When I heard about the exhibit Diaghilev & the Ballet Russes 1909 – 1929 at the National Gallery of Art, I just knew I had to make a trip. Two weeks ago, I made a special trip to Washington, D.C. to see it. I was not disappointed! The Ballet Russe was a dance company started in France during the late 19th Century. Under Diaghilev’s vision, the Ballet Russe grew to be one of the greatest artistic collectives the world has ever seen.
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Russian-born Diaghilev (1872-1929) has worked as an art curator and journalist in St. Petersburg. He had even worked as a creative director of the Imperial Theater. Diaghilev helped promote Russian culture in France as part of this government position, and organized exhibitions of Russian fine art in Paris. This initiative was cut short by the demise of the tsarist government. When it became clear that the revolution was only a matter of time, Diaghilev left for Paris.
Serge Diaghilev, New York City, 1916. Image courtesy of The National Gallery of Art.
Eager to continue his career in the arts, Diaghilev saw the potential in ballet. It was a relatively inexpensive operation, compared to opera. He also had connections to some of the best Russian dancers. He urged ballerinas from the Imperial Theater to spend summers in Paris dancing in his productions. The public was spellbound by the aesthetics of the show. Diaghilev saw the ballet not only as a way to promote Russian culture, but as a way to pioneer the careers of creative, avant-garde artists and designers. He carefully selected dancers, composers, fashion designers, and artists to stage a self-contained world of innovation.
Scenery from the ballet Scheherazade by Leon Bakst, 1910. Watercolor, gouache, and gold paint on paper. Image courtesy of The National Gallery of Art.
The exhibition is so vast it’s overwhelming. There are over 130 original costumes, set designs, paintings, sculptures, prints and drawings, photographs, and posters. The manner in which it is stages shows you how each ballet had a unique artistic direction. This had to do in part with the artists and designers chosen to work on each production.
It ranges from sweet and romantic:
Alexandre Benois, Russian, 1870–1960, Costume worn by Lydia Lopokova as a Sylph from Les Sylphides, c. 1916, silk and cotton net, with metal armature for the wings, V&A, London, Cyril Beaumont Bequest © Victoria and Albert Museum, London.
Léon Bakst, Costume for a Nymph from “The Afternoon of a Faun,” c. 1912, silk chiffon, lamé, metallic ribbon, cotton, National Gallery of Australia, Canberra.
Léon Bakst, Costume for a Nymph from “The Afternoon of a Faun,” c. 1912, silk chiffon, paint, lamé, metallic ribbon, cotton, National Gallery of Australia, Canberra
To ethnographic . . .
Nicholas Roerich, Russian, 1874–1947, Costumes for two Maidens and an Elder from The Rite of Spring, 1913, wool, leather, metal belts and necklace, napped cotton, wood, and fur, V&A, London © Victoria and Albert Museum, London.
Mikhail Larionov, Russian, 1881–1964, Costume for the Buffoon’s Wife from The Tale of the Buffoon, 1921, cane‑stiffened felt and cotton, V&A, London © Victoria and Albert Museum, London.
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Mikhail Larionov, Russian, 1881–1964, Costume for the Buffoon’s Wife from The Tale of the Buffoon, 1921, cane‑stiffened felt and cotton, V&A, London © Victoria and Albert Museum, London.
To bohemian . . .
Léon Bakst, Costume for a Beotian Shepherd from “Narcissus,” 1911, painted cotton. V&A, London.
Léon Bakst, Costume for a Nymph from “Narcissus,” 1911, painted cotton, V&A, London. Photo © Victoria and Albert Museum, London
To Surrealist . . .
Giorgio de Chirico, Costume for a Sylph from “The Ball,” 1929, silk and tarlatan, with braid. © 2013 Artists Rights Society (ARS) New York/ADAGP, Paris. Photo © Victoria and Albert Museum, London.
The General from Le Bal designed by Giorgio de Chirico, 1929 © DACS, London 2006. Image courtesy of I’m Revolting.
The General from Le Bal designed by Giorgio de Chirico, 1929 © DACS, London 2006. Image courtesy of I’m Revolting.
Pablo Picasso, Spanish, 1881–1973, Costume for the Chinese Conjuror from Parade, c. 1917, silk satin fabric with silver tissue and black thread, cotton hat with woolen pigtail, V&A, London © Victoria and Albert Museum, London
To Modernist . . .
Sonia Delaunay, French, 1885–1979, Costume for title role from Cleopatra, 1918, silk, sequins, mirror, and beads, wool yarn, metallic thread braid, lamé, Los Angeles County Museum of Art, Costume Council Fund © Pracusa 2012003; Digital Image © 2013 Museum Associates / LACMA / Licensed by Art Resource, NY
Coco Chanel, Costume for La Perlouse from “The Blue Train” (right) and Costume for a Gigolo from “The Blue Train” (left), 1924, knitted wool and wool, respectively. © Victoria and Albert Museum, London.
When Diaghilev died suddenly in 1929, at the age of 57, the Ballet Russe disbanded. Such a rich and varied artistic legacy was left behind by this patron of the arts. I would recommend that everyone sees this show! For additional information, please visit the following sites:
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