Bakst, Leon - Arte-Deco
Sábado, Julho 28, 2007
Design for the Costume for the Gypsy Fortune Teller, 1900
Watercolor
29,5 x 22 cm
Private collection
Costumes sketch for Euripides tragedy, 1902-1903
Watercolor on paper
28,2x21 cm
National Gallery of Armenia, Yerevan, Armenia
Design for the First Costume for an Elderly Lady of Phaedra's Court with Variations of Detail for an Old Lady, 1903
Pencil, watercolor and gold paint
29 x 21,7 cm
Thyssen-Bornemisza Collection, Lugano
Self-Portrait, 1906
Crayon on paper
75,8 x 51,8 cm
State Tretiakov Gallery, Moscow
Elysium, 1906
Watercolor and gouache on paper on board
158 x 140 cm
State Tretiakov Gallery. Moscow
Projet de costume pour une odalisque du ballet Shéhérazade, 1910
Pencil, watercolor, gold paint
21.5 x 35 cm
Private collection
Design for Alexei Bulgakov's Costume as Shahriar, 1910
Pencil, watercolor, gouache, gold and silver paint (laid down)
35,5 x 22 cm
Thyssen-Bornemisza Collection, Lugano
Drawing of a Bayadère's Costume, 1910
Pencil, watercolor, gouache, gold and silver paint
29,7 x 19 cm
Thyssen-Bornemisza Collection, Lugano
Fantaisie sur le Costume Moderne, 1910
Pencil, watercolor and gouache
33 x 25,4 cm
The Metropolitan Museum of Art, New York City
Design for a Decadent Dress for Mrs. Legar, 1910
Watercolor, bronze paint, and Indian ink, on paper on board
30,8 x 23,3 cm
State Bakhrushin Theater Museum. Moscow
L’oiseau de feu, The Firebird, 1910
L'oiseau de feu, costume pour Tamara Karsavina, 1910
Scheherazade, La sultane bleue, 1910
Design for Nathalie Trouhanova's Costume as La Péri, 1911
Lithograph colored by hand in watercolor, gold and silver paint
59,8 x 43,7 cm
Thyssen-Bornemisza Collection, Lugano
Design for the Costume of a Pilgrim, 1911
Pencil, watercolor, gouache and silver paint (laid down)
28,2 x 22,8 cm
Thyssen-Bornemisza Collection, Lugano
Narcisse Bacchante, 1911
Design for Ida Rubinstein's Costume for Act IV, 1912
Pencil, watercolor and silver paint (laid down)
27 x 19,6 cm
Thyssen-Bornemisza Collection, Lugano
Le dieu bleu, Bayadere with Peacock, 1912
Costume Study for Nijinsky in his Role in La Péri, 1913
Watercolor
26 5/8 x 19 1/4 in. (67.6 x 48.9 cm)
Metropolitan Museum of Art, New York City
Bacchante, 1913
Watercolor, bronze paint, and pencil on paper on board
Design for a Masquerade Costume for Mr. Kharitonenko, 1914
Watercolor, bronze paint, and pencil on paper on board
25,8 x 19,1 cm
State Bakhrushin Theater Museum. Moscow
La legende de Joseph Potiphar's wife, 1914
Design for Scene 4: The Awakening, 1921
Pencil and watercolor
48 x 66,8 cm
Thyssen-Bornemisza Collection, Lugano
Design for the Costume for Cantalbutte, Master of Ceremonies in Scene 1, 1921
Pencil, watercolor, gouache and gold and silver paint
28,5 x 22,3 cm
Private collection
The Sleeping Beauty Wolf, 1921
Décor for the Curtain for the Beginning of Act I, 1922
Pencil, watercolor, gold and silver paint
52,8 x 80 cm
Thyssen-Bornemisza Collection, Lugano.
Design for Henri Rollan's M. Gabrio's and M. Numés'Costumes as the Three Generals in Act II: L'lle des Bienheureux, 1922
Pencil, watercolor, gouache, gold and silver paint (on card)
48,8 x 33 cm
Thyssen-Bornemisza Collection, Lugano
Design for M. Desjardins'Costume as Theseus, 1922
Pencil, watercolor, gold and silver paint (laid down)
30,8 x 22,3 cm
Thyssen-Bornemisza Collection, Lugano
Le sultan vindicatif, 1922
Design for the Set of Act II: Les Demeures de Phaedre, 1923
Pencil, watercolor and gouache (on card)
33,5 x 52,3 cm
Thyssen-Bornemisza Collection, Lugano
Design for Mille. Sylvie's Costume as Hipponoé, the Theban Slave, in Act I: Atrium du Palais de Thésée á Thrézène, 1923
Pencil, watercolor, gold and silver paint
29 x 21,2 cm
Thyssen-Bornemisza Collection, Lugano
Phedre and Theseus, 1923
Pencil, watercolor, gouache, gold and silver paint
Private collection
.............................................................................................................
