#Lev Bakst

[mote-historie]

Léon Bakst, Scenery for the ballet Scheherazade, The Arabian Nights (Rimsky-Korsakov) set design, 1910.

[julias-74]

Woman in Black

Il nero è un colore così allegro, tesoro.

Morticia Addams

[mrdirtybear]

‘Norman Peasant’ as painted in 1896 by Lev Bakst

[durruti23]

Léon Bakst (Lev Samoilevitch Rosenberg) - Etude de décor pour Le Dieu bleu (1911)

https://www.centrepompidou.fr

[psikonauti]

Léon Bakst (Russian,1866-1924)

Costume design for the 'Queen of the Night' from Mozart's 'Magic Flute', 1922

[innervoiceartblog]

Artwork by Leon Bakst

Léon Bakst, original name Lev Samoylovich Rosenberg (born April 27 [May 9, New Style], 1866, Grodno, Russia [now Hrodna, Belarus]—died December 27, 1924, Paris, France), Jewish Russian artist who revolutionized theatrical design both in scenery and in costume. His designs for the Ballets Russes, especially during its heyday (1909–14), were opulent, innovative, and extraordinary, and his influence on fashion and interior design was widespread.

[fashionsummedup]

Leon Bakst was a painter and a costume and scene designer. He was born Lev Samoylovich Rosenberg in April 27, 1866 in Belarus.

Self Portrait, 1893, oil painting.

Bakst was born in a jewish middle class family in the tsarist Russia. His grandfather was a well know tailor and won as a present from the Tsar a very big house in Saint Petersburg; said house made a huge impact on Bakst, and after he and his parent moved to the capitol, he continued to visit his grandfather and his house every saturday.

By the age of 12 he won a drawing contest and decided that he wanted to be a painter; a decision that did not pleased his parents.

After graduating from gymnasium and even though he failed of the admissional test, Bakst enrolled as a noncredit student in the “Saint Petersburg Academy of Arts” until his second year (1883), when he passed the admissional test and became a credited student.

In the academy he met and befriended his lifelong friend the painter Valentin Serov.

In 1887 Bakst submitted a Pietà for a school competition. His work showed Mary with red-rimmed eyes and the disciples as impoverished Jews. Such work shocked and scandalized the school authorities that ended up dismissing him from the competition.

By this time he began to work as a book illustrator.

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Even though Bakst was proud of his family jewish roots, he lived in a period of time that an anti semitic view was very strong in Russia, so thinking about his business he decided to change his jewish last name, Rosenberg, to his mothers maiden name, Bakst.

In the beginning of the 1890s Bakst showed cased his works among the Society of Watercolorists.

Between the years of 1893 to 1897 he lived in Paris, where he studied at the “Académie Julian”; Although he was living in Paris, he didn’t stop visiting his grandfathers house in Saint Petersburg.

After the second part of the decade of 1890 Bakst became a member of the group of artists, writers, and art related people that was know as the “Nevsky Pickwickians”. As a member of this group he met the ballet critic and businessman Sergei Diaghilev, and the artist Alexander Benois. Both of them were very important in Bakst professional life. Together they were better known as the ones responsible for the art movement know as “Mir Iskusstva” (“World of Arts” in english). Diaghilev and Benois also created a magazine of the same name as the movement. In this magazine Bakst was responsible for the graphic part, such work brought him success and fame.

Portrait of Sergei Diaghilev, made by Leon Bakst, 1906.

In 1898 he showcased his work in the exposition “First Exhibition of Russian and Finnish Artists”, organized by Diaghilev, as well as in the Munich Secession, in exhibitions of “The World of Arts”, in exhibitions of the “Union of Russian Artists”, and others.

He also worked as a painter, painting portraits of people such as the painter Filipp Malyavin in 1899, the writer and philosopher Vasily Rozanov in 1901, the writer and poet Andrei Bely in 1905 and the water and poet Zinaida Gippius in 1906.

Another job he had was as a art teacher to the children of Russian Grand Duke Vladimir Alexandrovich.

In 1902 Bakst accepted a commission from Tsar Nicholas II to paint “Admiral Avellan and Russian sailors meeting” in Paris. He eight years to finish it.

