue Scribe and place Diaghilev and ends 720 meters further at 30, boulevard Malesherbes.
Rue Scribe 13/02/2022 15h17
Rue Scribe corner Boulevard des Capucines.
Rue Scribe
Rue Scribe is a street in the 9ème arrondissement of Paris in the quartier Chaussée-d'Antin. The street has a length of 280 meter and a width of 20 meters, starts at boulevard des Capucines and ends at Place Diaghilev / 1, rue des Mathurins.
Rue Scribe is named after the playwright Eugène Scribe (1791-1861), because of its neighborhood with the Opéra Garnier, by decree of March 2, 1864.
НИКОЛАЙ ФЕШИН - Портрет балерины Веры Фокиной
☆
Location: Baylor University's Martin Museum of Art, Waco, Texas USA
Sources: www.baylor.edu/mediacommunications/news.php?action=story&... www.baylor.edu/MEDIACOMMUNICATIONS/news.php?action=story&...
Tuluzakova, Galina P.: "Nicolai Fechin and Russian emigrants in New York", Sztuka Europy Wschodniej - Искусство Bосточной Европы - Art of Eastern, Europe 3, 2015, 333-338
One of Feshin's favorite models Vera Fokina became in New York.
The famous Russian ballerina, star of the Mariinsky Theater,
member of the Diaghilev troupe, Vera and her husband Mikhail Fokin settled in the USA in 1919 year, in 1921 settled in New York,
opening there a ballet school, calling it the Fokins' studio.
At various times, portraits of Fokina were created by Korovin, Serebryakova, Bobyshev, Kinney, Link.
Feshin painted at least three picturesque portraits of Vera Fokina (Etude, 1926 [?], private collection, USA; Portrait of Vera Fokina [in front of the mirror], 1926 [?], Private collection, USA; Princess, 1927, Baylor University Waco, TX, USA)
Several versions of the myth have survived from ancient sources. The classic version is by Ovid, found in book 3 of his Metamorphoses (completed 8 AD); this is the story of Narcissus and Echo. One day Narcissus was walking in the woods when Echo, an Oread (mountain nymph) saw him, fell deeply in love, and followed him. Narcissus sensed he was being followed and shouted "Who's there?". Echo repeated "Who's there?". She eventually revealed her identity and attempted to embrace him. He stepped away and told her to leave him alone. She was heartbroken and spent the rest of her life in lonely glens until nothing but an echo sound remained of her. Nemesis, the goddess of revenge, learned of this story and decided to punish Narcissus. She lured him to a pool where he saw his own reflection. He didn't realize it was only an image and fell in love with it. He eventually recognized that his love could not be reciprocated and committed suicide.
An earlier version ascribed to the poet Parthenius of Nicaea, composed around 50 BC, was recently rediscovered among the Oxyrhynchus papyri at Oxford.Like Ovid's version, it ends with Narcissus committing suicide. A version by Conon, a contemporary of Ovid, also ends in suicide (Narrations, 24). In it, a young man named Aminias fell in love with Narcissus, who had already spurned his male suitors. Narcissus also spurned him and gave him a sword. Aminias committed suicide at Narcissus's doorstep. He had prayed to the gods to give Narcissus a lesson for all the pain he provoked. Narcissus walked by a pool of water and decided to drink some. He saw his reflection, became entranced by it, and killed himself because he could not have his object of desire.[3] A century later the travel writer Pausanias recorded a novel variant of the story, in which Narcissus falls in love with his twin sister rather than himself (Guide to Greece, 9.31.7).
Influence on culture
Тhe myth of Narcissus has inspired artists for at least two thousand years, even before the Roman poet Ovid featured a version in book III of his Metamorphoses. This was followed in more recent centuries by other poets (e.g. Keats and Alfred Edward Housman) and painters (Caravaggio, Poussin, Turner, Dalí (see Metamorphosis of Narcissus), and Waterhouse).
Narcissus in literature : Narcissus by Gyula Benczúr In Stendhal's novel Le Rouge et le Noir (1830), there is a classic narcissist in the character of Mathilde. Says Prince Korasoff to Julien Sorel, the protagonist, with respect to his beloved girl:She looks at herself instead of looking at you, and so doesn't know you.During the two or three little outbursts of passion she has allowed herself in your favor, she has, by a great effort of imagination, seen in you the hero of her dreams, and not yourself as you really are.(Page 401, 1953 Penguin Edition, trans. Margaret R.B. Shaw).The myth had a decided influence on English Victorian homoerotic culture, via André Gide's study of the myth, Le Traité du Narcisse ('The Treatise of the Narcissus', 1891), and the only novel by Oscar Wilde, The Picture of Dorian Gray.
