DYAGILEV SERGEY PAVLOVICH
Diaghilev, Sergei Pavlovich - writer and public figure. Born in 1872. He graduated from the law faculty of St. Petersburg University, as well as from the St. Petersburg Conservatory in singing. He served as an official of special assignments under the director of the Imperial Theaters and in 1899 - 1900 - editor of the Yearbook of the Imperial Theaters. Traveling around Western Europe, Diaghilev became interested in new trends in art and decided to create a magazine dedicated to them in his homeland. In the fall of 1898, he began publishing the magazine "World of Art", and in January 1899 he organized the first one in St. Petersburg international exhibition paintings of a new direction. Editing the magazine "World of Art" for six years, Diaghilev united in it all the most significant writers and artists of the new direction: his employees were, on the one hand, D. Merezhkovsky, K. Balmont, V. Bryusov, N. Minsky, V. Soloviev, O. Sologub, Z. Gippius, Prince A. Urusov; on the other - I. Levitan, V. Serov, M. Vrubel, A. Benois, L. Bakst, K. Somov, M. Nesterov, K. Korovin, Prince P. Trubetskoy. The magazine introduced the Russian public to the latest foreign writers and artists, published articles by Ruskin, Muther, Furtwängler, Maeterlinck, Huysmans, Grieg, some written specifically for the World of Art; gave reports on new exhibitions, new trends in theater and music. Entire departments were dedicated to artists Western Europe; the magazine introduced the works of A. Beklin, G. Thomas, Puvis de Chavannes, E. Manet, Degaz, C. Monet, G. Segantini, F. Goya, A. Beardsley, Whistler, J. Millais, Corot and others; Much space was given to Finnish and Polish artists. The magazine systematically introduced its readers to great but thoroughly forgotten Russian artists, to the ancient monuments of Moscow, St. Petersburg and other cities; separate rooms were dedicated famous artists late XVIII and early XIX centuries: D. Levitsky, V. Borovikovsky, A. Ivanov, A. Venetsianov, K. Bryullov, O. Kiprensky, V. Tropinin; photographs of ancient stone and wooden architecture were included; great place was allocated to galleries, public and private: for the first time, many paintings and art objects from the collections of Prince Yusupov, Prince. Tenisheva, etc. In the early years, the magazine clearly reflected the revival of the Russian style, the heralds of which were talented artists Muscovites - S. Malyutin, V. and A. Vasnetsov, K. Korovin, A. Golovin, M. Yakunichikova, E. Polenova; in recent years, more space has been devoted to old St. Petersburg, the study of its architecture, its monuments (many photographs from the Engineering Castle, the Admiralty, etc.). In parallel with the magazine, Diaghilev published individual books on the history of Russian art: “Album of lithographs of Russian artists” (1900), “I. Levitan” (1901), the first volume of “Russian painting in the 18th century,” dedicated to the works of D. Levitsky (1903), was awarded the Uvarov Prize by the Academy of Sciences. Beginning in 1899, Diaghilev organized a series of exhibitions of paintings by artists adjacent to his magazine (the World of Art exhibition). Having become interested in old Russian masters and planning to publish a number of volumes of “Russian Painting of the 18th Century,” Diaghilev undertook the organization of a huge exhibition of Russian historical portraits, carried out in 1905 in the halls of the Tauride Palace. For this exhibition, Diaghilev collected several thousand portraits of Russian painters depicting various historical figures, from the era of Peter the Great to recent years. It was possible to get acquainted with the major masters of the Catherine era with particular completeness; entire halls were devoted to Borovikovsky, Levitsky and Rokotov; there were also departments dedicated to foreign artists who worked in Russia at that time: Roslen, Lampi, A. Kaufman, Vizhe Lebrun, etc. In 1906, Diaghilev organized a Russian exhibition at the Salon d'Automne art exhibition, collecting more than 700 works by Russian artists; starting with the famous contemporaries of Peter the Great, Nikitin and Matveev, he showed the Parisian public Levitsky, Borovikovsky, Rokotov, Alekseev, Vorobyov, Shchedrins, Shubin, Kiprensky, Tropinin, Bryullov, Ge, Repin and many best participants exhibitions "World of Art". The best art connoisseurs