During the Russian revolutions of 1905 he worked for magazines like Zhupel, Adskaja, Pochta, Satyricon and Apollon.

In 1908 he started o work with the support he is most famous for, the set and costume design for ballets pieces.

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In 1909 got involved with the design of sets for some greek tragedies.

It was with Diaghilevs ballet company, the “Ballets Russes”, that Bakst gained international fame. As part of the company he worked in the design of costumes and sets of ballets such as: “Cléopâtre” in 1909, “Scheherazade” in 1910, “Carnaval” in 1910, “Narcisse” in 1911, “Le Spectre de la Rose” in 1911, “L’après-midi d’un faune” in 1912 e “Daphnis et Chloé” in 1912.

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It was through the Ballet Russes that Bakst met two of his most importants friends, the ballerinas Anna Pavlovna and Ida Rubinstein. Both of them ended up creating their own dance companies and invited Bakst to work with them.

During this time, Bakst lived in western Europe because, as a Jew, he did not have the right to live permanently outside the Pale of Settlement in the Russian Empire.

He became a teacher at Elizaveta Zvantsevas (a painer and art teacher) school of art called “Zvantseva School of Drawing”. There, one of his favorites students was Marc Chagall, and according to him, when Chagall was told to do something, he would listen carefully and then he would take his paint and brush and do something completely different.

Althoug he was better known as a set and costume designer, during this period of time known as art Déco (artistic movement from the 1920s) it was commom among british families to order paintings from famous artists. Therefore he was able to work on paintings such as “The Sleeping Beauty”, a painting comissioned by James and Dorothy de Rothschild at Waddesdon Manor in 1913. The story is depicted in seven panels that line the walls of an oval, theatrical styled space in the Buckinghamshire manor house today.

In 1914 he became a member of the “Imperial Academy of Arts”.

In 1914 Bakst also met the art philanthropist Alice Warder Gerrett in paris, when Mrs. Garrett was accompanying her husband, a diplomat, in Europe. They became instant friends and Bakst was able o depend on her as a friend, a confident and an agent.

When the Garretts returned to the United States in 1920, Mrs. Garrett became Baksts representative there and organized two exhibitions at New York’s Knoedler Gallery and some traveling shows. When they arrived in Baltimore, where the couple lived at Evergreen house, Bakst re-designer the dining room into a shocking acidic yellow and ‘Chinese’ red confection. He also transformed the houses small gymnasium into a colorfully modernist private theatre.

In 1922 Bakst ended his friendship and relations with Diaghilev and the Ballet Russes.

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He died on Dezember 27 1924, in a clinic at Rueil Malmaison, near Paris, of pulmonary edema.

At his funeral friends and admires, amongst them famous artists, poets, musicians, dancers and critiques, formed a procession to accopany his body to the grave and participated in a very moving ceremony.

Soon after he designed the costumes for the ballet “Jeux”, for the Ballets Russes, Bakst collaborated with the couture house Paquin in 1913, and ever since so he became involved with the design of dresses and textile products till the end of his life.

He would frequently use oriental, neo-classical and Russian ethnic aesthetic idioms.

Due to his symbolist artistic education, personal taste and financial circustances, Bakst never fulfilled his dream of dressing the woman of the future within the commercial world of haute couture.

Instead, the clothes he designed during the period of the beggining of the first world war till his death, were worn by selet group of rich and extravagant women.

Leon Bakst was a big defender of modernity, and a very competent and skilful manipulator of contemporary media in which he vigorously promoted his own oeuvre, the phenomenon of fashion and the concept of a new emancipated woman.

Costume design for sacred dance, c. 1912.

Bibliography: Allan, Georgina O’Hara; Enciclopédia da Moda: De 1840 À Década de 90: Companhia das Letras, 2010.

https://en.wikipedia.org/wiki/Léon_Bakst

https://www.euppublishing.com/doi/full/10.3366/cost.2017.0025

https://www.britannica.com/biography/Leon-Bakst

https://pt.wikipedia.org/wiki/Leon_Bakst

Bakst, Léon Leon Bakst was a painter and a costume and scene designer. He was born Lev Samoylovich Rosenberg in April 27, 1866 in Belarus.

