Word: diaghilev
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Dates: during 1970-1979
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...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...
...Diaghilev was more than a gilded talent scout. Wherever he found genius, he made it fashionable. Parisians flocked to see Parade, which coincided with the flowering of cubism. Romeo and Juliet, designed by Miro and Max Ernst, popularized surrealism. Apollon Musagete, the first successful collaboration of Stravinsky and Balanchine, marked the beginning of neoclassicism in music and dance. Diaghilev's own life was measured out in hotel bills and telegrams. He ranged ceaselessly from Europe to America in search of backers and triumphs. World War I and the Russian Revolution slowed his progress but never stopped...
Buckle, formerly the dance critic of the Sunday Times of London, might have speculated more about the period and the art and placed Diaghilev's achievement in perspective. But if analysis is missing, the man transcends his interpreter. For Diaghilev's life was his work, and that has continued. His followers have founded many of the world's leading dance companies, including London's Royal Ballet and the New York City Ballet. It is a suitable legacy for the impresario who. with one daring jeté after another, brought the East to the West...
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...