Diaghilev

The Passionate Dance of the Avant-Garde

Tatiana Gubanova

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
#1 2006 (10)

Museum of Modern Art in Rovereto (Trento province, Italy) opened an exhibition titled ‘The Dance of the Avant-Garde" on December 16, displaying paintings, scenography and costumes from Degas to Picasso, from Matisse to Haring. Over 1,000 paintings, sculptures, graphic works and photographs created in the 20th century introduce the viewer to the magical union of dance and the visual arts, and to the wonderful century of real-life and fantastic images.

The Passionate Dance of the Avant-Garde

Museum of Modern Art in Rovereto (Trento province, Italy) opened an exhibition titled ‘The Dance of the Avant-Garde" on December 16, displaying paintings, scenography and costumes from Degas to Picasso, from Matisse to Haring. Over 1,000 paintings, sculptures, graphic works and photographs created in the 20th century introduce the viewer to the magical union of dance and the visual arts, and to the wonderful century of real-life and fantastic images.

From Russia: FRENCH AND RUSSIAN MASTER PAINTINGS 1870-1925 FROM MOSCOW AND ST. PETERSBURG 26 January - 18 April 2008

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2008 (18)

In January 2008, the Royal Academy of Arts staged a landmark exhibition presenting modern masterpieces drawn from Russia’s principal collections: the State Pushkin Museum of Fine Arts and the State Tretyakov Museum in Moscow, and the State Hermitage Museum and the State Russian Museum in St. Petersburg.

From Russia: FRENCH AND RUSSIAN MASTER PAINTINGS 1870-1925 FROM MOSCOW AND ST. PETERSBURG

In January 2008, the Royal Academy of Arts staged a landmark exhibition presenting modern masterpieces drawn from Russia’s principal collections: the State Pushkin Museum of Fine Arts and the State Tretyakov Museum in Moscow, and the State Hermitage Museum and the State Russian Museum in St. Petersburg.

The Diaghilev Ballet - A Personal Memory

Julian Barran

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#3 2009 (24)

Julian Barran, a renowned British art-dealer and collector was an auctioneer for many years at Sotheby’s and specialized in Diaghilev and Ballets Russes sales. Summer 2009 was marked by a representative exhibition devoted to the centenary of Diaghilev’s enterprise. Organized in London by Julian Barran at The Daniel Katz Gallery the exhibition showcased a rich collection of original costumes, vintage photos, drawings and caricatures by the outstanding team of Diaghilev’s world-famous artists and designers. Written especially for the Tretyakov Gallery magazine Julian Barran’s article speaks about those people who cherished Diaghilev’s legacy and for years preserved it for generations to come to admire. He generously shares some pearls of his collection with readers.

The Diaghilev Ballet - A Personal Memory

“...I raise my glass...” How Muscovites feted Diaghilev in 1905

Irina Ladygina

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#3 2009 (24)

On March 24 1905 in Moscow, in the restaurant of the Metropol Hotel, a dinner was held honoring Sergei Diaghilev, his work as an editor and art entrepreneur. As the “Novosti Dnya” (News of the Day) newspaper reported[1], “Moscow artists and art lovers feted the editor of the ‘World of Art’ magazine Sergei Diaghilev as a person who has made a major contribution to arts and organized an array of exhibitions that brought out a new trend”.

“...I raise my glass...” How Muscovites feted Diaghilev in 1905

On March 24 1905 in Moscow, in the restaurant of the Metropol Hotel, a dinner was held honoring Sergei Diaghilev, his work as an editor and art entrepreneur. As the “Novosti Dnya” (News of the Day) newspaper reported[1], “Moscow artists and art lovers feted the editor of the ‘World of Art’ magazine Sergei Diaghilev as a person who has made a major contribution to arts and organized an array of exhibitions that brought out a new trend”.

From the Memoirs of Zinaida Kamenetskaya about Sergei Diaghilev

Opening chapter, editing and comments by Yelena Terkel

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#3 2009 (24)

Sergei Diaghilev enjoyed considerable public exposure during his lifetime. Much has been written about his public work and management skills, his strong devotion to the arts, his intuitive ability to spot talent and novelty, his friends and adversaries, his dictatorial manner and allcharming gallantry - the mask that he always wore. But how often has the reader been able to penetrate his mask and get a glimpse of the real person behind it? Alas, not too often. An introvert, avoiding heart to heart conversations even with the closest people, Diaghilev lived an essentially lonely life. His whirlwind of activity was visible to all, but very few people saw him in his rare moments of leisure. Zinaida Kamenetskaya, his first cousin once removed, was one of those few. She left some recollections, full of candour and intimate family details, about her famous relative. She wrote her memoirs in 1931, after she had been asked to do so by Serge Lifar. She wrote them down in a school notebook - its pages covered in neat woman’s handwriting are now turning slightly yellow. There are some alterations made here and there, but not too many of them. The memoirs have never been published before and are part of the manuscript archive of the Tretyakov Gallery.

