ballets russes programme paris 1917 de apollinaire guillaume picasso jean cocteau (1 résultats)

Paris, Mai 1917. Folio. Original illustrated extra wrappers (with a picture by Picasso on the front and the décor for "Baba Iaga" on the back)" original illustrated wrappers for "Théatre du Chatelet" (drawing by André Marty on front, and advertisements on back) in grey and red" original illustrated coloured wrappers for "Programme des Ballets Russes" (front wrapper illustrated by Picasso with the Chinaman-costume from "Parade"). A bit of soiling to the extra-wrappers and small professional restorations to upper front cover and top of spine (this barely noticeable) as well as to blank margin of back wrapper. Apart from that, an excellent and very well perserved copy with only slight browning to some leaves. Apart from the described wrappers and extra-wrappers, there are, in all, 24 leaves with -mostly photographic- illustrations (four of them with original hand-colouring on top) and 6 leaves of text.With the original errata-leaf laid in loose, stating also that the illustrations "Femmes de bonne humeaur" and "Parade" have been hand-painted by Carlos Socrate, after the designs of Bakst and Picasso, and that the front wrapper for "Parade" (the Chinaman) has been handpainted by Picasso himself. Scarce original printing of this seminal avantgarde-publication, the May 1917 "Théatre du Chatelet"- publication that presents Diaghilev's "Ballets Russes" in Paris - here containing the entire separate publication mainly devoted to Jean Cocteau's groundbreaking ballet "Parade" - being one of the most important publications in the history of modern art. It is here, in his presentation-article to "Parade" that Apollinaire coins the term "surrealism" and thus lays the foundation for the seminal cultural movement that Bréton came to lead. Furthermore, the ballet "Parade" represents a historical collaboration between several of the leading artistic minds of the early twentieth century: Erik Satie, Jean Cocteau, Pablo Picasso, Léonide Massine, and Serge Diaghilev, and is famous, not only for its contents and its music, but also for its magnificent costumes designed by Picasso, the drawings of which are presented in the present publication for the first time - most famously the front cover for the "Parade"-programme, which depicts the "Costume de Chinois du ballet "PARADE"/ Aquarelle de Picasso", an etching with original, stunning pochoir-colouring (hand-painted by Picasso himself!).It is the 1917 ballet "Parade" - the first of the modern ballets - originally presented for the first time in the present publication, that marks Picasso's entry into the public and bourgeois institutions of ballet and theatre and presents Cubism on the stage for the first time. The present publication constitutes an outright revolution in the history of art, theatre, and ballet.Several variants of this spectacular publication exist, but the one we have here is as original and complete as it comes, containing the entire contents of the different variants. We not only have the extremely scarce and fragile dust-wrapper and the equally scarce illustrated coloured double-wrappers (front: "Peinture de Picasso"" back: Décor de Larionow pour le ballet "BABA IAGA"), but also the entire 1917 "Théatre du Chatelet"-programme (in original illustrated wrappers) with the entire separate "parade"-issue -also entitled "Programme des Ballets Russes"- (also in original illustrated wrappers), with more than 20 leaves of photographic illustrations containing pictures of the actors and actresses, also in their spectacular avant-garde-costumes, Bakst's portrait of Leonide Massine, Picasso's portrait of Stavinski, Bakst's portrait of Picasso, Picasso and Massine in the ruins of Pompei, Picasso's drawings of a scene from "Parade" and of Massine, as well as several (mostly humorous) advertisements. But more importantly, we have, apart from the above-mentioned famous Chinaman by Picasso, in original pochoir-colouring, the other famous etching by Picasso "Costume d'acrobate du ballet "Parade"/ Aquarelle de Picasso", also in original pochoir-colouring (bright blue), the seminal presentation-article by Apollinaire, which coins the term "surrealism" (see bottom of description for full translation of this groundbreaking preface), the two "Les Femmes de Bonne Humeur"-figures by Bakst, Constanza and Battista, printed and heightened in gold (pochoir), the printed costume by Larionow, "Les contes russes", which is with original bright red and blue pochoir-colouring, and the "Le Mendiant"-costume by Bakst for "Parade", and, of course, the texts by Bakst (on choreography and décor), Georges-Michel (Ballets Russes after the War), as well as the texts for the various ballets (listing the actors and their rôles as well as a resume of the plot). " "Tact in audacity consists in knowing how far we may go too far." Jean Cocteau, poet, writer, and arts advocate, made this statement in his 1918 manifesto, The Cock and Harlequin. Cocteau, in collaboration with Erik Satie and Pablo Picasso, discovered "how far" to "go too far" in the circus-like ballet Parade-one of the most revolutionary works of the twentieth century. Parade incorporates elements of popular entertainment and uses extra-musical sounds, such as the typewriter, lottery wheel, and pistol, combining them with the art of ballet. Cocteau wrote the scenario for the one-act ballet and contracted the other artists. Satie wrote the score to the ballet, first in a piano four-hands version and then in full orchestration, while Picasso designed the curtain, set, and costumes. Later, Léonide Massine, a dancer with the Ballet Russes, was brought in as the choreographer. Serge Diaghilev's Ballet Russes premiered the ballet Parade on May 18, 1917. The program notes for the ballet were written by the poet Apollinaire. They became a manifesto of l'esprit nouveau or "the new spirit" which was taking hold in Paris during the early twentieth-century. Apollinaire described the ballet Parade as "surrealistic," and in doing so creat.