[amodaresumida]

Leon Bakst foi um pintor, cenógrafo e figurinista russo nascido como Lev Samoylovich Rosenberg em 27 de Abril de 1866.

Auto-Retrato, 1893, pintura a óleo.

Bakst nasceu em um família judia de classe média na Russia czariana. Seu avô era um alfaiate de grande renome e ganhou de presente do Czar uma grande casa em São Petersburgo; tal casa impressionou muito Bakst, e depois de sua família se mudar para a capital ele continuou a visitar seu avô e sua casa todos os sábados.

Aos 12 anos ganhou um concurso de desenho e decidiu tornar-se pintor; decisão a qual não agradou seus pais.

Após se formar no ensino fundamental e apesar de ter falhado no exame admissional, Bakst começou a cursar a “Academia de Artes de São Petersburgo” como aluno sem crédito até seu segundo ano, quando conseguiu passar no exame na segunda tentativa.

Na academia conheceu e tornou-se amigo do artista Valentin Serov, uma amizade que foi eterna.

Ainda na academia chegou a participar de um concurso em que ele inscreveu uma Pietà na qual era possível ver as imagens bíblicas de Maria, que apareceu com os olhos vermelhos de choro, e os discípulos, que foram retratados como judeus pobres. As autoridades da escola ficaram escandalizadas e o desqualificaram.

Nessa mesma época ele também começou a trabalhar como ilustrador de livros, e em 1883 foi admitido como aluno na “Academia Imperial de Artes” (Hoje conhecida como “Academia de Artes da Russia”).

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Apesar de ter orgulho das origens judias da sua família, Bakst viveu em um período da história em que havia uma onda de anti-semitismo na Russia. Acredita-se que o motivo para Bakst ter mudado seu nome de Rosenberg, um nome judeu, para Bakst, o nome de solteira de sua mãe, foi por receio que o nome de origem judia fosse lhe atrapalhar nos negócios.

No começo dos anos 1890 Bakst passou a expor seus trabalhos junto a sociedade de aquarelistas.

Entre os anos de 1893 à 1897 ele viveu em Paris, onde passou a estudar na Academia Julien, mas não deixou de visitar São Petersburgo.

Depois do meio da década de 1890 Bakst tornou-se membro do grupo conhecido como “Nevsky Pickwickians”. Era um grupo de artistas, escritores e figuras ligadas as artes, que possibilitou que Bakst se relacionasse com duas pessoas importantes para sua vida profissional, o empresário Sergei Diaghilev e o artista Alexander Benois, mais conhecidos como os responsáveis pelo movimento artístico “Mir Iskusstva”(“Mundo das Artes” em português). Diaghilev e Benois também criaram a revista de arte de mesmo nome que o movimento. Nessa revista Bakst ficou responsável em ajudar na parte gráfica. Tal trabalho trouxe-lhe muito sucesso e fama.

Retrato de Sergei Diaghilev por Leon Bakst, 1906.

Em 1898 ele expôs seus trabalhos na exposição, organizada por Diaghilev, “Primeira Exposição de Artistas Russos e Finlandeses”, expôs em exposições do “Mundo das Artes”, exposições da “Secessão de Munique”, exposições da “União dos Artistas Russos”, assim como outras.

Também trabalhou com retratos de pessoas como o pintor russo Filipp Malyavin em 1899, o escritor e filósofo Vasily Rozanov em 1901, o escritor e poeta Andrei Bely em 1905 e a escritora e poeta Zinaida Gippius em 1906.

Outro emprego que teve foi o de professor de artes para as crianças da família do Grande Duque Vladimir Alexandrovich da Russia.

Em 1902 Bakst aceitou a encomenda feita pelo Czar Nicolau II de pintar a reunião entre o  Almirante Avellan e os marinheiros russos, que aconteceu em Paris. Ele começou a obra durante as comemorações de 17 à 25 de Outubro, e só conseguiu terminar 8 anos depois.

