Word: diaghilev
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What a life Misia Sert lived! Fauré gave her piano lessons. Ravel dedicated La Valse to her. Stravinsky presented her with the score of Le Sucre du Printemps. Diaghilev made her his ally; she was the only woman with whom he could feel intimate. Toulouse-Lautrec, Bonnard, Vuillard, Renoir, Vallotton painted her, sometimes obsessively. Cocteau modeled the heroine of his novel Thomas l'lmposteur on her. In the masterly hands of Proust she became two people, Princess Yourbeletieff, the young sponsor of the Ballets Russes: "One might have supposed that this marvelous creature had been imported in their...
...discarded thousands of letters. Or it may be that being forced at times to speculate and use the memoirs of others has enhanced their book. Misia is not well known to Americans. To the degree that she is recognized in the U.S., it is through her friendships with Diaghilev, whose ballets she supported lavishly, and later with Chanel, whom she also supported in the designer's early years. The authors' four-handed biography shows the virtues of the professional duo pianists' timing and technique, but they never take their subject with full scholarly weight. Instead, they have...
...Cubist Robert Delaunay, whose work and thought came to overshadow and fuse with her own. While her painting made its mark only after his death in 1941, she established herself in the '20s by applying abstract principles of color and geometry in designing books, ceramics, costumes for Serge Diaghilev and fabrics for Coco Chanel...
...Diaghilev, By Richard Buckle (Atheneum. $22.95): For the same price you can take Amtrak--one way--to New York and see the Diaghilev exhibition at the Metropolitan Museum of Art. But what then will you put on your coffee table? Though it makes a great living room conversation-piece, Buckle's work is also a splendid introduction to the Diaghilevian/magnificence on which much of Russia's cultural accomplishments in the first third of this century were based...
Excerpt "Much has been written about the perfect collaboration between choreographer, composer and designer under Diaghilev's supervision. The stages by which one of the most famous costumes of any Diaghilev ballet, that for Nemtchinova in the adagietto in Les Biches, reached its final form, are therefore of interest. We have seen how Laurencin's nebulous watercolors had been evolved by Sudeikina and Kochno ... Nemtchinova appeared before Diaghilev's eyes in a long blue velvet frock-coat, like that of a head porter in a hotel. 'Give me the scissors, Grigoriev!' Diaghilev exclaimed...