Ballets Russes Costumes
Leon Bakst design for the Chief Eunuch 'Schéhérazade' (1910, 1930s)I know the Ballets Russes is one of those subjects on which I could - perhaps - go on and on (and on) ... about.
But this is not going to be a yak yak yak post - just a look and have your senses pleasured aesthetically one.
As people know, the costumes and sets of the Diaghilev era of the Ballets Russes had a huge influence on fashion and interior design at the beginning of the C19. Among other things, it was the exoticism of the bold vibrant colours, often simplified geometric shapes and oriental motifs - in such stark contrast with what had gone immediately before.
Léon Bakst set design for 'Scheherazade' (1910)This is just a very small selection from the astonishing array offered up by that extraordinary Russian enterprise.
I've tried where possible to introduce each image of an original costume with a photograph of the dancer who created the associated role. Usually, I've used an image taken at the time of the creation of the ballet concerned.
1 'Le Dieu Bleu' (1912)
Vaslav Nijinsky in 'Le Dieu Bleu' (1912)
Leon Bakst design for 'Le Dieu Bleu' Costume (1912)
Tamara Karsavina in 'Le Dieu Bleu' (1912)2 'Le Festin' (1909)
Vaslav Nijinsky in 'Le Festin' (Variously named. 1909)
Leon Bakst design for 'Le Festin' (Variously named. 1909)3 'Le Pavillion d'Armide' (1909)
Anna Pavlova and Vaslav Nijinsky as Armida and her slave, 'Le Pavillion d'Armide' (1909)
Alexandre Benois design for a musician, 'Le Pavillion d'Armide' (1909)4 'Daphnis and Chloe' (1912)
Leon Bakst design for a brigand 'Daphnis and Chloë' (1912)5 'Petroushka' (1913)
Vaslav Nijinsky as Petrushka in 'Petrushka' c.1913
Alexandre Benois design for Petrushka in 'Petrushka' c.19116 'Sadko' (1916)
Natalia Gontcharova design for a Sea Princess in Adolph Bolm's 'Sadko' (1916) - Front
Natalia Gontcharova design for a Sea Princess in Adolph Bolm's 'Sadko' (1916) - Back7 'Le Sacre du Printemps' (1913)
Nicholas Roerich design for Vaslav Nijinsky's 'Le Sacre du Printemps' (1913)8 Unknown
Unknown 9 'Chout' (1921)
Mikhail Larionov design for the Buffoon's Wife in 'Chout' (1921)10 'The Sleeping Princess' (1921)
Leon Bakst design for a cap for the Bluebird 'The Sleeping Princess' (1921)
Leon Bakst design for the Bluebird 'The Sleeping Princess' (1921)So ... ?
LOL!
God, these are friggin' great. Really interesting Southwest, Central and East Asian influences to these designs. Love the brigand outfit, but I usually prefer simpler design to the ornate. Thanks for posting.
ReplyDeleteHey, if you're every in the Bay Area, let me know!
hey jason_m
ReplyDeleteyep, they seduce your eyes
and yep, the designers (bakst, benois, etc) were constantly after new often exotic visual influences with which to dazzle the public anew
and next time i'm in the bay area i'd love to meet up - thanks for the offer
nick
Nick,
ReplyDeleteJust gorgeous! Thank you for these. The Met Opera's production of Rossini's THE SIEGE OF CORINTH (done for Beverly Sills back in the 1970s) was heavily influenced by the Ballets Russes. It was designed by Nicola Benois (making his Met debut), and the colors of the backdrops seemed a bit faded...as if they had been actual backdrops of the Ballets Russes. Or maybe the Met just didn't light them very well? Still, it was interesting to see something like that on stage.
And you know, Mr. Nick, that you can go just as far with us as you wish to. Anytime.
hey paul
ReplyDeletethe costumes are so visually seductive aren't they!
and have had influences in so many directions - so not surprise and interested to hear what you had to say bout the Met Opera's production of Rossini's THE SIEGE OF CORINTH - and by nicola benois - what relation is she to alexandre, do you know? yes, maybe the faded quality was intentional
i keep looking at my own post, narcissistically - a sad state of affaires! LOL
just fear what i'll be putting out next tho after all the smut that really shouldn't be a concern!
best, nick
Gorgeous costumes and historically very interesting.
ReplyDeleteI´m delighted with the huge amount of work that went into most of them: jewels, pearls, appliqued overlays, etc., etc. Poor Mr. Bakst much have gone blind!
ReplyDeleteI saw an exhibition of the Ballet de Russe costumes at the downstairs level of the Paris Opera House presented by YSL and Pierre Berge and they lit it rather dimly and put all behind net screening as they said the effect should be as if you are in the 10th row, not the first!! Loved it and loved this, Mr. Nick!!
hey johnny bravo
ReplyDeleteit is amazing the amount of work that went into making of these costumes - apparently diaghilev had people scouring paris for old embroidered fabric, and so on for the 'sleeping beauty' costumes - instead, for example, of painting designs onto plain fabric
yes, in the C19 theatres were quite dingily lit compared with these days - so to get the sense of how sets and costumes appeared the gauze and dim light sounds an interesting approach
good to heat from you
best, nick