Diaghilev Collection (#5)

Ballet dancer Anna Pavlova, 1912
Ballet dancer Anna Pavlova

Russian ballerina Tamara Karsavina, 1912
Russian ballerina Tamara Karsavina

Michel Fokine, c. 1909
Michel Fokine

Leon Bakst, Russian artist and designer, 1910s. Bakst (1866-1924) is best known for the costume and set designs he produced for Serge Diaghilevs famous itinerant ballet company, the Ballets Russes

Leon Bakst, Russian artist and designer and ballet impresario Serge Diaghilev, c1910. Bakst (1866-1924) (left) and Diaghilev (1872-1929) (centre) with unidentified others

Michel Fokine, Russian ballet dancer and choreographer, 1911. Fokine (1880-1942) in the Ballets Russes production of the ballet Daphnis et Chloe, which he choreogaphed

Walter Nouvel, Serge Diaghilev and Serge Lifar on the Lido in Venice, 1927
Walter Nouvel, Serge Diaghilev and Serge Lifar on the Lido in Venice

Serge Diaghilev and Leonide Massine, c. 1925
Serge Diaghilev and Leonide Massine

Sergei Diaghilev and Olga Khokhlova, 1928
Sergei Diaghilev and Olga Khokhlova

Hall of sculptures on the Dyaghilevs Exposition de l Art russe at the Salon d Automne in Paris in 1906

Oriel Ross by Madame Yevonde
Oriel Ross (Muriel Swinstead, 1907-1994), actress, by Madame Yevonde. In 1928 she appeared in the role of Nature in Diaghilevs Ballet Ode at His Majestys Theatre

Vera Fokina, Russian ballet dancer
Vera Fokina (nee Antonova, 1886-1958), Russian ballet dancer, wife of Mikhail Fokine. In 1914 she was dancing in a Russian season at Drury Lane, London. Date: July 1914

Fantaisie sur le costume moderne Two female haute couture figures
Artokoloro

Set Design for Thamar, 1912 (w / c on paper)
XIR59429 Set Design for Thamar, 1912 (w/c on paper) by Bakst, Leon (1866-1924); Musee des Arts Decoratifs, Paris, France; Russian, out of copyright

Costume design for a bacchante in Narcisse by Tcherepnin, 1911 (w / c on paper)
XIR4728 Costume design for a bacchante in Narcisse by Tcherepnin, 1911 (w/c on paper) (see also 162159) by Bakst, Leon (1866-1924); 28.5x22 cm; Private Collection; Russian, out of copyright

Set design for Scheherazade by Rimsky-Korsakov (1844-1908) 1916 (w / c on paper)
XIR32417 Set design for Scheherazade by Rimsky-Korsakov (1844-1908) 1916 (w/c on paper) by Bakst, Leon (1866-1924); Musee des Arts Decoratifs, Paris, France; Russian, out of copyright

Costume design by Leon Bakst (1866-1924) for Carabosse, the wicked fairy godmother in The Sleeping Beauty. Music by Tchaikovsky. Choreography by Marius Petipa

Scenery design by Leon Bakst (1866-1924) Scheherazade produced in 1910 by Sergei Diaghilevs Ballets Russes. Music by Nikolai Rimsky-Korsakov, choreography by Michel Fokine

Decoreative motif by Leon Bakst (1866-1924) for the third scene of Daphnis and Chloe : the lovers with their flocks. Music by Maurice Ravel. Choreography by Michel Fokine

Set design by Leon Bakst (1866-1924) Russian theatre and ballet designer, for the second scene of the ballet Daphnis and Chloe music by Maurice Ravel. Choreography by Michel Fokine

Russian Season in Paris: Cleopatra
The Russian dancer, Ida Lvovna Rubinstein in the title role of Cleopatra in the Paris season of 1909; she was part of the Ballet Russes company, founded by Sergei Diaghilev

If the Russian Ballet were to go red
Russian ballet. The ballet, particularly their costumes by Diaghilev, caused a sensation in London during the 1920 s, influencing everything from interior decor to fashion

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"Diaghilev: Revolutionizing Ballet with Artistic Brilliance" Step into the enchanting world of Diaghilev, a visionary impresario who transformed the realm of ballet forever. With his keen eye for talent and an unwavering passion for artistic innovation, he brought together a constellation of extraordinary artists that left an indelible mark on the history of dance. One such luminary was ballerina Anna Pavlova, whose ethereal grace captivated audiences worldwide. In this captivating portrait by Sir John Lavery, we catch a glimpse of her during the 1910s, radiating beauty and elegance. The Firebird ballet in 1914 stands as a testament to Diaghilev's ability to curate groundbreaking performances. With Igor Stravinsky's mesmerizing score and Leon Bakst's stunning stage design, it transported spectators into a mythical realm where magic intertwined with movement. Bakst also lent his creative genius to The Afternoon of a Faun in 1912. His exquisite costume designs adorned Vaslav Nijinsky as he embodied sensuality and mystique on stage – an unforgettable portrayal captured in another masterpiece by Bakst himself. From Sultan attire to the vibrant costumes for Blue God, Diaghilev spared no expense when it came to creating visual spectacles that complemented exceptional choreography. Each intricate detail showcased his commitment to bringing dreams alive through artistry. The allure extended beyond dancers alone; Ida Rubinstein mesmerized as Zobeide in Scheherazade while Tamara Karsavina graced magazine covers like Jugend Magazine in 1914 – both embodying Diaghilev's vision of blending beauty with talent. Even renowned artists like Pablo Picasso were drawn into Diaghilev's orbit. Cuadro Flamenco captures their collaboration within Ballets Russes – fusing two artistic powerhouses into one breathtaking creation.