Durantes as revoluções russas de 1905 Bakst trabalhou para as revistas Zhupel, Adskaja, Pochta, Satyricon e Apollon.

Em 1908 Bakst começou a trabalhar com a mídia que lhe rendeu mais sucesso, o design de cenários e figurinos de balés.

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Em 1909 se envolveu no design de sets para algumas tragédias gregas.

Foi com a companhia de dança de seu amigo Diaghilev, a companhia “Ballets Russes”(“Balés Russos” em português) que Bakst conseguiu renome internacional. Ele se envolveu com a produção do palco e do figurino de balés como Cleópatra em 1909, Scheherazade em 1910, Carnaval em 1910, Narcisse em 1911, Le Spectre de la Rose em 1911, L’après-midi d’un faune em 1912 e Daphnis et Chloé em 1912.

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Durante esse período Bakst viveu no Leste Europeu, por causa do decreto russo que não permitia que um judeu vivesse permanentemente fora da Zona de Assentamento, que constituía-se em parte do território russo e parte de alguns países do leste europeu.

Felizmente ele pôde visitar São Petersburgo e dar aulas de pintura na escola “Zvantseva School of Drawing” ( “Escola de Desenho da Zvantseva” em português), da pintora e professora de artes Elizaveta Zvantseva. Um de seus alunos favoritos era o pintor Marc Chagall, que segundo Bakst, era um bom aluno que escutava atentamente as instruções das lições propostas, e assim que pegava as tintas e pincel, fazia algo completamente diferente.

Apesar de ser mais conhecidos por seus trabalhos para os palcos dos balés, durante o período conhecido como Art Déco (movimento artístico da década de 1920) era muito comum entre as famílias britânicas encomendar-se quadros para ornar suas casas. Portanto Bakst pôde trabalhar pintando obras como a história da Bela Adormecia feita em 7 painéis encomendada em 1913 para a mansão Waddesdon de James e Dorothy de Rothschild no condado de Buckinghamshire.

Em 1914 tornou-se membro da “Academia Imperial de Artes”.

Também em 1914 Bakst conheceu a artista e filantropa Alice Warder Gerrett em Paris, quando a senhora Gerrett estava acompanhando seu esposo diplomata na Europa. Os dois tornaram-se amigos rapidamente, e Bakst passou a confiar nela como uma confidente e agente.

Quando os Gerretts voltaram para os EUA em 1920, a senhora Gerrett tornou-se a representante de Bakst lá. Ela organizou duas exposições na “Galeria Knoedler” em Nova York e depois algumas exposições itinerantes.

Voltando para Baltimore onde a família Gerrett possuía uma mansão chamada “Evergreen”, Bakst decorou a sala de jantar usando um amarelo ácido chocante com um vermelho chinês. Ele também transformou o pequeno ginásio da propriedade em um pequeno teatro particular colorido e moderno. Acredita-se que esse foi o único teatro particular no qual Bakst trabalhou.

Em 1922 Bakst terminou sua amizade com Diaghilev e os “Ballets Russes”.

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Ele morreu no dia 27 de Dezembro de 1924 em uma clínica em Rueil Malmaison, perto de Paris, de um edema pulmonar.

No dia do seu enterro familiares, amigos e diversos admiradores, entre eles os mais famosos artistas, escritores, críticos , poetas, músicos e dançarinos de sua época, formaram uma grande e comovente procissão que acompanho o corpo até seu túmulo.

Logo após ter desenhado o figurino da peça de balé “Jeux”, da companhia “Ballets Russes”,  Bakst colaborou com a casa de costura Paquin, da estilista Jeanne Paquin, em 1913 e desde então passou a se envolver com vestidos e produções têxteis até o fim de sua vida.

Ele frequentemente usava idiomas orientais, neo-clássicos e estéticas étnicas russas.

Devido à sua educação artística simbolista, gosto pessoal e circunstâncias financeiras Bakst não realizou o seu sonho de vestir a mulher do futuro dentro do mundo comercial da alta costura.

Ao invés disso suas roupas feitas durante o período da I Guerra Mundial até sua morte eram criadas como peças únicas para um grupo seleto de mulheres extravagantes e muito ricas.

