Photographic image by Jean Strelecki of a scene—or rather, "pose"—from Vaslav Nijinsky's ballet L'après-midi d'un faune (1912) to Claude Debussy's orchestral work of the same name. The two female dancers are not identified. Handstamp of "Count Jean de Strelecki" and label with typed promotional blurb in English to verso. 10 x 7.25 inches (25 x 18.8 cm). Part of the label is torn off; with loss to text; else fine.
L'après-midi d'un faune is considered one of the first modern ballets. Its novel aesthetics are summer up in the blurb: "Pose from 'L'après-midi d'un faune' to be presented by Serge [Diaghilev's] Ballet Russes at [blank for location] on [blank for date]. [This] piece of decorative dancing has been called by a French critic [a 'tableau] vivant' or living fresco. It is a short but pungent express[ion of] thought. It has the unreality of highly conventionalized old ceramic figures. It has been severely censured by one faction, while another faction claims that its very unreality makes it [no] offense, as it is only a symbol of another art." The photograph conveys the static character of the ballet perfectly.
Photographic image by Jean Strelecki of a scene—or rather, "pose"—from Vaslav Nijinsky's ballet L'après-midi d'un faune (1912) to Claude Debussy's orchestral work of the same name. The two female dancers are not identified. Handstamp of "Count Jean de Strelecki" and label with typed promotional blurb in English to verso. 10 x 7.25 inches (25 x 18.8 cm). Part of the label is torn off; with loss to text; else fine.
L'après-midi d'un faune is considered one of the first modern ballets. Its novel aesthetics are summer up in the blurb: "Pose from 'L'après-midi d'un faune' to be presented by Serge [Diaghilev's] Ballet Russes at [blank for location] on [blank for date]. [This] piece of decorative dancing has been called by a French critic [a 'tableau] vivant' or living fresco. It is a short but pungent express[ion of] thought. It has the unreality of highly conventionalized old ceramic figures. It has been severely censured by one faction, while another faction claims that its very unreality makes it [no] offense, as it is only a symbol of another art." The photograph conveys the static character of the ballet perfectly.