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HINO A APOLO: O MUNDO

ANTIGO E OS BALLETS ENSAIOS
RUSSES RECENTE
S
Postado por Jiyun Kim | Última atualização em 15 de
maio de 2019 | Publicado em 15 de maio de 2019 | 19
1900-1909 , 1910-1919 , século 20 , blog 22
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Os Ballets Russes, uma companhia de r,
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dança inovadora no início do século 20, se tq
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inspiraram na arte e escultura antigas da
Grécia, Roma e Egito para criar figurinos, 20
10
poses e cenários como “Hino a Apolo: o -
20
mundo antigo e os Ballets Russes” explora. 19

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e
m

T
20
10
s Ballets Russes, uma companhia de dança com sede -
20
em Paris liderada por Sergei Diaghilev (1872-1929) 19
apresentou uma nova visão moderna da dança no ,
sé
início do século 20 que frequentemente se inspirava no mundo cul
antigo. Nenhum tratado técnico ou sistema de notação de o
21
dança sobreviveu desde os tempos antigos para servir de ,
vis
referência, mas através de artefatos antigos, como cerâmica ão
pintada, frisos e relevos, os coreógrafos e designers de Ballets ge
ral
Russes foram capazes de desenvolver suas próprias da
interpretações da dança antiga. A empresa se beneficiou de dé
ca
um talento fantástico em arte e design, incluindo o artista e da
designer Léon Bakst (1866-1924), a icônica dançarina do início
do século 20, Isadora Duncan (1877-1927), e a artista Sonia 19
Delaunay (1885-1979). A Figura 1 mostra a ilustração de Léon 83
e
Bakst para um figurino em  Daphnis et Chloé. “Hymn to Apollo: m
The Ancient World and the Ballets Russes”, em exibição no 19
80
Instituto para o Estudo do Mundo Antigo da Universidade de -
Nova York, explora como a arte e a mitologia antigas 19
89
revolucionaram não apenas a dança, mas também o figurino. ,
sé
Os Ballets Russes incorporaram “o antigo ideal da dança como cul
um meio reflexivo da vida e como uma forma de arte integrada o
20
ao ritual religioso” (Fitzgerald 20), e incorporaram os estilos ,
grego, romano e egípcio, causando forte impacto no início do vis
ão
século XX. moda também. ge
ral
do
A primeira parte da exposição apresenta obras de arte que an
o
possivelmente influenciaram o desempenho surpreendente de
L'Après-midi d'un Faune (1912). L'Après-midi d'un Faune [The 18
Afternoon of a Faun] (Fig. 2), choreographed for the Ballets 76 ​
Russes by Vaslav Nijinsky, was a story of sexual awakening –
(Villarreal). The costumes for this performance were designed Ja
by Léon Bakst, who “abandoned corseted tutus in favor of
me
s
loose, sensuously suggestive dress inspired by the art of Greek Tis
antiquity” (Fitzgerald 20). Bakst’s liberating costume idea so
initially came from his study of the ancient art collections at the t,
ve
Hermitage and Louvre museums as well as his travels to rã
Greece and Crete. His fascination with the ancient civilizations o
of Greece and the “Orient” contributed to his designs for textiles e
m
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18
and haute couture. In the exhibition catalogue, Hymn to Apollo: 70
The Ancient World and the Ballets Russes (2019), historian -
18
Clare Fitzgerald identifies Bakst’s main source of inspiration for 79
,
the L’Après-midi d’un Faune: sé
cul
o
“he imported many of their forms, motifs, and colors xix
into his set and costume designs: … kraters in the ‘bas- ,a
an
relief’ of L’Après-midi d’un Faune; and the meander áli
ornament and cable pattern that would reappear in se
de
numerous costume and textile designs.” (59) ob
ra
s
de
In a mixing bowl (calyx-krater) (Fig. 3) from 380-360 BCE, the art
female figures are wearing chitons and himations “richly e
embroidered with stars, wave-pattern, palmettes, and egg-
pattern,” like the female dancers of L’Après-midi d’un Faune adi
(Fig. 4) (MFA Boston). In addition, Bakst, paying homage to the
nk
ra
Greeks, designed garments that amplified body movements. He no
attached veils, feathers, jewelry, and included intricate abstract sé
cul
patterns on dresses to extend and emphasize the body’s o
movement through space. 17
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ica
,
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Fig. 1 - Léon Bakst (russo, 1866-1924). Figurino: Daphnis et Chloé , 1912. oc,
Grafite e têmpera e/ou aquarela sobre papel; 28,2 x 44,7 cm (11,1 x 17,5 pol.). de
Hartford: Wadsworth Atheneum Museum of Art, 1933.392. O Fundo de Coleta fini
Ella Gallup Sumner e Mary Catlin Sumner. Fonte: Instituto para o Estudo do çã
Mundo Antigo o
do
ter
m
o