Ainda assim Bakst foi um grande defensor da modernidade e um competente manipulador da mídia contemporânea, na qual vigorosamente promoveu sua própria oeuvre, o fenômeno da moda e o conceito da nova e emancipada mulher.

Figurino de Dança Sacra para peça desconhecida, 1912.

Bibliografia: Allan, Georgina O’Hara; Enciclopédia da Moda: De 1840 À Década de 90: Companhia das Letras, 2010.

https://www.euppublishing.com/doi/full/10.3366/cost.2017.0025

https://www.britannica.com/biography/Leon-Bakst

https://en.wikipedia.org/wiki/Léon_Bakst

https://pt.wikipedia.org/wiki/Leon_Bakst

  Bakst, Leon Leon Bakst foi um pintor, cenógrafo e figurinista russo nascido como Lev Samoylovich Rosenberg em 27 de Abril de 1866.

[feuillesmortes]

Si je suis digne de servir ton fils, le martyre des martyrs Mon Dieu, je te demande un signe Si je suis digne

The triumphant reverberations of Gabriel D’Annunzio’s Le Martyre de Saint Sébastien echo to an enormous, wordy five-act drama that, when performed with Debusssy’s music, last the best part of five hours. D’Annunzio’s actual title for the play was Le Mystère de Saint Sébastien, and it added a number of uncanonical details to what was known about the saint’s life. 

The pagan elements in D’Annunzio’s treatment may well have appealed to the dancer Ida Rubinstein, with her memories of performing Cleopatra and the Sultana Zobeïda in the Ballets Russes’ production of Scheherazade. But the handling was D’Annunzio’s contribution alone: the blurring of the division between the pagan and the Christian, the image of Sebastian as an Adonis, a Greek god led astray, as Diocletian seems to argue, or as a Roman officer almost too much loved by his men. The author shares their regret that this beautiful young man should renounce the sensual pleasures of the world for a painful death and the questionable joys of an afterlife without sin, and for the agnostic, beauty-loving Debussy, these ambiguities were surely a stimulus.

Often in this marvellous but uneven score one is conscious of Debussy’s familiar style taking on new colourings in response to the overheated strangeness of D’Annunzio’s conception, in which early Christianity is—perhaps rightly—depicted as no less remote and cabbalistic in its way than the seven planetary sorceress in their magic chamber. Sebastian dances, and is mourned, to dissonant but finely designed harmonies that take to a new pitch Debussy’s preocupation with the voicing and balancing of individual chords. Simple parallel chords like the ones that open the work crop up a number of times, often in mysterious sequences that suggest a secret and alien church. The persistent slow music occasionally drags its heels, and the choral final act, in Paradise, has the slight flatness that often aflicts the music of Heaven by composers who have no particular desire to go there.

D’Annunzio’s play, with Debussy’s music, was performed for the first time on 22 May 1911 at the Théatre du Châtelet, with Ida Rubinstein as Sebastian, choreography by Mikhail Fokine and designs by Lev Bakst. A week before the performance, the Archbishop of Paris gave the show unintentional publicity by pronouncing anathema on it and threatening Catholics who attended with excommunication, a fairly reliable way, one would think, of ensuring that they would turn up in droves.

— Stephen Walsh, Debussy: A Painter in Sound; “Theatres of the Body and the Mind”

[bohemiandecadence]

Costume design for Potiphar's wife in the ballet, La légende de Joseph (The Legend of Joseph) by Léon Bakst (Lev Samoilovich Rosenberg) 1914

[fashionbooksmilano]

История моды. Выпуск 17. Костюмы русского театра XIX-XX веков -  Александр Васильев History of Fashion. Issue 17. Costumes of the Russian theater of the XIX-XX centuries