From the Memoirs of Zinaida Kamenetskaya about Sergei Diaghilev

Sergei Diaghilev and the Tretyakov Gallery

Yelena Terkel

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#3 2009 (24)

Sergei Diaghilev, whose aim was to popularize Russian art, looked up to the selfless enthusiast Pavel Tretyakov, who devoted his whole life to collecting Russian art. From the very start Tretyakov inspired in Diaghilev a great respect. In 1901 Diaghilev wrote in an article “On Russian Museums”: “Studying the superb collection of the Moscow gallery, one can easily notice that Tretyakov, for all his sensitivity and fondness of his creation, nevertheless belonged to a certain time... He felt it was his duty to showcase all of Russian art... Thus, his collection is an amazingly comprehensive journal spanning 30 years of his life as a collector.”

Sergei Diaghilev and the Tretyakov Gallery

Sergei Diaghilev's "Ballets Russes" on the Tretyakov Gallery Stage

Yevgenia Ilyukhina, Irina Shumanova

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#3 2009 (24)

Sergei Diaghilev occupies a special place in the culture of the 20th century – many publications have analysed his personality and artistic projects. But who can state that the puzzle of Diaghilevʼs infinite creativity has been unriddled. For many, he is not so much a real person as a composite figure of the ideal impresario, in whom the talent of an organizer was married to an exceptional sensitivity and receptivity to any innovation in art and, of course, the faculty for finding like-minded individuals and financing for his projects.

Sergei Diaghilev's "Ballets Russes" on the Tretyakov Gallery Stage

SERGEI DIAGHILEV OCCUPIES A SPECIAL PLACE IN THE CULTURE OF THE 20TH CENTURY - MANY PUBLICATIONS HAVE ANALYSED HIS PERSONALITY AND ARTISTIC PROJECTS. BUT WHO CAN STATE THAT THE PUZZLE OF DIAGHILEV'S INFINITE CREATIVITY HAS BEEN UNRIDDLED? FOR MANY, HE IS NOT SO MUCH A REAL PERSON AS A COMPOSITE FIGURE OF THE IDEAL IMPRESARIO, IN WHOM THE TALENT OF AN ORGANIZER WAS MARRIED TO AN EXCEPTIONAL SENSITIVITY AND RECEPTIVITY TO ANY INNOVATION IN ART AND, OF COURSE, THE FACULTY FOR FINDING LIKE-MINDED INDIVIDUALS AND FINANCING FOR HIS PROJECTS.

Léon Bakst: “Dress up like a flower!”

Yelena Terkel

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#4 2009 (25)

Léon Bakst hoped that his art would bring more harmony and joy into life. Wishing to make mankind happy and day-dreaming about antiquity and the Orient, what did he really have to offer? Something of a dandy and naive like a child, the artist often made his friends smile. Yet he would succeed in making life shinier and brighter, in bringing beauty closer to everyday life. Bakst was the first Russian artist to win worldwide recognition as a designer.

Leon Bakst: “Dress up like a flower!”

Léon Bakst hoped that his art would bring more harmony and joy into life. Wishing to make mankind happy and day-dreaming about antiquity and the Orient, what did he really have to offer? Something of a dandy and naive like a child, the artist often made his friends smile. Yet he would succeed in making life shinier and brighter, in bringing beauty closer to everyday life. Bakst was the first Russian artist to win worldwide recognition as a designer.

America in Léon Bakst’s Life and Art

Yelena Terkel

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
Special issue N2. USA–RUSSIA: ON THE CROSSROADS OF CULTURES

America in the eyes of the artists, actors and musicians of the Silver Age of Russian culture was an enigmatic and fabulously rich country - a country to go to on a tour or to earn money. Only a handful of such artists gradually came to view the New World as not just a source of income but also as a special cultural hub with distinct traditions and roots. One such was Léon Bakst, the Russian artist of international renown who spent the second half of his life in France.

America in Leon Bakst’s Life and Art

America in the eyes of the artists, actors and musicians of the Silver Age of Russian culture was an enigmatic and fabulously rich country - a country to go to on a tour or to earn money. Only a handful of such artists gradually came to view the New World as not just a source of income but also as a special cultural hub with distinct traditions and roots. One such was Léon Bakst, the Russian artist of international renown who spent the second half of his life in France.

ALEXANDER GOLOVIN AND SPAIN

Tom Birchenough

Magazine issue: 
#4 2015 (49)

"Golovin visited Spain only three or four times - less than France, Germany or Italy, to which he travelled in the years before World War I almost every year. But Spain became something of a poetic homeland for the artist, and a lasting source of inspiration for him. Golovin studied the Spanish language, knew the country's history, literature, music and art very well... [The works he painted on Spanish themes and his theatrical productions involving Spanish motifs] can only be termed 'genre' works in the loosest sense, rather they are painting-remembrances, painting-fantasies, in which Golovin expressed his painterly view of Spain, and his feeling for the Spanish national character."

ALEXANDER GOLOVIN AND SPAIN

"Golovin visited Spain only three or four times - less than France, Germany or Italy, to which he travelled in the years before World War I almost every year. But Spain became something of a poetic homeland for the artist, and a lasting source of inspiration for him. Golovin studied the Spanish language, knew the country's history, literature, music and art very well...

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