Картины Н.К.Рериха | << >> | сменить фон |
Ссылка на изображение: http://gallery.facets.ru/pic.php?id=1395&size=8
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Фото танцора
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Ист.:https://www.bonhams.com/auction/24666/lot/34/nikolai-konstantinovich-roerich-1874-1947-costume-design-for-le-sacre-du-printemps-circa-1910-1913-31-x-35cm-12-316-x-13-34in/
"Le Sacre du Printemps", или "Весенний обряд", также известная под русским названием "Весна священная", является одной из самых противоречивых и знаменитых постановок Дягилева. Сюжет балета, первоначально озаглавленный "Великое жертвоприношение: картина языческой Руси", вырос из пожизненного увлечения Рериха к мистицизму и эзотерическим ритуалам, представляя примитивные обряды древнего человека, когда он приветствовал весну, дающую жизнь, и приносил жертву Ярило, богу Солнца. Музыкальная партитура Игоря Стравинского, отличающаяся инновационными сложными ритмическими структурами и использованием диссонанса, была в высшей степени неожиданной и новаторской. Необычная хореография Вацлава Нижинского, переосмысливающая примитивный смысл танца, вызвала споры, которые продолжались много лет. На открытии в Париже 29 мая 1913 года один из зрителей описал эту сцену так: "Ничто из того, что когда-либо было написано о битве при Сакре-дю-Принтем, не дает ни малейшего представления о том, что происходило на самом деле. Театр, казалось, сотрясся от землетрясения. Он содрогнулся. Люди выкрикивали оскорбления, выли и свистели, заглушая музыку. Раздавались пощечины и даже удары кулаками...балет был поразительно красив". Рерих позже писал: "Я помню, как во время первого представления публика свистела и ревела так, что даже ничего не было слышно. Кто знает, возможно, в тот самый момент они внутренне ликовали и выражали это чувство, как самые примитивные из народов. Но я должен сказать, что этот дикий примитивизм не имел ничего общего с утонченной примитивностью наших предков, для которых ритм, священный символ и утонченность жеста были великими и священными понятиями". Рерих несколько раз менял дизайн в период с 1910 по 1940-е годы, считая эту постановку очень важной частью своего художественного творчества. Настоящая работа, скорее всего, является эскизом к ранней постановке 1913 года, о чем свидетельствует оригинальная фотография, датированная 1913 годом, на которой изображена одна из танцовщиц балета в костюме, очень похожем на дизайн предлагаемого лота. |
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http://www.bonhams.com/auctions/16804/lot/66/ Lot 66* NIKOLAI KONSTANTINOVICH ROERICH (Russian, 1874-1947) Costume design for Le Sacre du Printemps, circa 1910-1913 £ 10,000 - 15,000 RUB 830,000 - 1,200,000 THE RUSSIAN SALE 8 Jun 2009, 14:00 BST LONDON, NEW BOND STREET Nikolai Konstantinovich Roerich (Russian, 1874-1947) Costume design for Le Sacre du Printemps, circa 1910-1913 indistinctly inscribed (upper right) and numbered '47' (upper left); with additional inscription in Latin 'Chorus Last Act Priest' (on verso) gouache on paper 31 x 35cm (12 3/16 x 13 3/4in). FOOTNOTES PROVENANCE: Purchased by the present owner at Sotheby's, late 1970s
Le Sacre du Printemps or The Rite of Spring, also known by its Russian title as Vesna svyashchennaya, is one of the most controversial and famous of all Diaghilev's productions. At first entitled The Great Sacrifice: A Tableau of Pagan Russia, the story for the ballet grew out of Roerich's lifelong passion for mysticism and esoteric ritual, presenting the primitive rites of ancient man as he welcomed spring, the life-giver, and made sacrifice to Yarilo, the Sun God. The musical score by Igor Stravinsky featuring innovative complex rhythmic structures and the use of dissonance was highly unexpected and innovative. Vaslav Nijinsky’s unusual choreography re-interpreting the primitive meaning of the dance provoked controversy that was to continue for many years. At the opening in Paris on 29 May, 1913, a member of the audience described the scene: 'Nothing that has ever been written about the battle of Le Sacre du Printemps has given a faint idea of what actually took place. The theatre seemed to be shaken by an earthquake. It shuddered. People shouted insults, howled and whistled, drowning out the music. There was slapping and even punching...the ballet was astoundingly beautiful.' Roerich later wrote: 'I remember how during the first performance the audience whistled and roared so that nothing could even be heard. Who knows, perhaps at that very moment they were inwardly exultant and expressing this feeling like the most primitive of peoples. But I must say this wild primitivism had nothing in common with the refined primitiveness of our ancestors, for whom rhythm, the sacred symbol, and refinement of gesture were great and sacred concepts'. Roerich changed the design several times between 1910 and the 1940s, considering this production a very important part of his artistic oeuvre. The present work is most likely a sketch for an early production of 1913 as suggested by the original photograph dated 1913 (fig. i), showing one of the ballet dancers in a costume closely resembling the design in the offered lot.
http://www.bonhams.com/auctions/24666/lot/34 Lot 34* £ 3,000 - 5,000 RUB 250,000 - 420,000 THE RUSSIAN SALE 6 Jun 2018, 15:00 BST LONDON, NEW BOND STREET Nikolai Konstantinovich Roerich (1874-1947) Costume design for 'Le Sacre du Printemps,' circa 1910-1913 indistinctly inscribed (upper right) and numbered '47' (upper left); with additional inscription in Latin 'Chorus Last Act Priest' (on verso) gouache on paper 31 x 35cm (12 3/16 x 13 3/4in). FOOTNOTES Provenance By repute purchased by a private New York collector at Sotheby's, late 1970s Thence by decent
Le Sacre du Printemps or The Rite of Spring, also known by its Russian title as Vesna Svyashchennaya, is one of the most controversial and famous of all Diaghilev's productions. At first entitled The Great Sacrifice: A Tableau of Pagan Russia, the story for the ballet grew out of Roerich's lifelong passion for mysticism and esoteric ritual, presenting the primitive rites of ancient man as he welcomed spring, the life-giver, and made sacrifice to Yarilo, the Sun God. The musical score by Igor Stravinsky featuring innovative complex rhythmic structures and the use of dissonance was highly unexpected and innovative. Vaslav Nijinsky's unusual choreography re-interpreting the primitive meaning of the dance provoked controversy that was to continue for many years. At the opening in Paris on 29 May, 1913, a member of the audience described the scene: 'Nothing that has ever been written about the battle of Le Sacre du Printemps has given a faint idea of what actually took place. The theatre seemed to be shaken by an earthquake. It shuddered. People shouted insults, howled and whistled, drowning out the music. There was slapping and even punching... the ballet was astoundingly beautiful.' Roerich later wrote: 'I remember how during the first performance the audience whistled and roared so that nothing could even be heard. Who knows, perhaps at that very moment they were inwardly exultant and expressing this feeling like the most primitive of peoples. But I must say this wild primitivism had nothing in common with the refined primitiveness of our ancestors, for whom rhythm, the sacred symbol, and refinement of gesture were great and sacred concepts.' Roerich changed the design several times between 1910 and the 1940s, considering this production a very important part of his artistic oeuvre. The present work is most likely a sketch for an early production of 1913. |