Aleksandr Vasiliev

Eterna, Moscow 2011, Carte Postale issue 17,  64 pages,  150x115x15 mm         ISBN  978-5-480-00174-7

euro 35,00

email if you want to buy booksinprogressmilano@yahoo.it

Despite the fact that the art of theater came to Russia quite late, at the end of the 17th - beginning of the 18th centuries, at the turn of the 19th and 20th centuries there was no country in Europe where the theater played such a significant social role as in Russia. With the advent of photography in the second half of the 19th century, this interest in the theater only intensified. In Russia, the art of costume in the theater was treated with special care and reverence, and it is no coincidence that the world fame of costume designers belongs to people from Russia - Lev Bakst, Alexander Benois, Natalia Goncharova, Erte, Varvara Karinskaya and Georges Vakevich. They were brought up on Russian theater culture and then were able to give their talent to the whole world. In the new issue of the Carte Postale series you will find photographs of the largest actors of the Imperial Theaters of Russia in stage costumes, Appreciate their stylistic impeccability, sophistication of makeup and the excellent work of the post-hairdressers. In Russian theatrical costumes you feel a desire to convey the spirit of the times and create the complete impression of immersion in the era.

31/05/20

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[dead-molchun]

Lev Bakst (1866 - 1924) Costume For Natalia Trouhanova In La Peri, 1911 (45 by 28.5 cm)

[lelouvrelenschezvous]

L’Art déco et l’art de se parer  au temps de Jeanne Lanvin et Madeleine Vionnet. Par Éléonore

Pour les plus de 16 ans. Temps de lecture estimé : 5 minutes

L’exposition temporaire « Soleils Noirs » met à l’honneur la mode. Dans une section de l’exposition explorant le goût du noir dans la société occidentale, elle nous fait découvrir les époques où il est en vogue et ce qu’il nous raconte ainsi.

https://www.louvrelens.fr/exhibition/noir/

LANVIN Jeanne-Marie (1867 - 1946)  Robe Neptune Hiver 1926-1927 Satin de viscose noire, métal (boutons pressions) Musée de la mode de la ville de Paris

Cette robe « Neptune » créée par Jeanne Lanvin (1867 - 1946) était parfaite pour aller danser sur un rythme endiablé. Quelle modernité ! Contrairement aux habitudes des siècles précédents, on observe ici une silhouette longiligne due à l’absence de corset. Autre audace, elle a raccourci. Les changements vestimentaires sont nombreux dans les années 20 et 30 et intimement liés à la joaillerie, c’est ce que je vous propose de découvrir aujourd’hui.

L’Art déco apparaît dans une période de transition, entre 1908 et 1912, et se prolonge après la Seconde Guerre mondiale. Le déclin de l'Art déco est le moment de son plus grand triomphe : pendant l'Exposition internationale des Arts décoratifs et industriels modernes de Paris en 1925, à laquelle participe la plupart des pays d'Europe.

Revenons un peu avant, en 1900, pendant la période Art nouveau : René Lalique  (1860 - 1945) et Georges Fouquet (1862 - 1957), célèbres joailliers, ont la brillante idée d’abandonner le diamant omniprésent et d’utiliser des pierres semi-précieuses et divers matériaux comme la corne, l’ivoire, l’écaille de tortue, la nacre. Ils mettent à l’honneur le laiton et le bronze au lieu de l’or. Tous ces matériaux n’étaient pas utilisés pour la création de bijoux avant eux. Quelle grande innovation ! Ainsi naît la joaillerie moderne. En 1905, même si les bijoux Art nouveau sont démodés, les joailliers continuent d’utiliser ces nouvelles matières y compris dans l’Art déco.

La mode et la joaillerie sont intimement liées. À cette époque, Paris est la capitale de la mode…

Les années 20

En 1906, Paul Poiret (1879 - 1944) et Madeleine Vionnet (1876 - 1975) opèrent une révolution. Ils ont la bonne idée de libérer, délivrer le corps de la femme du corset. Ouf ! les filles, on peut enfin respirer ! Finies les longues séances d’habillage afin de serrer, serrer, serrer et encore serrer le corset pour avoir une taille fine. Finis les évanouissements, les côtes cassées à force de serrer. Paul Poiret redessine la silhouette féminine, sans corset, elle devient longue et droite. Pour accentuer cet effet, en 1917, il crée les robes taille basse. Puis elles raccourcissent et, en 1925, elles arrivent au-dessous du genou. On n’a jamais vu si court auparavant ! Le corps de la femme est désormais longiligne et sans courbe. Les décolletés à l’avant et dans le dos mais aussi les bijoux sobres accentuent la silhouette tube : longs colliers, sautoirs de perles rejetés dans le dos, chaînes ornées de pendentifs descendant jusqu’au nombril et parfois jusqu’aux genoux.