Os desenhos de Bakst evocam as linhas sinuosas da Arte Nova do virar do século, bem como o elemento fantástico presente na arte de Chagall por volta desta época. (Chagall tinha estudado por um curto espaço de tempo na escola de arte de Bakst, em S. Pertersburgo). Nascido nesta cidade, Bakst estudou em Moscovo, antes de regressar à sua cidade natal em 1900, onde conheceu o bailarino Diaghilev, através do qual foi apresentado ao mundo do teatro e começou a contribuir de forma importante para a criação de cenários e figurinos. De seguida, mudou-se para Paris e foi aqui, em 1909, que começou a desenhar as suas criações mais extraordinárias para o Ballet Russe. Alguns dos seus trajes tornaram-se uma lenda ainda durante o seu tempo de vida, combinando as cores fortes da arte russa e a sofisticação e esplendor da arte oriental. Léon Bakst nasceu em S. Petersburgo (RUS) em 1866 e morreu em Paris em 1924.
......................................................................................................
Rosenberg Lev Samoylovich called Bakst was a painter and a stage designer of Belorussian birth. He was born in Grodno on 10 May 1866 ans dead in Paris on 27 December 1924. Born into a middle class Jewish family, Bakst was educated in St Peterburg, attending the gymansium and the Academy of Arts (1883-1886). He began his professional life as a copyist and illustrator of teaching materials but quickly moved on to illustration of popular magazines. His tastes was influenced and horizons enlarged when he met Alexander Benois and his circle in 1890. Bakst traveled regularly to various countries into Europe and North Africa and studied in Paris with a number of notable artists including the French Orientalist painter Jean-Leon Gerome at the Academie Julian and, from 1893 to 1896, the Finish landscape painter Albert Adelfelt. Returning to the St Peterburg, he became active as a book designer and fashionable portrait painter. With Benois and Serge Diaghlev he was a founder of the WORL OF ART (Mir Iskusstva) group in 1898 and was largely responsible for the technical excellence of its influential magazine. Later he contributed graphics to such publications as "Apollon" and "Zolotoe Runo" ("The golden fleece"). In 1906 he became a drawing teacher at the Yelizaveta Zvantseva's private school in St Peterburg, where his pupils included Mark Shagall. The portrait of the dancer "Isadora Duncan" (Oxford, Ashmolean) in brush and ink, dating from her Russian tour in 1908, is typical of his draughts-manship in its sensual and flowing movement. Bakst realized his greatest artistic success in the theatre. Making the debut with designs for stage productions at the Hermitage and Alexandrinsky theatres in St Peterburg (1902-1903), he was then commissioned for several works at the Maryinsky theatre (1903-1904). In 1909 he collaborated with Diaghilev in the founding of Ballets Russes, where he acted as artistic director, and his stages designs rapidly brought him international fame. His colourful exotic costumes and decors for Diaghilev's Scheherezade (Paris, 1910) caused a sensation whenever the ballet was performed and prompted new fashions in dress and interior decorations. Between 1909 and 1921 he designed more Diaghilev productions than any other artist, his name became inseparable from the Ballets Russes. He also designed for other celebrities, included the artist producers Vera Komissarzhervskaya in 1906, Ida Rubinstein between 1911 to 1924. Rubistein's ballet "Le Martyre de saint Sebastien" (Paris, 1911) provided him with another spectacular triumph. He settled in Paris in 1912, having being exiled from St Peterburg where, as a Jew he was unable to obtain a residence permit. A dedicated professional who was able even in mid-career to make stylistic developments, Bakst was arguably the most accomplish painter, as well as designer, in the World of Art group. His early preferences were for Realist painters and Old Masters, such as Rembrandt and Velazquez. The animated line and relaxed postures in his portraiture also suggest the influence of his close friend Valentin Serov. Through Benois and his circle Bakst was attracted to "retrospectivism" and Orientalism, and motifs from ancient Greece and Egypt became signatures in his easel paintings and theoretical work. The Benois circle also introduced him to Symbolism and Art Nouveau. From 1900 these tendencies, and sensuousness similar to that of Konstantin Somov, characterized his graphic ornamentation and designs for the stage. Bakst did not experiment with Cubism, abstraction or any other innovations of the early 20th century, yet he modernized stage design and had many imitators. Through his Kinetic forms and bold color schemas, he integrated vertical space with the movement on stage. His costumes, though lavish, did not restrict dancers: in the manner of Isidora Duncan's tunics, they freed the torso. However his costumes for Diaghlev's revival of Imperial Ballte, The Sleeping Princess (London, 1921) were appropriately traditional as may be seen from his Design for Columbine from the ballet (London, Theatre Museum). Other examples of his designs for Diaghelev are to be found in the Australian National Gallery in Canberra.
......................................................................................................
