Ballets Russes

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Tamara Karsavina and Max Frohman in Le Dieu Bleu

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Portrait of Leonide Massine by Serge Sudeikin, 1914

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Studio Lipnitzki. Danilova dans Ode le ballet de Serge Diaghilev 1928

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[klimbims]

Vaslav Nijinsky in Scheherazade, ~1910 by Olga

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Applause is not opinion. Applause is a feeling of love for the artist.

Vaslav Nijinsky, The Diary of Vaslav Nijinsky (via mandabookcorner)

[exguyparis]

Anton Dolin (27 July 1904 - 25 November 1983) and Leon Woizikowski (20 February 1899  - 23 February 1974) in Bronislava Nijinska’s 1924 ballet Le Train Bleu, a work that exploited Dolin’s considerable acrobatic talents. From Danseur: The Male in Ballet by Richard Philip & Mary Whitney - Special photography by Herbert Migdoll, published in 1977.

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Vaslav Nijinsky

Mask 1918/19 Coloured pencil on paper 37.7 x 28.3 cm

[kecobe]

Pedro Pruna (Spanish; 1904–1977) Ballets Russes Dancers Anton Dolin, Alice Nikitina, and Serge Lifar Pencil sketch with colored highlights in pencil crayon, inscribed by the artist “Pruna / Barcelona / 1925” Victoria and Albert Museum, London

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Anton Dolin and Tamara Karsavina, Spectre de la Rose 1927. But signed by Karsavina in 1978, when she was nearly blind.

[klimbims]

Le Spectre de la rose - Vaslav Nijinsky on Flickr.

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The conductor of the premiere, Pierre Monteux, was told by one of his double-bass players that ‘many a gentleman’s shiny top hat or soft fedora was ignominiously pulled down by an opponent over his eyes and ears, and canes were brandished like menacing implements of combat all over the theatre.’

Ivan Hewett, “The Rite of Spring 1913: Why did it provoke a riot?” (via cankerinahedge)

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YS-UZAC Sacre du Printemps Perfume Review

YS-UZAC Sacre du Printemps Perfume Review

Legendary perfumer Edmond Roudnitska once said, “A beautiful perfume is one that gives us a shock”.  That was my initial impression when I happened upon the bottle of YS-UZAC’s Sacre du Printemps I found at the November Perfume Lovers London event.

Photo courtesy of YS-UZAC

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Laura Knight’s painting of behind the scenes of the Ballet Russes La Parade. 1920

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Portrait of Leonide Massine for La légende de Joseph, 1914

[bschwartz]

Benois took Armida’s pearls and gave them to Nijinsky, adding a few diamonds for good measure. We know it is the same necklace because it is worn as high as it will go, right under the chin. (It started a fashion: Cartier copied it.) Nijinsky’s very first entry on the stage of the Chatelet, because of his equivocal personality, because of his allure, because he combined the strength of a man with the grace of a woman, because of his frilled and skirted costume, and because of his jeweled choker, had sped this most homosexual of centuries on its vertiginous course.

Richard Buckle (Nijinsky) as quoted by Kevin Kopelson (The Queer Afterlife of Vaslav Nijinsky)

I’ve spent the last few days checking out and reading every book that the library owns on the Ballet Russes. Nijinsky is a crucial element of my research paper so, at this point, I’d give many things to see him perform. It’s hard to read about such thrilling displays of acrobatics and artistic paradigm shifts without actually being able to “see” them. 

(via bschwartz)

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Portrait of Lubov Tchernicheva in Narcisse, 1911. Sets and costumes by Leon Bakst   

[monstrsacre]

Stravinsky, Diaghilev, Cocteau and Erik Satie in Paris - Mikhail Fiodorovich Larionov, 1917