Dance Artifacts

Anonymous Photographer
Les Papillons
(Covent Garden Russian Ballet Production)
1938
gelatin silver print
National Gallery of Australia, Canberra

Anonymous Photographer
Les Sylphides
(Irina Baronova and Serge Grigoriev)
1938
gelatin silver print
National Gallery of Australia, Canberra

Anonymous Photographer
Les Sylphides
(Tania Riabouchinskaya)
1938
gelatin silver print
National Gallery of Australia, Canberra

Anonymous Photographer
Le Coq d'Or
(Tania Riabouchinskaya)
1938
gelatin silver print
National Gallery of Australia, Canberra

Anonymous Photographer
Le Coq d'Or
(Tania Riabouchinskaya)
1938
gelatin silver print
National Gallery of Australia, Canberra

Auguste Bert
Vaslav Nijinsky as The Bluebird
1909
gelatin silver print
National Gallery of Australia, Canberra

Auguste Bert
Vaslav Nijinsky in Le Spectre de la Rose
1913
photogravure
National Gallery of Australia, Canberra

Auguste Bert
Vaslav Nijinsky in Scheherazade
1910
photogravure
National Gallery of Australia, Canberra

Edward Calvert
The Cider Feast
ca. 1830
wood-engraving
National Gallery of Canada, Ottawa

Antonio Canova
Dancer
ca. 1818-22
marble statue (second version)
National Gallery of Canada, Ottawa

Clodion
Bacchante with Infant Satyr
1774
terracotta relief
Fitzwilliam Museum, Cambridge

Francisco Iturrino
Women dancing in a Ring
ca. 1916-18
oil on canvas
Museo de Bellas Artes de Bilbao

Laura Knight
Grecian Dancer no. 1 (Pavlova)
1923
etching and aquatint
Art Gallery of New South Wales, Sydney

Carlo Leonetti
Anna Pavlova
1924
gelatin silver print
Delaware Art Museum, Wilmington

Justin McCarthy
Rachmaninoff Concerto - Ice Capades
1962-63
oil on panel
Art Museums of Colonial Williamsburg, Virginia

Anonymous French Maker
Pointe Shoes
ca. 1830
satin, leather, linen
Musées d'Art et d'Histoire, Genève

from The Garden

The garden admires you.

For your sake it smears itself with green pigment,

the ecstatic reds of the roses,

so that you will come to it with your lovers. 

And the willows –

see how it has shaped these green

tents of silence. Yet

there is still something you need,

your body so soft, so alive, among the stone animals.

Admit that it is terrible to be like them,

beyond harm.

– Louise Glück (1980)