Washington Dc National Gallery of Art Retrospective on Diaghilev and the Ballets Russes Poster
Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music
May 12 – October 6, 2013
East Building, Mezzanine and Upper Level, Northeast, and Upper Level, Northwest, and Northward Bridge
Aleksandr Golovin, Russian, 1863–1930, Costume worn past 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 metallic armature for the wings, V&A, London, Cyril Beaumont Bequest © Victoria and Albert Museum, London
Alexandre Benois, Russian, 1870–1960, Pattern 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
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
Léon Bakst, Russian, 1866–1924, Costume design for Vaslav Nijinsky every bit the Faun from The Afternoon of a Faun, 1912, graphite, tempera, and gold pigment on paper, Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund
Amedeo Modigliani, Italian, 1884–1920, Léon Bakst, 1917, oil on canvas, National Gallery of Art, Washington, Chester Dale Collection
Eugène Druet, French, 1868–1917, Vaslav Nijinsky in Siamese Dance from The Orientals, 1910, gelatin silver print, Lent past The Metropolitan Museum of Art, Gilman Collection, Souvenir of The Howard Gilman Foundation, 2005
Jacques‑Émile Blanche, French, 1861–1942, Vaslav Nijinsky in Siamese Dance, c. 1910, oil on sail, Collection of Ann and Gordon Getty, San Francisco
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 wool, wood, and fur, V&A, London © Victoria and Albert Museum, London
Mikhail Larionov, Russian, 1881–1964, Costume for the Buffoon'south Wife from The Tale of the Buffoon, 1921, pikestaff‑stiffened felt and cotton, Five&A, London © Victoria and Albert Museum, London
Sonia Delaunay, French, 1885–1979, Costume for championship role from Cleopatra, 1918, silk, sequins, mirror, and chaplet, wool yarn, metallic thread braid, lamé, Los Angeles Canton Museum of Art, Costume Council Fund © Pracusa 2012003; Digital Image © 2013 Museum Assembly / LACMA / Licensed by Art Resource, NY
Pablo Picasso, Spanish, 1881–1973, Costume for the Chinese Conjuror from Parade, c. 1917, silk satin fabric with silver tissue and black thread, cotton lid with woolen pigtail, Five&A, London © Victoria and Albert Museum, London
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
Giorgio de Chirico, Italian, 1888–1978, Set design (scene 2) for The Ball, 1929, graphite and tempera on newspaper, Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin Sumner Drove Fund
Coco Chanel, French, 1883–1971, Costumes for La Perlouse and a Gigolo from The Bluish Train, 1924, knitted wool and wool, V&A, London © Victoria and Albert Museum, London
This exhibition is no longer on view at the National Gallery.
Overview: The Ballets Russes—the near innovative dance visitor of the 20th century—propelled the performing arts to new heights through groundbreaking collaborations between artists, composers, choreographers, dancers, and style designers. 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 pattern. Showcasing more than 130 original costumes, set designs, paintings, sculptures, prints and drawings, photographs, and posters, Diaghilev and the Ballets Russes too incorporates film clips in a theatrical multimedia installation. Adapted from the exhibition conceived past and offset shown at the Victoria and Albert Museum (Five&A) in 2010, the presentation in Washington draws upon that rich survey, including some 80 works from the V&A's renowned drove of dance artifacts, and adds about 50 objects, generously offered by more than than xx lenders, private and public.
Diaghilev's success depended primarily on his ability to identify and bring together the most creative artists of his solar day. Recognizing the vitality of contemporary art, he called upon
Arrangement: Organized by the Victoria and Albert Museum, London, in collaboration with the National Gallery of Art, Washington.
Sponsor: The exhibition is fabricated possible past generous grants from ExxonMobil and Rosneft. Adrienne Arsht also provided leadership support. Additional funding is kindly given by Sally Engelhard Pingree and The Charles Engelhard Foundation, Jacqueline B. Mars, Leonard and Elaine Silverstein, and The Exhibition Circle of the National Gallery of Art. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Attendance: 227,660
Itemize: Diaghilev and the Ballets Russes, 1909 -1929, edited by Jane Pritchard, London: V&A Publishing, in association with the National Gallery of Fine art, Washington, 2010.
Brochure: Diaghilev and the Ballets Russes, 1090-1929: When Fine art Danced with Music. Washington, D.C.: National Gallery of Fine art, 2013.
Source: https://www.nga.gov/exhibitions/2013/diaghilev.html
0 Response to "Washington Dc National Gallery of Art Retrospective on Diaghilev and the Ballets Russes Poster"
Postar um comentário