Paulo Coelho's The Alchemist also starts with a story about Narcissus, found (we are told) by the alchemist in a book brought by someone in the caravan. The alchemist's (and Coelho's) source was very probably Hesketh Pearson's The Life of Oscar Wilde (1946) in which this story is recorded (Penguin edition, p. 217) as one of Wilde's inspired inventions. This version of the Narcissus story is based on Wilde's "The Disciple" from his "Poems in Prose (Wilde) ".Author and poet Rainer Maria Rilke visits the character and symbolism of Narcissus in several of his poems.Seamus Heaney references Narcissus in his poem "Personal Helicon" from his first collection "Death of a Naturalist":
"To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity."In Rick Riordan's Heroes of Olympus series, Narcissus appears as a minor antagonist in the third book The Mark of Athena.In the fantasy series Harry Potter, Narcissa Malfoy, a minor antagonist, is named for Narcissus.William Faulkner's character "Narcissa" in Sanctuary, sister of Horace Benbow, was also named after Narcissus. Throughout the novel, she allows the arrogant, pompous pressures of high-class society to overrule the unconditional love that she should have for her brother.Hermann Hesse's character "Narcissus" in "Narcissus and Goldmund" shares several of mythical Narcissus' traits, although his narcissism is based on his intellect rather than his physical beauty.A. E. Housman refers to the 'Greek Lad', Narcissus, in his poem Look not in my Eyes from A Shropshire Lad set to music by several English composers including George Butterworth. At the end of the poem stands a jonquil, a variety of daffodil, Narcissus Jonquilla, which like Narcissus looks sadly down into the water.Herman Melville references the myth of Narcissus in his novel Moby-Dick, in which Ishmael explains the myth as "the key to it all," referring to the greater theme of finding the essence of Truth through the physical world.On Sophia de Mello Breyner Andresen's A Fada Oriana, the eponymous protagonist is punished with mortality for abandoning her duties in order to stare at herself in the surface of a river.
Narcissus on film
In the TV series Boardwalk Empire, a Dr. Narcisse (Valentin Narcisse) is introduced as a condescending intellectual.
Scottish-Canadian animator Norman McLaren finished his career with a short film named Narcissus, re-telling the Greek legend through ballet.Narcissus appears in the Disney adaptation of Hercules. In the film, he is portrayed as an Olympian god with purple skin.In the film Bab'Aziz, directed by Nacer Khemir, a Narcissus like character was portrayed by an ancient prince who sat by a pond for days after days and looked at the reflection of his own soul. He was referred to as 'The prince who contemplated his soul'.Pink Narcissus is an artistic film by James Bidgood about the fantasies of a hustler.The escape craft Ripley boards in the 1979 Ridley Scott film Alien is called the Narcissus.In the 2011 film Seeing Heaven, Narcissus is depicted in a painting - the character of the film also replicates the myth of Narcissus gazing at his own reflection. The film delves deeply into the main character (Paul) and the theme is loosely based on the myth of Narcissus, as all who look at Paul are transfixed by his beauty - just as all those who gazed upon Narcissus were transifixed with his beauty.
In music
National Medal Of Arts recipient Morten Lauridsen wrote a choral work entitled "Dirait-on" based on the poem by Rainer Maria Rilke."Supper's Ready" by Genesis (ca. 1972), a near-23-minute epic song laden with religious and mythological imagery, refers to the myth of Narcissus as follows: A young figure sits still by the pool / He's been stamped "Human Bacon" by some butchery tool / (He is you) / Social Security took care of this lad. / We watch in reverence, as Narcissus is turned to a flower. / A flower?. The movement is titled "How Dare I Be So Beautiful?".American rock band Tool made a subtle reference in their song "Reflection" from their third studio album Lateralus. Not only is the whole song a metaphor of the myth, but it also makes an explicit reference: And as I pull my head out I am without one doubt/ Don't want to be down here feeding my narcissism/ I must crucify the ego before it's far too late/ I pray the light lifts me out. The song combines elements of self-analysis and finding the right path, versus self-infatuation and absorption.Progressive metal band Threshold referenced the myth with an 11-minute epic titled "Narcissus", the closing track on their album Hypothetical. Greek metal band Septic Flesh recorded a song about Narcissus (called "Narcissus") on their album Communion."Narcissus in a Red Dress" by The Like was released on The Like EP and their album Release Me. The Canadian band Hedley has written a song about Narcissus (called "Narcissist"). One line goes He falls in love with his reflection in the glass / He can't resist who's staring back.Composer Nikolai Tcherepnin wrote his ballet "Narcisse et Echo, Op. 40 in 1911 for Sergei Diaghilev's Ballets Russes and was danced by Nijinski. Uruguayan band El Cuarteto de Nos wrote the song "Me Amo" (I Love Myself) in which the chorus sings "como Narciso soy" (I am like Narcissus). In 2010, Swedish electronic artist pacific! released "Narcissus" an album and ballet staged in Gothenburg.[7] In 1994, composer Mark Applebaum composed Narcissus: Strata/Panacea for marimba solo. This work comprised one movement of the larger Janus Cycle, for mixed instrumentation.[8] In 1987, Thea Musgrave was commissioned by a consortium of four flutists for a solo work. She composed Narcissus for flute and digital delay.