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TWITTER
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Fig. 2 - Barão Gayne de Meyer Adolf de (francês, 1868-1946). Nijinski e seis fashionhistory
dançarinos , 1914. Colótipo; 14,1 x 21,8 cm (5,55 x 8,58 pol.). Paris: Musée
d'Orsay, PHO1988-13-14. Doação manual do Sr. Michel de Bry, 1988. Fonte: adrian-ev…
L'Agence Foto RMN Grand Palais

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Fig. 3 - The Nazzano Painter (Etruscan, 400BCE). Mixing bowl (calyx-krater),

380–360 BCE. Ceramic, red figure; height: 49.1 cm; diameter: 53.7 cm (height:
19 5/16 in; diameter: 21 1/8 in). Boston: Museum of Fine Arts, 1970.487.
purchased by MFA from Andre Emmerich Gallery, Inc., November 10, 1970.
Source: MFA Boston

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Fig. 4 - Baron Gayne de Meyer Adolf de (French, 1868-1946). Dancer, face in
profile, in the foot, arms wide open, 1914. Collotype; 16.2 x 12. 2 cm (6.37 x 4.80
in). Pairs: Musée d'Orsay, PHO1988-13-27. Manual donation of Mr. Michel de
Bry, 1988. Source: L’Agence Photo RMN Grand Palais
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Fig. 5 - Artist unknown. Statuette: Female Figure, 400–300 BCE. Marble; h: 40.6
cm; w: 15 cm; d: 10.8 cm (h: 15.98 in; wl 5.90 in; d: 4.25 in). Philadelphia:
University of Pennsylvania Museum of Archaeology and Anthropology, MS4025.
Museum Purchase; subscription of Lucy Wharton Drexel, 1901. Source: Institute
for the Study of the Ancient World

It was not only Bakst who adopted this silhouette. Isadora

Duncan, an American dancer and choreographer, also enjoyed
performing in Greek-inspired, loose-fitting costumes. Duncan
was wildly popular for performing barefoot in diaphanous
dresses derived from Hellenistic statuettes of women in flowing
draperies (Fig. 5) (Villarreal). As Fitzgerald notes, Bakst
considered Isadora Duncan’s antique evocations to be
transformative: “Bakst contended that the renaissance of the
Russian ballet had come about thanks to her ‘emancipation of
the body’” (65). Part of the thrill of seeing Duncan perform was
the possibility of tantalizing glimpses of her body as she
executed graceful dance movements (Fig. 6). In The History of
Modern Fashion (2015), fashion historians Daniel James Cole
and Nancy Deihl note her influence, writing that “her style
reflected the Greek modes in high fashion, and her dances
were even imitated in fashion shows” (116). In the earlier years
of the 1910s, neoclassical Directoire-influenced dresses (Fig. 7)
—what are more commonly known as Empire-waisted sheath
gowns—became popular again. Dresses with simple T-shaped
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construction, typical of ancient garments, were commonly worn

and referred to as “tunic” gowns (Fig. 8). Isadora Duncan
became a fashion icon of the 1910s, a decade during which
ancient-themed dances became favored.

Fig. 6 - Hof-Atelier Elvira (German). Isadora Duncan, 1904. Cabinet photograph;

17 x 10 cm (6.69 x 3.93 in). New York: The New York Public Library,
ISADORA_0052V. Jerome Robbins Dance Division, created by NYPL. Source:
NYPL

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Fig. 7 - Artist unknown. Fashion plate from La Moda Elegante Ilustrada,

December 14, 1910. Lithograph. New York: SPARC, plate 165. Image
reproduced in Fashion plates: 150 Years of Style. Source: SPARC

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Fig. 8 - Mariano Fortuny (Italian, 1871-1949). Evening dress, 1930s. Silk, glass,
cotton. New York: The Metropolitan Museum of Art, C.I.58.61.4. Gift of Estate of
Agnes Miles Carpenter, 1958. Source: Met

Artist and costume designer Léon Bakst also experimented with

color and pattern, often involving combinations of gold, blue,
green, black, and white. Fitzgerald notes Bakst’s attention to
color in Hymn to Apollo: The Ancient World and the Ballets
Russes (2019):

“Bakst’s sketchbooks indicate that one of his strongest

impressions from the Greek expedition was, indeed, of
the traces of colors still visible in, for example, the wall
paintings of Knossos.” (63)

Bakst came across a variety of colors–hematite (brown-red),

ochre, malachite, conichalcite (dark green), and Egyptian blue,
which he later utilized in his set, costume, and textile designs
(Fig. 9). Many of these colors and design elements were not
confined to Greece, as Bakst continued to explore orientalism
and Egyptian culture. Art depicting Egyptian gods, pharaohs,
warriors, and priests became a rich resource for Bakst to create
costumes of Cléopâtre, one of the most successful Ballets
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Russes performances in 1909. The costumes of the primary
characters of Cléopâtre included broad collar necklaces, cuffs,
and armlets of bold colors as well as striped fabrics to imitate
the pleats of Egyptian garments (Fig. 10). 

