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Selected writings illuminate a century of international dance.
The cradle of ballet, tracing the origin of ballet as a theatre art back to its foundation by Louis XIV in 1669.
The Habsburg courtier Charles-Joseph Prince de Ligne seduced and symbolized eighteenth-century Europe. Speaking French, the international language of the day, he travelled between Paris and St Petersburg, charming everyone he met. He stayed with Madame du Barry, dined with Frederick the Great and travelled to the Crimea with Catherine the Great. But Ligne was more than a frivolous charmer. He participated in and recorded some of the most important events and movements of his day: the Enlightenment; the struggle for mastery in Germany; the decline of the Ottoman Empire; the birth of German nationalism; and the wars to liberate Europe from Napoleon. He had surprisingly radical views, believing for example in property rights for women, legal rights for Jews and the redistribution of wealth. He was also a highly respected writer and his books on gardens, his letters from the Crimea and his epigrams are considered minor classics of French literature.
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This book is the first full-length study of the art and writings of Jean Delville. As a member of the younger generation that emerged during the end of the nineteenth century, he was a dynamic leader of a group of avant-garde artists who sought to establish a new school of Idealist Art in Belgium. He was one of the most talented painters of his generation, producing a vast body of works that, in both scale and technical accomplishment, is unsurpassed amongst his contemporaries. In his extensive writings in contemporary journals and books, he pursued a singular vision for the purpose of art to serve as a vehicle for social change, as well as to inspire individuals to be drawn to a higher, spiritual reality. Delvilles thinking is heavily indebted to the hermetic and esoteric philosophy that was widely popular at the time, and his paintings, poetry and writings reformulate the main tenets of this tradition in a contemporary context. In this regard, his aesthetic and artistic goals are similar, if not identical, to those found in the writings and art of Kandinsky and Mondrian during the early twentieth century.