In 1898 Havelock Ellis, an English sexologist, used the term "narcissus-like" in reference to excessive masturbation, whereby the person becomes his or her own sex object.In 1899, Paul Näche was the first person to use the term "narcissism" in a study of sexual perversions.
Otto Rank, in 1911, published the first psychoanalytical paper specifically concerned with narcissism, linking it to vanity and self-admiration.Sigmund Freud only published one paper exclusively devoted to narcissism in 1914, called "On Narcissism: An Introduction".One of the personality disorders is called narcissistic personality disorder.In Marilyn Manson's song Deep Six, One of the lines mentions his name, along with the Greek god Zeus.
en.wikipedia.org/wiki/Narcissus_(mythology)
Narcissus was once walking by a lake or river and decided to drink some water; he saw his reflection in the water and was surprised by the beauty he saw; he became entranced by the reflection of himself.The myth of Narcissus is one of the most known Greek Myths, due to its uniqueness and moral tale; Narcissus, was the son of River God Cephisus and nymph Lyriope. He was known for his beauty and he was loved by God Apollo due to his extraordinary physique.The myth of Narcissus comes in two different versions, the Greek and the Greco-Roman version, as both Conon the Greek and Ovid, the Roman poet, wrote the story of Narcissus, enhancing it with different elements.According to Conon, Aminias, a young man fell in love with Narcissus, who had already spurned his male suitors. Aminias was also spurned by Narcissus who gave the unfortunate young man a sword. Aminias killed himself at Narcissus’ doorstep praying to the Gods to give Narcissus a lesson for all the pain he had provoked.Narcissus was once walking by a lake or river and decided to drink some water; he saw his reflection in the water and was surprised by the beauty he saw; he became entranced by the reflection of himself. He could not obtain the object of his desire though, and he died at the banks of the river or lake from his sorrow.The myth presented by Ovid the poet is slightly altered. According to this myth, Narcissus’ parents were worried because of the extraordinary beauty of the child and asked prophet Teiresias what to do, regarding their son’s futureTeiresias told them that the boy would grow old only if “he didn’t get to know himself”. When Narcissus was sixteen he was walking in the woods and Nymph Echo saw him and felt madly in love with him. She started following him and Narcissus asked “who’s there”, feeling someone after him.Echo responded “who’s there” and that went on for some time until Echo decided to show herself. She tried to embrace the boy who stepped away from Echo, telling her to leave him alone. Echo was left heartbroken and spent the rest of her life in glens; until nothing but an echo sound remained of her.Nemesis, though, the Goddess of Revenge, heard the story and decided to punish Narcissus. From this point the stories are similar; Narcissus sees himself in the pond and he is amazed by the beauty of the reflection. Once he figured out that his love could not be addressed, he killed himself.
Woods are protected by flood.
An old tomb on Venice's main cemetery, San Michele island.
In this place, you can also find the tombs of Igor Stravinsky, Sergey Diaghilev and of many other famous artists and writers.
Ida Rubinstein
Oeuvre d'Antonio de la Gandara (1871-1917)
1913
Huile sur toile
Paris, collection Lucile Audouy
Ida Rubinstein (1885-1960) a dansé en 1909-1910 dans la compagnie des Ballets Russes de Serge Diaghilev (Cléopâtre, Zobéide dans Schéhérazade, Salomé...) dont elle était également mécène. Après les Ballets Russes, Ida Rubinstein fonda plusieurs compagnies de ballet, dans lesquelles elle tenait certains rôles, elle a collaboré avec les grands compositeurs et chorégraphes de son époque. Le Boléro de Maurice Ravel lui est dédié.
Selon le cartel, la robe de Worth représentée sur le tableau fut portée à l'occasion de la répétition générale du Chèvrefeuille de Gabriele D'Annunzio du 24 avril 1913 chez la danseuse.
