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"Renaissance Italy was its birthplace; Elizabeth of England and the Sun King encouraged and developed it. First Camargo, then Taglioni, Elssler, and Grisi inspired generations of ballerina-worshippers and respect for the new profession of theatrical dancer. Champagne was drunk from toe-slippers as Paris of the Second Empire unveiled spectacles whose popularity is unimpaired to this day, while French choreographers, engaged in St. Petersburg, linked the dance heritage of Europe to Imperial Russia, where the Tsar's court proved a fertile climate for a new magnificence in stage production and technical advance. In the 20th century, the quixotic Diaghilev--who did not dance, choreograph, paint, or compose, but merely managed and inspired--almost singlehandedly brought the Russian masterpieces to the West, and two fellow émigrés, Pavlova and Nijinsky, captured imaginations and helped to spread the Imperial style around the globe. On this base--from France, from Russia, and distantly from Italy--Fokine, Massine, Nijinska, Balanchine, Rambert, Ashton, Tudor, Cranko, Robbins, and many others have diversely created an art form that is one of the most popular--and forward-looking--of our time. Mary Clarke and Clement Crisp recount the story in rich detail, aided by a wonderfully fresh selection of illustrations, covering not only dancers and dance design but attendant concerns of costume, scenery, technique, criticism, and theatrical taste. They pursue this enterprise 'with a smile,' and the reader, too, will be amused at the image of 19th-century ballerinas en travesti, forced to assume male roles because the classical danseur was held in such low repute; the overweight Louis XIV monopolizing leading parts; Renaissance dancing masters struggling to walk, let alone dance, while wearing some 40 pounds of magnificence. There are tales to inspire sympathy, too: Taglioni danced until she fainted; Pavlova continued on bloody toes; Balanchine fled Russia without a ruble or an advance booking. The lively treatment here accorded a splendid art, complemented by an extensive bibliography, will be an invaluable guide to those who are discovering the pleasures of ballet and want to know more of its background, as well as a useful companion for afficionados, all of whom will find something they did not know before."--Dust jacket.
"Clement Greenberg is, internationally, the best-known American art critic popularly considered to be the man who put American vanguard painting and sculpture on the world map. . . . An important book for everyone interested in modern painting and sculpture."—The New York Times
"To the economist and ballet enthusiast John Maynard Keynes he was potentially the most brilliant man he'd ever met; to Dame Ninette de Valois he was the greatest ballet conductor and advisor this country has ever had; to the composer Denis ApIvor he was the greatest, mostr lovable, and most entertaining personality of the musical world; whilst to the dance critic Clement Crisp he was quite simply a musician of genius. Yet sixty years after his ... death Constant Lambert is little known today. As a composer he is remembered for his jazz-inspired The Rio Grande but little more, and for a man who ... devoted the graeter part of his life to the establishment of English ballet his work is largely unrecognized today. [This book] looks not only at his music but at his journalism, his talks for the BBC, his championing of jazz (in particular, Duke Ellington), and, more privately - his longstanding affair with Margot Fonteyn. ..."--Book jacket.
"Pearl's mother took her away from her family just weeks after she was born, and drove off to central Florida determined to begin a new life for herself and her daughter--in the parking lot next to a trailer park. Pearl grew up in the front seat of their '94 Mercury, while her mother lived in the back. Despite their hardships, mother and daughter both adjusted to life, making friends with the residents of the trailers and creating a deep connection to each other"--Amazon.com.
Love him or hate him, admire him or revile him, there is no doubt that Clement Greenberg was the most influential critic of modern art in the second half of the twentieth century. His championing of abstract expressionist painters such as Jackson Pollock, Barnett Newman, and David Smith helped to put the United States on the international art map. His support for color-field painters Morris Louis and Kenneth Noland dramatically accelerated their careers. The intellectual power of Greenberg's sometimes polemical essays helped bring about the midcentury shift that saw New York replace Paris as the art capital of the Western world; his aggressive personality and fierce involvement in the New York art scene triggered a backlash so potent that one critic termed it a "patricide.""Florence Rubenfeld has written a gossipy, vivid, and above all intelligent life of Clement Greenberg-not an easy figure to depict. At once sympathetic and shrewdly insightful about his polarizing character, she has given us a man whose fabled orneriness and power hunger was redeemed by his love of art."-James AtlasFlorence Rubenfeld was the East Coast editor of the New Art Examiner for many years. She lives in Washington, D.C.
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