Russian nationalism primitivism and cubism Origin of Russian Modern Art Centers on the estate of Savva Mamontov near Moscow Represents a challenge to the Petersburg Academy of Art Focus on Russian national heritage ID: 631969
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Slide1
Stravinsky and Modernism
Russian nationalism, primitivism, and cubismSlide2
Origin of Russian Modern Art
Centers on the estate of
Savva
Mamontov
near Moscow
Represents a challenge to the Petersburg Academy of Art
Focus on Russian national heritage:
Scythian civilization
Medieval icons
National peasant art & costumes
Mamontov’s
“Private Opera” in Moscow reflects this aesthetic
[Source: Watkins
Soundings
p. 197=8]Slide3
Russian Themes at
Mamontov’s
“Private Opera”
Viktor
Vasnetsov’s
set design for Rimsky-Korsakov’s
Snow MaidenSlide4
Other famous musicians and the “Private Opera”
Sergei
Rachmaninov
assistant conductor (1897)
Produced Russian Themed Operas:
A Life for the Tsar by Mikhail Glinka
The Snow Maiden
by Rimsky-Korsakov
Prince Igor
by Alexander Borodin
Boris Godunov
by Modest Mussorgsky
[start at 0’ 52”]
Also
Coronation SceneSlide5
Pagan ritual
Found in Rimsky-Korsakov’s opera
May Night
Based on a Gogol short story of peasant life in the Ukraine.
Rimsky-Korsakov said “I managed to connect … that ceremonial side of folk-life which gives expression to the survivals from ancient paganism.”
Stravinsky studies with Rimsky-Korsakov thus connecting him directly to the aesthetic of the
Mamontov
group
This connection helps us see why Stravinsky reacts so positively to the stories in his three big Russian-themed ballets
[Source: Watkins
Soundings
pp. 197-198]Slide6
Stravinsky’s three early ballets
Firebird (1910)
Petrushka
(1911)
The Rite of Spring (1913)
Written for Diaghilev’s Ballets russes
Slide7
Firebird (1910)
Mixture of themes from:
Russian folklore
Tchaikovsky’s Swan Lake
And other sources
Diaghilev had discussed the idea for a ballet on this theme before he met Stravinsky, in 1909.
[Source: Watkins
Soundings
p. 201]Slide8
Two Costume designs for
Firebird
by Léon Bakst (a designer for the Ballets
r
usses)Slide9
Video of
The Firebird
The Firebird Ending
Final Scene; start at 4’ 30” to
end
STORY: Prince Ivan enters the magic realm of
Kashchei
the Immortal. Ivan sees, chases and catches the Firebird. The Firebird agrees to help Ivan in exchange for his eventual freedom.
Prince Ivan see 13 beautiful princesses and falls in love with one. He confronts
Kashchei
, asking to marry the princess. They quarrel and
Kashchei
sends magic creatures after him. The Firebird intervenes on Ivan’s behalf, causing the creatures and
Kashchei
to fall asleep.
The Firebird tells Ivan that
Kashcheis
immortal soul is inside an egg. Ivan finds and destroys the egg. This destroys the evil creatures and awakens the princesses.
The picture is of
Felia
Doubrovska
in costume. She joined the Ballet
russes
around 1920.Slide10
Petrushka
set designer and co-
libretist
Alexandre
BenoisSlide11
Petrushka story
Russian equivalent of Harlequin
Four Scenes
First: peasant festival scene we meet the three characters:
Petrushka
, the Ballerina, and the Moor. They are brought to life by the Showman.
Second: inside
Petrushka’s
room; he tries to show the Ballerina he loves her; she runs away.
Third: inside the Moor’s room. The Ballerina enters and tries to seduce him.
Petrushka
escapes his room, trying to intervene. The Moor chases
Petrushka
out.
Fourth: Back at the Carnival,
Petushka
is killed by the Moor.
Petrushka’s
ghost appears, scaring the Showman.Slide12
Videos of Petrushka
Bolshoi Film Version
(First Tableau)
start about 6’ 00”
Bolshoi Film Version
(Second Tableau)Start at beginning
Petrushka
chord
Bolshoi Film Version
(Third Tableau & beginning of Fourth)
Bolshoi Film Version
(end of Fourth Tableau) Slide13
Le sacre
du
printemps
(1913)
Subtitled: “scenes of pagan Russia”Scenario by Stravinsky and
Nikolay
Roerich
Choreographed by Nijinsky
Written for Diaghilev’s Ballet
russes
Shows the influence of Russian nationalist themes and cubism
Primitivism common descriptor of
The Rite of Spring
and Picasso’s
Les Demoiselles
d’AvignonSlide14
14
Figure 33-9
PABLO PICASSO, Les Demoiselles d
’
Avignon, June–July 1907. Oil on canvas, 8
’ x 7
’
8
”
. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).
Shows traits of primitivism (African masks)
Often discussed as leading to CubismSlide15
Roerich Costume Designs
Influenced by Russian National ThemesSlide16
Roerich’s set designsSlide17
Matisse
The Dance
(1909)
at MOMA
Bloomsbury
Guide to Art: Matisse following of primitivism to its logical conclusionSlide18
Matisse
The Dance
(1910)
at The Hermitage MuseumSlide19
John Cocteau’s “The Rite of Spring”
Watkins notes the “cubist” poses
(Soundings
p. 215)Slide20
20
Figure 33-10
GEORGES BRAQUE, The Portuguese, 1911. Oil on canvas, 3
’
10 1/8
” x 2
’
8
”
.
Öffentliche
Kunstsammlung
Basel,
Kunstmuseum
, Basel (gift of Raoul La Roche, 1952). Slide21
21
Figure 33-11
ROBERT DELAUNAY, Champs de Mars or The Red Tower, 1911. Oil on canvas, 5
’
3
” x 4
’
3
”
. Art Institute of Chicago, Chicago. Slide22
22
Figure 33-14
PABLO PICASSO,
Maquette
for Guitar, 1912. Cardboard, string, and wire (restored), 25 1/4
” x 13
”
x 7 1/2
”
. Museum of Modern Art, New York. Slide23
Albert
Gleizes
Portrait of Stravinsky
(1914)Slide24
The premiere of
The Rite of Spring
was a who’s who of the art world
Attendees
at the premiere included:
- Debussy
, Ravel, Saint-
Saëns
, John Cocteau, Marcel
Proust, Gertrude Stein, Puccini, Picasso
, etc…
Slide25
Videos of The Rite of Spring
Dramatization of the Premiere
Version with
choreography
of Maurice Béjart
‘59 Version by Maurice Béjart filmed 1970
Boulez discussing
The Rite of SpringSlide26
Other Stravinsky Videos
L’Histoire
du
Soldat
(1918)
Esa-Pekka Salonen, conducting Music starts at 11’ 40”
Tango is at 54’ 05”
Les
Noces
(1922)
Royal Ballet