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The Art of Ballets Russes
Præsentation af en række balletter illustreret med fotografier og tegninger af kostumer og kulisser, ordnet alfabetisk efter designeren
Magda Nachman
The political and social turmoil of the twentieth century took Magda Nachman from a privileged childhood in St. Petersburg at the close of the nineteenth century, artistic studies with Léon Bakst and Kuzma Petrov-Vodkin at the Zvantseva Art Academy, and participation in the dynamic symbolist/modernist artistic ferment in pre-Revolutionary Russia to a refugee existence in the Russian countryside during the Russian Civil War followed by marriage to a prominent Indian nationalist, then with her husband to the hardships of émigré Berlin in the 1920s and 1930s, and finally to Bombay, where she established herself as an important artist and a mentor to a new generation of modern Indian artists.
The Sublime Artist's Studio
The relation of the visual arts to Vladimir Nabokov's work is the subject of this in-depth and detailed study of one of the most significant facets of this modern master's oeuvre.
The Ballets Russes and Its World
The dance, art, music, and cultural worlds of the Ballets Russes--a dance company which helped define the avant-garde in the early part of this century--are surveyed in this book, which begins with Serge Diaghilev's influence. 200+ illustrations.
Theatrical Costume, Masks, Make-Up and Wigs
First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
Performing Femininity
Oriental dancers, ballerinas, actresses and opera singers the figure of the female performer is ubiquitous in the cinema of pre-Revolutionary Russia. From the first feature film, Romashkov's Stenka Razin (1908), through the sophisticated melodramas of the 1910s, to Viskovsky's The Last Tango (1918), made shortly before the pre-Revolutionary film industry was dismantled by the new Soviet government, the female performer remains central. In this groundbreaking new study, Rachel Morley argues that early Russian film-makers used the character of the female performer to explore key contemporary concerns from changing conceptions of femininity and the emergence of the so-called New Woman, to broader questions concerning gender identity. Morley also reveals that the film-makers repeatedly used this archetype of femininity to experiment with cinematic technology and develop a specific cinematic language."
The "Mir Iskusstva" Group and Russian Art, 1898-1912
Almost since its inception the Russian art journal "Mir iskusstva" ("The World of art") has been recognized as the symbolic opening fo a new period in Russian art. The journal was published in St. Petersburg from the end of 1898 through 1904. It was the work of a small group of friends, some of them artists and some dilettantes of the arts. Among the artists who took an active part in the publication of "Mir iskusstva" were Alexandre Benois, Konstantin Somov, Evgenii Lansere, Leon Bakst, Mstislav Dobuzhinskii, and Igor Grabar. Other personalities, equally important in the founding and production of "Mir iskusstva", were Sergei Diaghilev, Dmitrii Filosofov, Alfred Nourok, and Walter Nouvel--each of whom had a special interest in some area of art, music, literature, or the theater.--Introduction.
Douglas Fairbanks
"Douglas Fairbanks takes the full measure of the star's remarkable life. Jeffrey Vance bases his portrait on a rich array of sources, including Fairbanks's personal and professional papers and scrapbooks, newly available documentation and rediscovered films, and his own extensive interviews with those who knew or worked with Fairbanks. Engagingly written and sumptuously designed, with 237 photographs, the book goes beyond Fairbanks's public persona to thoroughly explore his art and his far-reaching influence."--BOOK JACKET.
Valentin Serov
Die Werke von Valentin Serov (1865-1911) markieren den Beginn moderner russischer Malerei. Er zeigte sie bei den Secessionen in München, Berlin und Wien, in der Weltausstellung und im Salon d’Automne in Paris sowie auf der Biennale in Venedig und in der Internationalen Ausstellung in Rom. Er gehörte der progressiven Zeitschrift Mir iskusstva an und feierte später mit deren Gründer Diaghilev Erfolge als Bühnenbildner der Ballets Russes. An der Moskauer Kunsthochschule unterrichtete er Petrov-Vodkin, Sapunov, Saryan, Kuznetsov, Mashkov, Larionov und Tatlin. Die Autorin unternimmt eine Reise durch Serovs Künstlerleben durch diverse Städte, Malereiströmungen, Sammlungen, ästhetische Theorien sowie auf die Theaterbühnen und lässt die Bildfindungsprozesse des Künstlers anschaulich werden.
Cretomania
Since its rediscovery in the early 20th century, through spectacular finds such as those by Sir Arthur Evans at Knossos, Minoan Crete has captured the imagination not only of archaeologists but also of a wider public. This is shown, among other things, by its appearance and uses in a variety of modern cultural practices: from the innovative dances of Sergei Diaghilev and Ted Shawn, to public and vernacular architecture, psychoanalysis, literature, sculpture, fashion designs, and even neo-pagan movements, to mention a few examples.Cretomania is the first volume entirely devoted to such modern responses to (and uses of) the Minoan past. Although not an exhaustive and systematic study of the re...
