14.4.17

Diaghilev and the Ballets Russes

Diaghilev and the Ballets Russes, 1909-1929:  When Art Danced with Music.
© Victoria and Albert Museum, London. 2013.

Aleksandr Golovin
Costume worn by Fyodor Chaliapin in the title role in the Coronation Scene from Boris Godunov, c.1908.
Silk and metal thread, glass beads, “essence d’orient” pearls, metal, painted silk lining, replacement fur Victoria & Albert Museum, London.
Photo © Victoria and Albert Museum, London.

 Alexandre Benois
Costume worn by Lydia Lopokova as a Sylph from Les Sylphides, c. 1916 silk and cotton net, with metal armature.
Victoria & Albert Museum, London, Cyril Beaumont Bequest. Photo © Victoria and Albert Museum, London.

Nicholas Roerich
Costume for a Polovtsian Girl from Prince Igor, 1909 silk ikat fabric. Victoria & Albert Museum, London.


Mikhail Larionov
Costume for a Soldier from The Tale of the Buffoon, 1921.
Wool, cotton, buckram, flannel, satin and calico, with metal, straw, and paint. Victoria & Albert Museum, London.
 

 Giorgio de Chirico
Costume for a Male Guest from The Ball, 1929.
Gabardine, flannel, silk, and wool, with painting and appliquéd medals. Victoria & Albert Museum, London.

© 2013 Artists Rights Society (ARS) New York/ADAGP, Paris.  Photo © Victoria and Albert Museum, London

Léon Bakst
Costume design for Vaslav Nijinsky as the Faun from The Afternoon of a Faun, 1912.
Graphite, tempera and gold paint on laid charcoal paper.
Wadsworth Atheneum Museum of Art, Hartford, CT, The Ella Gallup Sumner and Mary Catlin.



Auguste Rodin, cast by Georges Rudier. Nijinsky, 1912, cast 1958 bronze. 
The Samuel Courtauld Trust, The Courtauld Gallery, London.

Una Troubridge.
Vaslav Nijinsky as the Faun, 1912 plaster. Victoria & Albert Museum, London.
Photo © Victoria and Albert Museum


Installation view for the ballet Parade with Pablo Picasso’s costumes for The Managers. One American (pictured here), the other French, the originals have not survived. Displayed here are recreations of them, based on Picasso’s preparatory drawings and photographs of the originals. From Diaghilev and the Ballets Russes, 1909-1929: When Art Danced with Music on view at the National Gallery of Art, Washington, May 12-September 2, 2013. Photo by Rob Shelley © 2013 National Gallery of Art, Washington

Installation view of Natalia Goncharova’s back cloth for the final coronation scene from The Firebird (1926). From Diaghilev and the Ballets Russes, 1909-1929: When Art Danced with Music on view at the National Gallery of Art, Washington, May 12-September 2, 2013. Photo by Rob Shelley © 2013 National Gallery of Art, Washington


Alexandre Benois
Set Design for the Butter Week Fair (scenes 1 and 4) from Petrushka, 1911 graphite, tempera and watercolor on machine-made laid paper Wadsworth Atheneum Museum of Art, Hartford, CT. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund.