Word: ballets
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Dates: during 1950-1959
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Moreover, two standout photographers now strongly for realism made their first fame as "pictorial" artists. Alfred Eisenstaedt-the master of the sharp, meaningful portrait and the photographer who stirred U.S. enthusiasm for the Leica and other 35-mm. cameras-contributed an early picture of a ballet rehearsal that owes its mothlike softness and radiance to Degas' influence. Irving Penn's evocation of a midsummer nap harks back to a 15th century Venetian, Carlo Crivelli, who also used sharply focused flies to achieve a greater illusion of depth...
During the last year, as Godfrey told it, Julius began to change into an "obstreperous" boy. He eyed outside offers, lost interest in the ballet and tap-dancing exercises for the Godfrey cast. "Julius went completely berserk, haywire." His signing with an agent was "the straw that broke the camel's back...
...show was called Femmes, but few of Colin's 33 canvases contained whole women. One Degas-like study showed a ballet lesson: a room filled with morning light and dust in which four isolated legs without bodies kicked in the air. In another picture, a wistful nude sat on an airy chair, minus her back and bottom. The effect was charming because the spectator's mind quickly filled in the missing portions, like the omitted words in a telegram. A pair of muscular legs and two busy hands easily became a ballerina bending over...
Showgoers know Agnes de Mille as the choreographer who jimmied ballet right into the plot of Oklahoma! and started a Broadway trend; balletomanes know her as the one who has done most to bring oldtime American themes to the ballet stage (Rodeo, Fall River Legend). Last week Choreographer de Mille was off on a new tack: with her own company of 19, she set out to test a hunch that there is room for an outfit offering dance, pantomime and song in a repertory rich in American themes...
Sylvia was indeed a hit. For one thing, it moved to a perfectly lyrical score by the father of modern ballet music, Léo Delibes (1836-91). Delibes, a musical whiz-kid who was accepted at the Paris Conservatory when he was twelve, became a church organist in his teens, wrote his first stage piece (Two Cents Worth of Coal) at 19. He was a pupil of famed Adolphe (Giselle) Adam, wrote with a symphonic fluidity that made much of the ballet compositions of his contemporaries sound like music for setting-up exercises. In all, he turned out about...