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Exposition "Worth. Inventer la haute couture"
Petit Palais, / Musée des Beaux-Arts de la ville de Paris.
Paris
Fondateur d’une maison devenue symbole absolu du luxe parisien, Charles Frederick Worth (1825-1895), né en Angleterre, est une figure incontournable de l’histoire de la mode. A l’origine de la haute couture, Worth fonde la maison éponyme au 7 rue de la Paix, dont l’histoire se déploie sur quatre générations et près d’un siècle.....Du Second Empire aux Années Folles, une page d’histoire s’écrit : celle de l’invention de la figure du grand couturier et des mécanismes de création et de commercialisation de la mode encore en vigueur, et dont Worth pose les bases dès la fin du XIXe siècle. (Extrait du site de l'exposition)
Kelvingrove Museum & Art Gallery, Glasgow 30.6.16
The Russian ballerina Anna Pavlova (1881–1931) was the most celebrated classical dancer of her time, admired for the poetic quality of her movement. She made her debut as soloist with the Imperial Russian Ballet in 1899, but gained fame when she danced with Nijinsky in Diaghilev’s Ballets Russes in Paris in 1909.
The Observer critic wrote on 16 April 1911: ‘Mr. Lavery’s portrait of the Russian dancer, Anna Pavlova, caught in a moment of graceful, weightless movement … Her miraculous, feather-like flight, which seems to defy the law of gravitation’.
Sir John Lavery (1856–1941) was an Irish painter best known for his portraits and war paintings. Born in North Belfast, Lavery attended the Haldane Academy in Glasgow and the Académie Julian in Paris. When he returned to Glasgow, he was associated with the Glasgow school. In 1888 he was commissioned to paint the state visit of Queen Victoria to the Glasgow International Exhibition. This launched his career as a society painter and he moved to London soon after.
L'orchestre de l'Opéra de Massy dirigé par Constantin Rouits devant le rideau de Picasso pour Parade
L'été 2022, l’Opéra de Massy a accueilli dans ses murs pour restauration le monumental rideau de scène réalisé par Pablo Picasso en 1917 pour le ballet Parade. Une fois restauré, le rideau a été exposé sur la scène de l'Opéra, et plusieurs manifestations culturelles (visites, conférences..) ont été organisées dont un concert donné par l’orchestre de l’Opéra de Massy qui a interprété une version symphonique de la musique de Parade composée par Erik Satie.
www.ville-massy.fr/culture/decouvrez-le-rideau-de-scene-p...
"Parade est un ballet en un acte de la compagnie des Ballets russes dirigés par Serge de Diaghilev. Il s'agit d'une œuvre collective de commande, écrite par Jean Cocteau, sur une musique d'Erik Satie, chorégraphié par Léonide Massine et scénographié (décors, costumes et rideau de scène) par Pablo Picasso. L'œuvre est inspirée par le tableau Parade de cirque de Georges Seurat. Le ballet est créé le 18 mai 1917 au théâtre du Châtelet à Paris." Extrait de l'article de Wikipedia sur le ballet Parade
fr.wikipedia.org/wiki/Parade_(ballet)
Ces manifestations font partie de la préfiguration de la "Fabrique de l'Art", un pôle de conservation et de création du centre Pompidou qui verra le jour en 2026 à Massy. Le projet fait l'objet d'un partenariat entre la ville de Massy, le département de l'Essonne, la communauté d'agglomération Paris-Saclay, la région Ile-de-France, le ministère de la Culture, l'université Paris-Saclay et le centre Pompidou.
www.centrepompidou.fr/fr/le-centre-pompidou/action-territ...
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I first wish to say “thank you” to my good friend, Ed Stump (fossiled) for graciously sending me his excellent picture of this 1937 Dalahaye 135 MS Chapron Cabriolet, the subject of this composition. I believe Ed took this picture at the 2018 Pebble Beach Concours d’Elegance.
Additionally, I wish to thank Oleg Skvortsov ( skvoral ) for giving me his permission to use his fine picture of Demétre Chiparue’s bronze sculpture “Danseuse” as the insert in this artwork. It is indicated that Mr. Skvortsov took a series of pictures of this artist’s sculptures while visiting the Art Deco Museum in Moscow, Russia.
The Car
The 135 M (Modifie), is an upgraded version of the 135 first released in 1935. These cars typically feature custom coach built bodies and no two are identical. Combining luxurious appointments and race-winning engineering, the Delahaye 135 is one of the most desirable French cars from its time.
