Le Prelude à l'Après-Midi d'onu Faune. Artista: Adolf de Meyer (americano nato (Francia), Parigi 1868-1946 di Los Angeles, California). Dimensioni: Album: 15 1/4 x 11 5/8. Data: 1914. Nel 1912 de Meyer fatto una notevole serie di fotografie relative alla Ballets Russes produzione L'après-midi d'onu faune (Pomeriggio di un fauno). L'avant-garde dance è stato coreografato da famoso concertista russo Vaslav Nijinsky, insieme ad un cliente di Claude Debussy e ispirato da una poesia di scrittore simbolista Stéphane Mallarmé. Ne consegue una giovane fauno distratti dal suo flauto-playing bagnando le ninfe che sedurre e oggetto di scherno h

• Collaboratore: Album / Alamy Foto Stock
• ID dell’immagine: PB3RE7
• Dimensioni dei file: 41 MB (1,6 MB Download compresso)
• Liberatorie: Modello - no | Proprietà - no
• Dimensioni: 3257 x 4400 px | 27,6 x 37,3 cm | 10,9 x 14,7 inches | 300dpi
• Fotografo: Album

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Le Prelude à l'Après-Midi d'un Faune. Artist: Adolf de Meyer (American (born France), Paris 1868-1946 Los Angeles, California). Dimensions: Album: 15 1/4 x 11 5/8. Date: 1914. In 1912 de Meyer made a remarkable series of photographs related to the Ballets Russes production L'après-midi d'un faune (Afternoon of a Faun). The avant-garde dance was choreographed by famed Russian performer Vaslav Nijinsky, set to a score by Claude Debussy, and inspired by a poem by Symbolist writer Stéphane Mallarmé. It follows a young faun distracted from his flute-playing by bathing nymphs who seduce and taunt him, leaving behind a scarf with which he allays his desire. When the ballet premiered in Paris on May 29, 1912, the overtly sexual climactic scene and unconventional choreography scandalized audiences. Nijinsky based the angular movements and frieze-like staging on Greek vase paintings, but Ballets Russes founder Sergei Diaghilev also likened them to Cubism. Thirty of de Meyer's photographs of the ballet were published as collotypes (photomechanical ink prints) in a 1914 edition of one thousand luxurious handcrafted books. Only seven copies are known today. Using alternately complex and fragmentary compositions, de Meyer's images generate a rhythm of gesture and form. The thin Japanese papers offer a tactile echo of the diaphanous costumes (designed by artist Léon Bakst), and the heavily manipulated negatives enshroud the angular figures in a dreamlike haze. An object of desire, the book itself embodies the spirit of Nijinsky's ballet. Museum: Metropolitan Museum of Art, New York, USA.

Parole chiave associate all'immagine

• adolf de meyer
• collotipie
• libri
• nord e america centrale
• photolithographs
• riproduzioni fotomeccaniche
• scatti fotografici
• stati unuiti