Saturday, June 23, 2018

Twentieth-Century Dance Images

Zsuzsi Roboz
Rehearsal at Donmar Studios
1977
lithograph
Tate Gallery

Zsuzsi Roboz
Dancing Figure
1976
lithograph
Tate Gallery

Zsuzsi Roboz
Patricia Ruanne and Nicholas Johnson
1977
lithograph
Tate Gallery

Henri Matisse
The Dancer
1949
lithograph
Tate Gallery

Lelio Gelli
Garden Statue - The Dance
ca. 1923-27
photograph
Victoria & Albert Museum

Harriet Whitney Frishmuth
Slavonic Dancer
1921
bronze
Metropolitan Museum of Art, New York

"Frishmuth's sculptures are known for their lively poses, often inspired by professional dancers.  For Slavonic Dancer, she collaborated with her model Leon Barté, a member of the Fokine Ballet, who suggested the intensely physical pose.  The muscular figure displays fluid surfaces and an active silhouette, with contrasts of curving and angular forms.  Slavonic Dancer recalls Auguste Rodin's advice to Frishmuth when she was his pupil in Paris: 'First, always look at the silhouette of a subject and be guided by it; second, remember that movement is the transition from one attitude to another.'"  

– curator's notes from the Metropolitan Museum of Art

George Bellows
Dance in a Madhouse
1917
lithograph
Metropolitan Museum of Art, New York

Childe Hassam
The Greek Dance
1916
etching
Metropolitan Museum of Art, New York

Alexandre Lunois
Dancer
before 1916
lithograph
British Museum

Francis Picabia
Star Dancer and her School of Dance
1913
watercolor
Metropolitan Museum of Art, New York

Henri Gaudier-Brzeska
Red Stone Dancer
ca. 1913
Mansfield stone
Tate Gallery

"Gaudier was born in France but spent most of his tragically brief adult career in London.  He was an important pioneer in the revival of carving in sculpture.  This sculpture is perhaps his most important work, and demonstrates his use of a more abstract style.  The poet Ezra Pound described it as 'almost a thesis of his ideas upon the use of pure form.'  It also show's Gaudier's interest in 'primitive' cultures, through artefacts he saw at the British Museum."

– curator's notes from the Tate Gallery

John Lavery
Le Mort du Cygne  Anna Pavlova - 
1911
oil on canvas
Tate Gallery
 
"The celebrated Russian ballerina Ann Pavlova (1882-1931) danced in London with Sergei Diaghilev's company for the first time in the summer of 1910.  She caused a sensation.  . . .  The editor of the Illustrated London News commissioned Lavery to paint a head and shoulders sketch of the dancer, with which the paper advertised her second season at the Palace Theatre the following April.  . . .  Pavlova returned to London with Diaghilev's company in October 1911 and sittings began for a second composition.  This time Lavery chose to paint the ballerina as the dying swan, which was the most famous piece in Pavlova's repertoire. The dancer left London for a provincial tour in November 1911, and so the picture was completed using his wife, Hazel Lavery, as the model, dressed in Pavlova's costume."  

– curator's notes from the Tate Gallery

Spencer Gore
Ballet Scene
ca. 1903-1906
watercolor
Tate Gallery

"The ballet particularly fascinated Gore, and it formed a regular subject in his art.  The critic Frank Rutter, one of his friends, recalled that these pictures were . . . 'Magical paintings dancing with colour and movement, in which  unlike almost every other recent painter of ballets  Gore appeared to be absolutely unconscious that Degas had ever treated similar themes.  . . .  Degas, giant as he was, viewed the ballet with blasé, cynical eyes; Gore saw it quivering with wonder and delight.  Never shall I forget going with him to Covent Garden when he saw the Russian Ballet for the first time.  At the fall of the curtain he turned to me, his eyes shining with moisture, and whispered, 'I've often dreamt of such things  but I never thought I should see them.'"

– curator's notes from the Tate Gallery

J.D. Fergusson
Café-Concert des Ambassadeurs
1907
oil on panel
Tate Gallery

"Fergusson was a leading Scottish modernist.  His frequent visits to Paris from the 1890s illustrate the close ties between modern Scottish art and French painting.  He was one of a group of painters attracted by the bright colours used by the Fauves.  Fergusson developed enlarged sketches of café-life like this into finished paintings, which often centred on the figure of a glamorous woman."

– curator's notes from the Tate Gallery