Coachbuilders such as Figoni at Falaschi, Chapron, Franay, Letourner & Marchand, and Guillore all had their turn at building an image for the Delahaye name. Many of these cars were built specifically for Concours events which demanded elegance and uniqueness.
First shown in 1935, the 135 was an lower, more powerful and sporting version of the Type 138 model it replaced. This model was updated in 1937, to include the 3,557cc engine in various states of tune. The the 135M or Modifie featured either one or three carburetors for 95hp or 115hp. The top model was the Modifie Speciale with 135hp (On occasion designated as MS).
At the center of the 135 chassis was a robust six-cylinder engine. It’s simple pushrod design ensured reliability while the modest capacity gave good fuel economy. For almost fifteen years Delahaye used this engine for their most celebrated chassis.
During the late thirties the 135 Sport competed with success in Grand Prix, rally and endurance racing, winning the 1936 Marsailles GP and closely missing the French GP (but still taking second, third, forth and fifth place). Furthermore, the highlight of the 135’s career came at the 1938 LeMans 24 Hours race when Eugene Chaboud and Jean Tremoul took overall victory with their 135 Sport.
Around 50 examples of the 135 were made with a shorter chassis known as the Competition Court for small two seat coupes and cabriolets.
During the onset of war, Delahaye reverted back to their earlier commercial designs for the effort. Afterward they continued their 135 line which was tolerant of the poor fuels available after the war. The new cars featured a longer and narrower grill, but still retained the grace of the pre-war cars.
Source - SUPERCARSdotNET
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The Sculpture
Although many of Chiparus’s sculptures remain untitled, this particular piece does carry the inscription of: “Danseuse” (female ballet dancer) and hence the title of this composition.
Demétre Chiparus, (16 September 1886 – 22 January 1947) born as Dumitru Haralamb Chipăruș in Dorohoi, Romania, was the son of Haralamb and Saveta Chiparus. In 1909 he went to Italy, where he attended the classes of Italian sculptor Raffaello Romanelli. In 1912 he traveled to Paris to attend the École des Beaux Arts to pursue his art at the classes of Antonin Mercie and Jean Boucher.
The mature style of Chiparus took shape beginning in the 1920s. His sculptures are remarkable for their bright and outstanding decorative effect. Dancers of the Russian Ballet, French theatre, and early motion pictures were among his more notable subjects and were typified by a long, slender, stylized appearance. His work was influenced by an interest in Egypt, after Pharaoh Tutankhamen's tomb was excavated.
Sculptures of Chiparus represent the classical manifestation of Art Deco style in decorative bronze ivory sculpture. Traditionally, four factors of influence over the creative activity of the artist can be distinguished: Serge Diaghilev's Ballets Russes, ancient Egyptian art, and French theatre. Early motion pictures were among his more notable subjects and were typified by figures with a long, slender, stylized appearance. Some of his sculptures were directly inspired by Russian dancers. For example, faces of “Persian Dance” figures reveal the likenesses of Vaslav Nijinsky and Ida Rubinstein, and the dress in “Starfish Girl” exactly reproduces the sketch for Goldfish’s dress from the ballet “Underwater kingdom” by Lev Annensky. Chiparus could have been influenced by Russian ballets indirectly, through the performances of French music halls and cabarets which bore traces of the strong impact of Russian ballet. Quite often, Chiparus used the photos of Russian and French dancers, stars and models from fashion magazines of his time.
…………. More can be found about this artist at Source - WikipediA
Hope you all enjoy…………………….
Sergei Pavlovich Diaghilev (1872 – 1929), also known as Serge Diaghilev, was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes, from which many famous dancers and choreographers would arise.
ENGLISH :
On 12 July 1918, Picasso married Olga Khokhlova in the Russian church in the rue Daru. His witnesses are Max Jacob, Apollinaire and Cocteau. She is a Russian dancer of the Russian Ballet of Serge Diaghilev
Portrait of Olga in an armchair, Montrouge, Spring 1918, Oil on canvas
Les saltimbanques du rideau de Picasso pour Parade (détail)
L'été 2022, l’Opéra de Massy a accueilli dans ses murs pour restauration le monumental rideau de scène réalisé par Pablo Picasso en 1917 pour le ballet Parade. Une fois restauré, le rideau a été exposé sur la scène de l'Opéra, et plusieurs manifestations culturelles (visites, conférences..) ont été organisées dont un concert donné par l’orchestre de l’Opéra de Massy qui a interprété une version symphonique de la musique de Parade composée par Erik Satie.
www.ville-massy.fr/culture/decouvrez-le-rideau-de-scene-p...