However, after a fire destroyed Bakst’s original costumes,

Sergei Diaghilev commissioned French artist Sonia Delaunay to
produce new costumes for Cléopâtre. Fitzgerald notes that
Delaunay “also used bold colors but incorporated flatness found
in Egyptian models to create geometricized versions of ancient
Egyptian dress” (87). A clear example of her geometricized
designs is the vulture headdress. Egyptian queens wore the
vulture headdress as a symbol of divinity, associated with the
protector goddess Nekhbet. Figure 11 is a small relief that
depicts a female, possibly a goddess, with a vulture headdress.
In Delaunay’s version of the vulture headdress, the wings,
head, and tail of the bird become abstract and pure forms (Fig.
12). Figure 13 shows a colored sketch of Sonia Delaunay’s
costume design for the title role. Delaunay advocated reduction
of detail in her artworks, which explains this design choice. Like
Bakst and Delaunay, other artists and designers of the period
also sought inspiration from the ancient world and created their
own versions based on that art.

Fig. 9 - Léon Bakst (Russian, 1866-1924). Fabric design with a grape motif,
1922. Gouache and metallic paint on paper; 51.4 x 65.4 cm (20 1/4 x 25 3/4 in).
San Antonio: McNay Art Museum, TL1998.87. Gift of Robert L. B. Tobin. Source:
McNay Art Museum
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c ay t useu

Fig. 10 - Léon Bakst (Russian, 1866-1924). Costume for a Female Slave, from
Cléopâtre, 1913. Wool, silk, lamé, and ribbons. Stockholm: Dansmuseet—
Museum Rolf de Maré Stockholm, DM 1971/64. Source: Institute for the Study of
the Ancient World

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Fig. 11 - Artist unknown. Plaque Depicting a Goddess or Queen, and on

Opposite Side a King, 400–200 BCE. Limestone, paint; h: 18.7 cm; w: 11.5 cm;
d: 2.2 cm (h: 7 3/8 in; w: 4 1/2 in; d: 7/8 in). New York: The Metropolitan Museum
of Art, 07.228.2. Rogers Fund, 1907. Source: Met

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Fig. 12 - Malcolm Arbuthnot (British, 1877-1967). Photograph: Lubov

Tchernicheva in Cléopâtre, 1918. Gelatin silver print, mounted on card; 20 x 14.9
cm (7.8 x 5.8 in). Cambridge: Harvard Theatre Collection, Houghton Library,
Harvard University, MS Thr 464 (14), folder 1. Purchased with the Howard D.
Rothschild Fund, 1995. Source: Institute for the Study of the Ancient World

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Fig. 13 - Sonia Delaunay (French, 1885-1979). Costume Design: Cléopâtre,

1918. Watercolor, metallic paint, and graphite on paper; 47 x 32.7 cm (18.5 x
12.8 in). New York: The Metropolitan Museum of Art, 2007.49.36. Bequest of
William S. Lieberman, 2005. Source: Institute for the Study of the Ancient World

“Hymn to Apollo: The Ancient World and the Ballets Russes,”

examines how dancers, artists, and designers looked to the
ancient world not to reproduce exactly what was, but to recreate
and build on an aesthetic that was relevant. The exhibition
beautifully showcases the costume designs and illustrations
that resulted from the deep inspection of ancient cultures
by Léon Bakst, Isadora Duncan, and Sonia Delaunay. “Hymn to
Apollo: The Ancient World and the Ballets Russes” is on view
until June 2, 2019 at the Institute for the Study of the Ancient
World at New York University.
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Visit the Institute for the Study of the Ancient World website for
more information: “Hymn to Apollo: The Ancient World and the
Ballets Russes”

REFERENCES:
Cole, Daniel James, and Nancy Deihl. The History of Modern Fashion: From
1850. London: Laurence King Publishing, 2015.
http://www.worldcat.org/oclc/900012311.
Fitzgerald, Clare. Hymn to Apollo: The Ancient World and the Ballets Russes.
Princeton University Press, 2019.
https://press.princeton.edu/titles/30287.html.
“Mixing Bowl (Calyx-Krater).” Museum of Fine Arts, Boston, April 26, 2019.
https://www.mfa.org/collections/object/mixing-bowl-calyx-krater-154445.
Villarreal, Jose. “The Institute for the Study of the Ancient World Presents
‘Hymn to Apollo: The Ancient World and the Ballets Russes.’” artdaily.org.
Accessed May 10, 2019. http://artdaily.com/news/112252/The-Institute-for-
the-Study-of-the-Ancient-World-presents–Hymn-to-Apollo–The-Ancient-
World-and-the-Ballets-Russes-#.XNUWKutKhE5

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ABOUT THE AUTHOR

Jiyun Kim
Jiyun Kim is an Art History and
Museum Professions student (class of
2020) at FIT and was a Spring 2019
Fashion History Timeline intern. She
researched and wrote this while taking
HA 344: The History of Western
Costume (Fall 2018) and HA 346:
Twentieth-Century Fashion & Art
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(Spring 2019), taught by Professor De

Young.

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Hippie Chic (2013)

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Art (2010)
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