in Paris wrote a lot about the exhibition; she introduced the foreign public to hitherto unknown masters, both old and modern. In the spring of 1907, Diaghilev organized a series of concerts in Paris dedicated to Russian music, starting from Glinka and ending with Scriabin. In the following years, Diaghilev staged at the Grand Opera, and then at the Chatelet Theater, a number of Russian operas: “Boris Godunov” and “Khovanshchina” by Mussorgsky, “The Woman of Pskov”, etc., and a number of ballets: “Scheherazade” by Rimsky-Korsakov, “Cleopatra” Arensky, "Petrushka" by Stravinsky, "Pavilion of Armida" by Cherepkin, etc. For these performances, the scenery was painted by the best contemporary artists, and the performers were outstanding artists. As editor of the World of Art, Diaghilev wrote a lot of articles and reviews about theater, art, exhibitions, and books in the magazine. In addition to a separate monograph about D. Levitsky, we mention his articles: " Difficult questions", "For the production of Tristan and Isolde", "Illustration for Pushkin", " Art critics", "About Russian museums", "Exhibitions in Germany", "Exhibitions of historical portraits", "Portrait artist Shibanov". S. R-va.
Brief biographical encyclopedia. 2012
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(1872-1929) Russian theater and artistic figure. Together with A. N. Benois he created the artistic association "World of Art", co-editor of the magazine of the same name. Organizer… - DYAGILEV SERGEY PAVLOVICH
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Sergei Diaghilev... this man was neither a dancer nor a choreographer - and yet his name is inextricably linked with Russian ballet in particular and Russian art in general.
Sergei Pavlovich Diaghilev was born in the Novgorod province in 1872. His father, a nobleman, was an officer, but the family was no stranger to art: his paternal uncle Ivan Pavlovich was a philanthropist and founded a music group. In Perm, where the future entrepreneur spent his childhood, the Diaghilevs’ house was called “Perm Athens” - the intelligentsia gathered there to play music and perform plays.
After graduating from high school, 18-year-old S. Diaghilev went to St. Petersburg. He dreams of becoming a composer or singer and studies for some time at the conservatory, but at the same time graduates from the law faculty of the university. In the capital, he became friends with his cousin Dmitry Filosofov, met his friends -,.
In 1898 - two years after graduating from the university - S. Diaghilev and D. Filosofov decided to publish a magazine and attracted patrons of the arts to finance it - S. I. Mamontov and M. K. Tenisheva. The magazine, called World of Art, was published the following year. This magazine, printed on excellent paper in Elizabethan type, with excellent artistic reproductions, introduced readers to individual foreign and domestic artists, and entire periods in the history of art, subsequently articles about writers and composers were no longer published; in 1900, a literary department appeared. Simultaneously with the magazine, the creative association “World of Art” arose, the main artistic principle which was the desire for symbolism, recognition of the priority of the aesthetic principle in art, designed to express the personality of the creator.
S. Diaghilev's activities are not limited to publishing the magazine. In 1897, he organized an exhibition of German and English watercolor painters, in 1898 - an exhibition of Finnish and Russian artists, in 1905 - a historical and artistic exhibition of Russian portraits, and in 1906 - an exhibition of Russian art in Paris.
Since 1907, S. Diaghilev has been very seriously involved in representing Russian art abroad. The performances of Russian artists organized by him in Paris were called “Russian Seasons”. They began with “Historical Russian Concerts”, where they performed, followed by a season of Russian opera in 1908, which did not bring much income. The French public loved ballet very much. S. Diaghilev initially disdained this genre, arguing that “there is no content or meaning in it,” and its execution does not require “even small mental abilities" But it is impossible not to take into account the tastes of the public - and since 1909 he has been bringing ballet to Paris. Thus began the ballet “Russian Seasons”, which lasted until 1913.