"Parade est un ballet en un acte de la compagnie des Ballets russes dirigés par Serge de Diaghilev. Il s'agit d'une œuvre collective de commande, écrite par Jean Cocteau, sur une musique d'Erik Satie, chorégraphié par Léonide Massine et scénographié (décors, costumes et rideau de scène) par Pablo Picasso. L'œuvre est inspirée par le tableau Parade de cirque de Georges Seurat. Le ballet est créé le 18 mai 1917 au théâtre du Châtelet à Paris." Extrait de l'article de Wikipedia sur le ballet Parade
fr.wikipedia.org/wiki/Parade_(ballet)
Ces manifestations font partie de la préfiguration de la "Fabrique de l'Art", un pôle de conservation et de création du centre Pompidou qui verra le jour en 2026 à Massy. Le projet fait l'objet d'un partenariat entre la ville de Massy, le département de l'Essonne, la communauté d'agglomération Paris-Saclay, la région Ile-de-France, le ministère de la Culture, l'université Paris-Saclay et le centre Pompidou.
www.centrepompidou.fr/fr/le-centre-pompidou/action-territ...
French conductor Vladimir Golschmann (1893 - 1972) and his wife, operatic soprano Marguerite Soyer (1891 - 1973), photographed on board an ocean liner (ab.) 1925. The original image - here shown restored and digitally hand colored by me - is in the Library of Congress archive. (The couple divorced later in the 1920s.)
"Vladimir Golschmann was born in Paris. He studied violin at the Schola Cantorum in Paris. He was a notable advocate of the music of the composers known as Les Six. In Paris, he had his own concert series, the Concerts Golschmann, which began in 1919. He became the director of music activities at the Sorbonne, at the behest of the French government. Golschmann also conducted performances at the Ballets Russes of Sergei Diaghilev.Golschmann was the music director of the Saint Louis Symphony Orchestra (SLSO) from 1931 to 1958, their longest-serving music director. His initial contract was for 3 years, and the successive contracts were renewed yearly. For the last three years of his tenure, he was named conductor emeritus, during their search for a successor music director. He was initiated as an honorary member of the New Zeta chapter of Phi Mu Alpha Sinfonia music fraternity in 1949. Golschmann remained in the US, becoming a citizen in 1957.In his later years, Golschmann also worked with the orchestras of Tulsa and Denver. He died in New York City."(Wikipedia)
Anna Pavlovna | Анна Павлова (Matveyevna) Pavlova February 12 [O.S. January 31] 1881 – January 23, 1931) was a Russian prima ballerina of the late 19th and the early 20th centuries. She was a principal artist of the Imperial Russian Ballet and the Ballets Russes of Sergei Diaghilev. Pavlova is most recognized for the creation of the role The Dying Swan and, with her own company, became the first ballerina to tour ballet around the world. She toured South America, India and Australia.
Anna (Matveyevna) Pavlova was born on February 12, 1881 in Ligovo, Saint Petersburg, Russia to unwed parents. Her mother, Lyubov Feodorovna was a laundress. Her father was banker Lazar Polyakov). Her mother's second husband, Matvey Pavlov, is believed to have adopted her at the age of three, by which she acquired his last name.
While touring in The Hague, Pavlova was told that she had pneumonia and required an operation. She was also told that she would never be able to dance again if she went ahead with it. She refused to have the surgery, saying "If I can't dance then I'd rather be dead." She died of pleurisy, in the bedroom next to the Japanese Salon of the Hotel Des Indes in The Hague, three weeks short of her 50th birthday.
* Pavlova is a meringue-based cake named after the Russian ballerina Anna Pavlova. It is a meringue dessert with a crisp crust and soft, light inside, usually topped with fruit and whipped cream
[ Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Title from data provided by the Bain News Service on the negative.
Photo shows Russian ballerina Anna Pavlovna (1881-1931).
Forms part of: George Grantham Bain Collection (Library of Congress).]
Artwork by TudioJepegii
French postcard by Fotofolio, N.Y., N.Y, no. PH8. Photo: Philippe Halsman, 1949. Caption: The Act of Creation.
French poet, playwright, novelist, designer, filmmaker, visual artist and critic Jean Cocteau (1889-1963) was one of the most multi-talented artists of the 20th century. He was one of the creatives of the surrealist, avant-garde, and Dadaist movements. He is best known for his novels 'Le Grand Écart' (1923), 'Le Livre blanc' (1928), and 'Les Enfants Terribles' (1929); the stage plays 'La Voix Humaine' (1930), 'La Machine Infernale' (1934), 'Les Parents terribles' (1938), and 'L'Aigle à deux têtes' (1946); and the films Le sang d'un poète/The Blood of a Poet (1930), La belle et la bête/Beauty and the Beast (1946), Les Parents Terribles (1948), Orphée/Orpheus (1950), and Le testament d'Orphée/Testament of Orpheus (1960). He collaborated with the "Russian Ballet" company of Sergei Diaghilev and was active in many art movements, but he always remained a poet at heart.
