Костюмите на Наталия Гончарова за „руските балети на Дягилев“. Синтез на иконопис, фолклорен примитивизъм и авангард
Natalia Goncharova’s costumes for Diaghilev’s Ballets Russes

Summary/Abstract: Diaghilev’s Ballets Russes instantly gained recognition in European cultural life soon after the dance company was established. His productions were eagerly anticipated in Paris and in extremely high demand across Europe. The quest for new repertoire, soloists, choreographers, and production designers became a permanent process with the high expectations for the company to stun and shock, showing the best of the ballet traditions and the latest trends in European art. On the eve of the World War One, Natalia Goncharova and Mikhail Larionov, major artists of the Russian avant-garde, joined the Ballets Russes. Diaghilev invited Natalia Goncharova for the stage designs of the production of the ballet Le Coq D’Or, where her designs strongly evoked Russian folk art, but held true to the avant- garde to create one of the most powerful imageries in the history of the company. Goncharova and Larionov introduced modernism into Diaghilev’s productions, leaving the idea of costumes forever changed. They encouraged Diaghilev to commission more ‘modern’ artists to design sets and costumes for the Ballets Russes in new styles. The unique imagery of Goncharova’s costume solutions was a result of melding modern art with Byzantine icon painting (the sets and costumes for Diaghilev’s Liturgie) or with the images and colours of the traditional Russian folk art (as in the ballets Le Coq D’Or, Les Noces and Russian Fairy Tales).

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