S. Diaghilev had an amazing “sense for talent.” It was in his enterprise that such ballet “stars” as the Nijinskys “shine” for the first time. The entrepreneur looked at ballet as a synthesis of arts, designed to be a conductor of new ideas, hence the close attention to the design of performances. The costumes and scenery were created by A. Benois and L. Bakst, his colleagues in the World of Art, and later S. Diaghilev began to involve him in this best artists of that time - A. Matisse, P. Picasso.
S. Diaghilev’s collaboration with contemporary composers was no less important. Thanks to him, many new ballets appeared: “”, “”, “”, “” and “”, “”, “” and “Steel Leap”, “”, “The Legend of Joseph”. S. Diaghilev approached the musical side of ballet very seriously. For example, in "
(1872-1929) Russian theater figure, impresario, publisher
Sergei Pavlovich Diaghilev did not know his mother: she died during childbirth. He was raised by his stepmother, who treated him the same as her own children. Therefore, for Diaghilev the death of his half-brother, in Soviet time became a real tragedy. Perhaps that is why he stopped striving to return to his homeland.
Diaghilev's father was a hereditary nobleman, a cavalry guard. But due to debts, he was forced to leave the army and settle in Perm, which was considered at that time Russian outback. His house almost immediately becomes the center cultural life cities. Parents often played music and sang at the evenings held in their house. Their son also took music lessons. Sergei received such a diverse education that when he ended up in St. Petersburg after graduating from high school, he was in no way inferior in knowledge to his St. Petersburg peers and sometimes even surpassed them in terms of erudition and knowledge of history and Russian culture.
Sergei Diaghilev's appearance turned out to be deceptive: the big provincial man, who seemed like a bumpkin, was quite well read and spoke several languages fluently. He easily entered the university environment and began to be listed as a student at the Faculty of Law of St. Petersburg University.
At the same time, he plunged into theatrical and musical life capital Cities. The young man takes private piano lessons from the Italian A. Cotogna, attends the class of Nikolai Andrevich Rimsky-Korsakov at the St. Petersburg Conservatory, tries to compose music, and studies history artistic styles. During the holidays, Sergei Diaghilev makes his first trip to Europe. He seems to be looking for his calling, turning to various areas art. Among his friends are L. Bakst, E. Lanceray, Konstantin Somov - the future core of the World of Art association.
Realizing that he needs to achieve something in life first, Sergei Pavlovich Diaghilev asserts himself in a unique way, completing a six-year university course in four years. However, he did not become a lawyer, because he was increasingly attracted to art. And he makes a choice that turned out to be significant not only for himself, but for the entire Russian culture. Diaghilev becomes its fierce propagandist.
His social activities can be divided into several stages. The first of them is associated with the organization of the World of Art association: in 1898, Sergei Diaghilev was one of the founders of the association, and in 1899-1904, together with Alexander Nikolaevich Benois, he was the editor of the magazine of the same name. Since it was financed with the money of Russian industrial patrons - S. Morozov and Princess M. Genisheva, and for some time with a subsidy from Nicholas II, it existed until the first major cataclysm - the Russian Revolution of 1905.
Diaghilev was also the initiator of a number of exhibitions under the auspices of the association, first of foreign and Russian art, which took place in 1899, and then of exhibitions of Russian artists of 1900-1903. But his approach has always been diversified. Therefore, he took the initiative to publish a number of monographs about major artists.
Sergei Diaghilev's flair was amazing. Thus, having studied the evolution of painting style, he wrote about Repin that he was closer to the artists of the “World of Art” than to the Wanderers. Such a statement sounded like a challenge. In those days, no one doubted Repin’s realistic gift, not noticing that he gradually adopted modernist techniques for depicting personality. The completion of this process was brilliantly foreseen by Diaghilev. Time has proven the truth of his statement.