Une autre tendance apparaît car, pendant la Première Guerre mondiale, un grand nombre de femmes travaillent en usine pour remplacer les hommes au front et portent des vêtements fonctionnels. Après la guerre, elles souhaitent continuer à porter ces vêtements confortables qui les laissent libres de leurs mouvements. Les tailleurs privilégient donc les tissus souples comme la mousseline et les tissus synthétiques nouvellement mis au point (rayonne, etc.)

Ces tissus poussent les joailliers à créer des bijoux également plus légers, montés sur platine. Les matières synthétiques sont aussi utilisées pour imiter les pierres précieuses. Elles sont associées au strass qui remplace le diamant. C’est le début des bijoux de fantaisie mais pas de pacotille. Chouette! Ils sont bon marché, tout le monde peut s’en offrir. Ils suivent la mode puisqu’il est possible d’en acheter plus souvent. Coco Chanel (Gabrielle Chasnel, dite “Coco Chanel”, 1883 - 1971) est la première à les introduire dans la haute couture. En 1925-1930, la bakélite se développe, c’est le premier plastique à base de polymères. Elle se substitue d’abord aux autres matières telles que la corne ou l’ambre, puis est utilisée pour elle-même.

Question cheveux, dès 1920, grande nouveauté : la coupe « garçonne », la première coupe de cheveux courts pour femme. Autre symbole de l’Art déco et de la femme moderne, le chapeau cloche n’est pas porté sur des cheveux relevés en chignon. Et pour la fête, on sort son aigrette, une sorte de bandeau posé sur le front, parfois orné de longues plumes. Puisque les pendants d’oreilles ne sont plus cachés par les cheveux et les chapeaux aux larges bords, en 1929, les bijoutiers les allongent jusqu’aux épaules. On ne peut pas les rater ! Les diadèmes et les peignes à cheveux nécessaires afin de tenir bien en place les anciens chignons compliqués sont délaissés.

Certaines robes n’ayant plus de manches, les bracelets sont portés, comme leur nom l’indique, sur le bras : au-dessus du coude, par 4 à 5 en même temps. Ils sont étroits, plats, souples. Pour la ponctualité, le bracelet montre est en vogue, et en soirée ce sont les montres « châtelaine » suspendues à des chaînes garnies de perles, gemmes, diamants, jade ou émaux.

Les bijoux Art déco s’inspirent de la peinture d’avant-garde du début du 20e siècle : cubisme, futurisme, compositions abstraites du peintre Piet Mondrian  (Pieter Cornelis Mondriaan, dit Piet Mondrian,1872 - 1944) pour les motifs géométriques. Pour les décors végétaux, on reconnaît l’influence des ballets russes, des costumes colorés du peintre et costumier Léon Bakst ( Lev Samoïlovitch Rosenberg, dit Léon Bakst ,1866 - 1924), des couleurs des peintres fauves. Les motifs courants dans la mode et la joaillerie sont des formes géométriques simples superposées. Après la découverte de la tombe du pharaon Toutankhamon, en 1922, s’y ajoutent les lotus, les scarabées, les sphinx. Font également leur apparition les masques et statuettes africaines, les pagodes et dragons chinois, ou encore les aigrettes reprises des Perses.

Les accessoires indispensables sont les éventails. Ils mettent en valeur les mains baguées. Mais aussi les étuis à cigarettes, porte-cigarettes, étuis de rouge à lèvres, poudriers, miroirs… Le « vanity case », inspiré de l’« inro » japonais (sorte de mallette en laque à différents tiroirs) fait son apparition.

Les hommes ne sont pas oubliés, les tendances sont les montres aux cadrans géométriques sur platine, les chaines de montre dorées, les boutons de manchettes aux couleurs sobres : or, platine, onyx, diamant.

