.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品专文
Between 1917 and 1924, Picasso designed sets and costumes for Serge Diaghilev's Ballet Russes, including some of the most important in the company's repertoire: Parade, Le Tricorne and Le Train bleu. Beginning with a series of meticulously detailed, Ingres-inspired line drawings, over the years that followed, Picasso adopted an astonishing array of classically inspired subjects and styles in an eclectic, explicit and determinedly self-conscious display of artistic virtuosity, invention and, perhaps most importantly, independence. In varied ways, Ancient Greek and Roman sculpture, the painting of Raphael, Jean-Auguste-Dominique Ingres, Jean-Baptiste-Camille Corot, Pierre-Auguste Renoir, among others, all fed the voracious vision of the artist, much of which was catalysed by his involvement with the Ballets Russes and nourished by his trips to the Mediterranean coast of France, Italy in 1917 and London in 1919 with members of the company. Picasso employed a purposeful plurality as well as parody to create his own form of unequivocally modern Neo-Classicism.
While working on the production of Parade with the Ballet Russes in Rome, Picasso was able to keep a studio which allowed for large scale painting alongside his set and costume design for Diaghilev’s production. Whereas in London, he only had Room 574 (now 536) at the Savoy Hotel supplied by Diaghilev. Though Picasso loved staying at the grand hotel, he focused mainly on Tricorne rather than his own paintings. John Richardson further explained “However, his day-to-day involvement with the dancers inspired a series of masterly drawings done for his own pleasure, after publicity photographs of the ballerinas, including Olga, costumed for Les Papillons (1914) and Les Sylphides (1916). Their greatness resides in their affectionate mockery. Picasso singles out hands and other details for magnifications, which gives us a new take on the stylization of classical ballet positions. He suggests that, for all the grace and beauty of romantic ballet, there is flesh-and-blood physicality to these gossamer wraiths. These drawings pave the way for next year’s galumphing giantesses” (A Life of Picasso: The Triumphant Years, New York, 2007, vol. 3, pp. 119-120).
While working on the production of Parade with the Ballet Russes in Rome, Picasso was able to keep a studio which allowed for large scale painting alongside his set and costume design for Diaghilev’s production. Whereas in London, he only had Room 574 (now 536) at the Savoy Hotel supplied by Diaghilev. Though Picasso loved staying at the grand hotel, he focused mainly on Tricorne rather than his own paintings. John Richardson further explained “However, his day-to-day involvement with the dancers inspired a series of masterly drawings done for his own pleasure, after publicity photographs of the ballerinas, including Olga, costumed for Les Papillons (1914) and Les Sylphides (1916). Their greatness resides in their affectionate mockery. Picasso singles out hands and other details for magnifications, which gives us a new take on the stylization of classical ballet positions. He suggests that, for all the grace and beauty of romantic ballet, there is flesh-and-blood physicality to these gossamer wraiths. These drawings pave the way for next year’s galumphing giantesses” (A Life of Picasso: The Triumphant Years, New York, 2007, vol. 3, pp. 119-120).