The government felt the incredible energy emanating from Sergei Diaghilev, so in 1899-1901 he was appointed editor of the Yearbook of Imperial Theaters. But Diaghilev’s dictatorial manners, constant defense of his own opinion, the scandal associated with the production of the ballet “Sylvia”, and the conflict with M. Kshesinskaya led to his resignation without the right to work in government agencies. Nicholas II tried to change the situation, asked Secretary of State A. Taneyev to take Diaghilev into his service as secretary.
But Sergei Diaghilev is already beginning to move away from all the projects that occupied him in the past decade. Having made a number of independent trips around Russia and started collecting art objects, he plans to present to the Russian reader old Russian paintings scattered across provincial family estates. Shaping his concept, Diaghilev began to publish articles and write the first review of the work of the then little-known artist D. Levitsky. He practically discovered him as an interesting portrait artist, so his efforts were noted: in 1904 Imperial Academy Sciences, Sergei Pavlovich Diaghilev was awarded the Count Uvarov award.
He begins organizing an exhibition of historical and artistic Russian portraits from 1705 to 1905, created by artists different nationalities. He will travel all over Russia, pass through terrible Russian roads, showing miracles of ingenuity and a huge gift of persuasion to collect six thousand portraits in the Tauride Palace. Diaghilev also plans to write a complete and documented history of painting starting from the 18th century. He failed to accomplish this task, but it was with the exhibition he organized that the new era studying Russian and European art XVIII century and first half of the 19th century century.
Unfortunately, the miracle exhibition was not preserved: a special room was not allocated, and the paintings went back to the owners, to mostly perish in the fires of revolutions. Only the interesting publication “Russian Portraits of the 18th and 19th Centuries” gives an idea of these portraits. Already today, the restorer S. Yamshchikov will actually repeat Diaghilev’s feat, trying to identify surviving images of ancestors in provincial museums.
Sergei Diaghilev feels that he practically realized himself in Russia, having done everything he could. He created the first art magazine, but was unable to continue its publication, failed to establish a national Russian museum, and the reforms of Russian ballet and opera remained unrealized. And he sets off to conquer Europe, organizing an exhibition in Paris in 1906 “ Russian art" It was followed by exhibitions of Russian artists in Berlin, Monte Carlo, and Venice.
They became the prologue to the organization of “Russian Seasons”. Sergei Diaghilev liked to say that the blood of Peter I himself flows in his veins, so his resemblance to the tsar is not accidental. As for his undertakings, they were always incredibly large-scale, grandiose in concept and innovative in execution. Thus, in his ballets he managed to combine painting (scenery), music and performance. Diaghilev taught the French to Russian ballet, and it is thanks to him that the Russian school still remains the standard of world art. He also opened whole line names - composer I. Stravinsky, choreographers M. Fokin, S. Lifar, D. Balanchine.
Entry of Sergei Pavlovich Diaghilev into European culture happened gradually. At first, he organized an exhibition of paintings by Russian artists and icons, made the necessary connections and organized a test concert of Russian music. Then he also invites leading Russian dancers for several weeks, mainly during holidays at the imperial theaters. And only after about a year and a half he creates his own ballet troupe.
The simple list of Sergei Diaghilev’s events is simply amazing. It all starts at five symphony concerts 1907, in which A. Glazunov, S. Rachmaninov, N. Rimsky-Korsakov, F. Chaliapin performed. In 1908, the seasons of Russian operas began: then the opera “Boris Godunov” by M. Mussorgsky was shown in Paris, in 1909 - “The Woman of Pskov” by N. Rimsky-Korsakov. According to the recollections of contemporaries, the reserved French were shocked; at the performances they shouted, waved handkerchiefs, and cried.
After the ballet season of 1910, French women began to create hairstyles in the style of “The Firebird” and order brocade turbans embroidered with beads, exactly like those in “Scheherazade,” from the famous fashion designer P. Poiret.