Les années 30

À partir de 1929, les décors sont plus nets et massifs, les lignes plus simples. Les couleurs vives sont abandonnées au profit des couleurs sourdes ; les contrastes noir-blanc du diamant et de l‘onyx et l’alliance diamant-saphir sont fréquents. Le diamant taillé en baguette est courant. Les boucles d’oreilles sont plus longues, les bracelets plus imposants.

Après le krach de 1929, les bijoux à usage multiple sont très répandus : l’entreprise de joaillerie Tiffany & Co crée un collier qui se transforme en un pendentif et 2 bracelets, ou en un pendentif et un collier de chien. Van Cleef & Arpels transforme le vanity case en minaudière (boîte destinée à être portée à la main), le chic du chic est de l’assortir aux autres accessoires. Vers 1930, face à de nombreux freins à la production, des joailliers ferment ou réduisent leur personnel, ils ne créent plus mais éditent d’anciens modèles. 

[loumargi]

Bakst Lev Samuilovich

[kletskaebanaia]

Лев Бакст (1866-1924) -русский художник и сценограф

Lev Bakst (1866-1924) -Russian artist and set designer

[joseandrestabarnia]

Serov Valentín (1865-1911)

EL RAPTO DE EUROPA

1910

Tamaño - 71 x 98,7

Material - lienzo

Técnica - óleo

Número de inventario - Inv.1535

Adquirido por el Consejo de la Galería Tretyakov de O.F. Serova. 1911

En 1907, Valentin Serov, junto con el artista Lev Bakst, realizó un viaje a Grecia. Durante este viaje Serov tuvo la idea de la pintura "El secuestro de Europa". Recurrió a una trama de la mitología antigua, amada por los artistas: la escena del rapto de Europa, la hija del rey fenicio, por parte del dios Zeus, quien, disfrazado de toro, la llevó a la isla de Creta. Retomando la trama mitológica, Serov el realista resolvió la tarea inusual de pintar un cuadro de su imaginación. El trabajo sobre el lienzo todavía se basaba en impresiones naturales. Serov se inspiró tanto en el paisaje circundante como en los monumentos arcaicos griegos. Su atención particular se centró en las estatuas femeninas pintadas, la llamada Kora, así como en los frescos del Palacio de Knossos en Creta que se descubrieron en ese momento. Al mismo tiempo, Serov quería alejarse del realismo y acercarse al lenguaje pictórico de los maestros antiguos. En múltiples bocetos, pintorescos, bocetos gráficos y escultóricos, buscó comprender la naturaleza del arte arcaico, en el que sintió algo "vivo, estremecido". La pintura "El secuestro de Europa" reflejó la evolución del estilo artístico de Serov, absorbió las características del arte antiguo y moderno. Fusionó impresiones frescas del arte de la cultura cretense-micénica (Egea), inclinación hacia el Art Nouveau e interés en los experimentos del fauvismo. El trabajo se caracteriza por la planitud y la decoración, la estilización y la generalización de las formas, el laconismo colorista con una combinación de colores saturados activos, una línea de siluetas elástica y expresiva que establece dinámica y ritmo. además de moderno. Fusionó impresiones frescas del arte de la cultura cretense-micénica (Egea), inclinación hacia el Art Nouveau e interés en los experimentos del fauvismo. El trabajo se caracteriza por la planitud y la decoración, la estilización y la generalización de las formas, el laconismo colorista con una combinación de colores saturados activos, una línea de siluetas elástica y expresiva que establece dinámica y ritmo. además de moderno. Fusionó impresiones frescas del arte de la cultura cretense-micénica (Egea), inclinación hacia el Art Nouveau e interés en los experimentos del fauvismo. El trabajo se caracteriza por la planitud y la decoración, la estilización y la generalización de las formas, el laconismo colorista con una combinación de colores saturados activos, una línea de siluetas elástica y expresiva que establece dinámica y ritmo.

El lienzo se convirtió en un experimento de pintura para Serov. No es casualidad que, mientras trabajaba en la pintura hasta el final de su vida, nunca se la mostró a sus amigos artistas.

Información e imagen de la web de la Galería Tretyakov.