Jean Maurice Eugène Cocteau was born in 1889 in Maisons-Laffitte, Seine-et-Oise (now Yvelines), France. Cocteau was born into a middle-class family. He began writing at 10 and was a published poet by age 16. From 1908, he was a frequent guest in artistic circles. In 1911, he wrote the libretto for 'Le dieu bleu, a ballet by the Ballets Russes. In 1917 came 'Parade', an avant-garde ballet by Cocteau, for which Pablo Picasso, among others, designed the sets and costumes and Erik Satie composed the music. In Guillaume Apollinaire's programme booklet, to describe the ballet, the word surréaliste was used for the first time. the ballet was not a great success, but it did establish Cocteau's name in the avant-garde of Paris. In 1920, Cocteau began a relationship with the aspiring writer Raymond Radiguet, then aged 17. Cocteau was openly bisexual. After Radiguet released 'Le Diable au corps', a period of productivity followed for Cocteau. This stopped in 1923, when Radiguet died of typhoid fever. Cocteau became addicted to opium in the period that followed. In 1926, he published 'Le rappel à l'ordre', a book of essays describing the renewed interest in traditions in the post-World War I period. In 1929, Cocteau wrote his best-known work, Les Enfants terribles'.
Jean Cocteau's film debut Le sang d'un poète/The Blood of a Poet (1930) starring Enrique Rive, was a grand experiment in an effort to capture the poet's obsession with the struggle between the forces of life and death. Because of the October 1930 scandal around Luis Buñuel's L'âge d'or (1930) - another film financed by Le Vicomte de Noailles and Marie-Laure de Noailles, the Paris premiere of this film was delayed until January 1932. The film is the first part of Jean Cocteau's Orpheus Trilogy (1932-1960); a loosely connected telling and re-telling of the well-known Greek legend. His favourite actor was his protégé and lover Jean Marais, who starred in La belle et la bête/Beauty and the Beast (1946), L'aigle à deux têtes (1948) and Les parents terribles (1948). In Cocteau's most important film, Orphee/Orpheus (1950), Marais is a poet who becomes obsessed with a Princess, Death (Maria Casares). They fall in love. Orphee's wife, Eurydice (Marie Déa), is killed by the Princess' henchmen and Orphee goes after her into the Underworld. Although they have become dangerously entangled, the Princess sends Orphee back out of the Underworld, to carry on his life with Eurydice. Cocteau made about twelve films in his career, all rich with symbolism and surreal imagery. In Le testament d'Orphée/Testament of Orpheus. Cocteau himself played the poet Orpheus who looks back over his life and work, recalling his inspirations and obsessions. In 1955, he became a member of the Académie française and he was also awarded the French Legion of Honour. Jean Cocteau died at the age of 74. Cocteau's house in Milly-la-Forêt was bought by the government on the initiative of a committee that wants to keep his memory alive. It was inaugurated as a Cocteau museum in 2010.
Sources: Alan Katz (IMDb), Wikipedia (Dutch and English) and IMDb.
And, please check out our blog European Film Star Postcards.
Lecture des Noces ou de Parade
Michel Larionov (1881-1964)
1922
Dessin à la mine de plomb
Exposition Ballets russes
Bibliothèque-musée de l'Opéra de Paris
www.operadeparis.fr/cns11/live/onp/Saison_2009_2010/Conve...
Sous droit ADAGP ne pas diffuser Svp
Dans la version finie du dessin, le bras gauche de Stravinski à disparu, Noces est écrit sur la partition tenue par Diaghilev et un cœur à été dessiné à la place de la signature à gauche
Along with neighbouring San Cristoforo della Pace, the island was a popular place for local travellers and fishermen to land. Mauro Codussi's Chiesa di San Michele in Isola of 1469, the first Renaissance church in Venice, and a monastery lie on the island, which also served for a time as a prison.
San Cristoforo was selected to become a cemetery in 1807, designed by Gian Antonio Selva, when under French occupation it was decreed that burial on the mainland (or on the main Venetian islands) was unsanitary. The canal that separated the two islands was filled in during 1836, and subsequently the larger island became known as San Michele. Bodies were carried to the island on special funeral gondolas. Among those buried there are Igor Stravinsky, Joseph Brodsky, Jean Schlumberger, Christian Doppler, Frederick Rolfe, Horatio Brown, Sergei Diaghilev, Ezra Pound, Luigi Nono, Catherine Bagration, Franco Basaglia, Paolo Cadorin, Zoran Mušič, Helenio Herrera, Emilio Vedova, and Salvador de Iturbide y Marzán. The cemetery is still in use today.
The Grand Hotel des Bains is a former luxury hotel on the Lido of Venice. Built in 1900 to attract wealthy tourists, it is remembered amongst other things for Thomas Mann's stay there in 1911, which inspired his novella Death in Venice. Luchino Visconti's film of the novella was shot there in 1971.
Sergei Diaghilev died at the hotel in 1929. Over the years, the hotel was used by movie stars during the annual Venice Film Festival. In the 1996 film The English Patient, the location was used to portray Shepheard's Hotel in Cairo.
In 2010, the hotel was closed for a planned conversion into a luxury condominium apartment complex, the Residenze des Bains. The building is still awaiting renovation.
29 mai 1913
Théâtre des Champs-Élysées à Paris
Ballet composé par Igor Stravinsky et chorégraphié originellement par Vaslav Nijinski pour les Ballets russes de Serge de Diaghilev.
Sony Alpha 77
Helios 44 58mmf/2
1/6400 s à f/2 pour 100 ISO
These support lines were placed on the ceiling of The Hayes Hall Gallery, Naples, Florida for an Exhibition of Isabelle De Borchgrave: Fashioning Art from Paper. *(see the paper ballet costumes below, which were only part of a muti-room and multi-level display.
Artist-Naples (Home of the Baker Museum and the Naples Philharmonic).
During a spring trip to Naples, Florida, my husband & I decided to make several visits to The Hayes Hall Galleries on the grounds of the Kimberly K. Querrey and Louis A. Simpson Cultural Campus.
www.nga.gov/content/dam/ngaweb/exhibitions/pdfs/diaghilev...
August Macke - Ballet russe [1912] - Bremen Kunsthalle
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August Macke had harboured a special love of dance since his student days in Düsseldorf. In 1912, he saw the ballet Carnaval, set to music by Robert Schumann, in Cologne in a performance of the famous Russian ballet by Sergei Diaghilev with Vaslav Nijinsky in the leading role of Harlequin (and Tamara Karsa-vina und Anna Pawlowna Pawlowa). Macke attended the performance several times and created no less than four paintings, a sculpture and around forty drawings on this theme. In Russian Ballet I, he allows the viewer to relive the dramatic climax of the play: the abduction of the flirtatious Columbine by the brash Harlequin. The third figure, the abandoned Pierrot, raises his arms plaintively - a gesture that is echoed in the caryatid under the balustrade of the box. The lady in the hat on the right links the darkened auditorium with the radiantly lit stage space in a compositional way. In its formal simplification and strong colouring, Russian Ballet I points to Macke's strong influence from the French Fauves.
Source: Kunsthalle Bremen
www.youtube.com/watch?v=-PYK8jAWW78
Please check out the youtube link to see the other flowers in the collection, thank you! :-)
In 1913 Igor Stravinsky and his, "Rite of Spring" incited a riot in Paris. Today I can still understand why. I see shapes in the music, dark and foreboding like shadows flickering on ancient cave walls. Something so powerful and primal it leaves me breathless. An auditory force of nature. Enter the tulip maiden with her Diaghilev leaves, the perfect flower to lead this dance of birth and death.
Léopold Survage (1879–1968) was a Finnish-born French artist who produced dynamic abstractions of city scenes. He fracturing perspectival space into planar segments, he constructed multiple viewpoints within larger compositions. In this way, structures, flowers, trees, curtains, and birds are reorganized into a fragmented yet coherent pictorial space. “Colored music is in no way an illustration or an interpretation of a musical work,” he once explained. “It is an autonomous art, although based on the same psychological principles as music.” Survage intended to take on his father’s piano factory business but instead studied at the Moscow School of Painting, Sculpture, and Architecture, where met Alexander Archipenko. The artist moved to Paris in 1910, where he became the studio mate of Amedeo Modigliani and began designing sets and costumes for Sergei Diaghilev’s Ballet Russes.
Worcester Museum and Art Gallery
Les Ballet Russes au Theatre du Chalet. Artist Leon Bakst (1886-1924). Born in St Peters burg in Russia, Bakst moved to Paris 8n 1893 to study art. He became a close colaborator of Diaghilev, working together on exhibitions and publications. He designed the very first Ballet Russes productions with his last being "The Sleeping Princess" in 1921.