But let's return to the repertoire of Sergei Diaghilev's ballets. Over twenty years, 68 ballets were staged, including those included in world classics“The Firebird” (1910), “Petrushka” (1911), “The Rite of Spring” (1913). In 1917, he staged two ballets at once - “Parade” and “Good-natured Ladies”, then a few years later - “Apollo” (1928) and “Prodigal Son”. Diaghilev discovered the names of such directors as J. Balanchine and M. Fokine. Diaghilev's ballet performances became a sensation for French audiences. It should be noted that he had a brilliant sense of talent. That is why he brought a whole galaxy of wonderful dancers to the stage in his ballets.
Already in 1911, instead of a touring troupe, Sergei Pavlovich Diaghilev organized a permanent enterprise. After V. Nijinsky was expelled from the imperial theaters, everyone gathered in Diaghilev’s troupe best performers from St. Petersburg and Moscow. To raise the necessary funds, Sergei Diaghilev went on tour to the USA. Started First World War, and then the revolution finally tore his troupe away from their homeland. But the troupe did not break up.
“Russian Seasons” and related events existed only thanks to the inexhaustible energy of Sergei Diaghilev. He knew how to persuade, beg, cajole. It is known that after the performance of P. Tchaikovsky’s “The Sleeping Beauty” in the early twenties, the London season ended in failure, the troupe fled, Diaghilev overspent. And then Misya Sert came to his aid. She introduced him to fashion trendsetter Gabrielle Chanel, who gave money not only to support the troupe, but also to revive and expand Russian ballet. She herself created the costumes for The Blue Rider.
In the last years of his life, Sergei Pavlovich Diaghilev lost interest in ballet and began collecting. It seems strange that for a long time he remained in the West practically without a home, until he was offered refuge in Monaco. His house collected many valuable materials on the history of Russian culture - rare books, autographs famous people, manuscripts, portraits. Despite financial and personal problems (turbulent homosexual relationships with V. Nijinsky), Diaghilev did not part with them, making desperate attempts to stay on modern level in the late twenties, but they were only partially successful. The bitterness of approaching old age was partly smoothed out by the dancer S. Lifar, who was faithful to him to the end.
Sergei Diaghilev's last passion was collecting rare Russian books. In the last year of his life, he was captivated by the young composer Igor Markevich. The famous impresario died and was buried in Venice.
The personality and fate of Diaghilev is unusual in many ways. Finding himself at the junction of two cultures, he found his place, but never made a real choice. The bolder his experiments were, the more keenly he felt the pull towards the past. However, for posterity, all this receded before his merits, and now one can increasingly hear the expression “the era of Diaghilev.”
As you know, the beginning of the 20th century was the time of triumph of Russian ballet throughout the world, and the merit of Sergei Diaghilev is invaluable in this. His personal life has more than once become the subject of heated discussions in society. However, this man, who elevated the entrepreneurial profession to the rank of art, was forgiven for what would have made many others outcasts.
Brief biography of Sergei Diaghilev: childhood and youth
The future organizer of the “Russian Seasons” was born on March 19, 1872 in the village of Selishchi, Novgorod province, into a noble family. The boy did not remember his mother, since she died shortly after his birth. The stepmother, who was an educated and intelligent woman, took up the upbringing of little Sergei.
The boy's father was a military man, and due to his service, the Diaghilev family was forced to frequently move from place to place. After graduating from the gymnasium in Perm in 1890, Sergei Diaghilev went to St. Petersburg and entered the Faculty of Law. At the same time, he studied music with N. A. Rimsky-Korsakov.
From 1896 to 1899
In 1896, Sergei Diaghilev graduated from the university, but he did not become a lawyer. However, he soon became known in St. Petersburg as one of the creators of Russia’s first art magazine, “World of Art,” which united Vrubel, Serov, Levitan and others. Over time, Sergei Diaghilev and his closest like-minded friends D. Filosofov and A. N. Benois organizes several exhibitions. In particular, shows of works by German watercolor painters (in 1897), paintings by Scandinavian artists, paintings by Russian and Finnish painters at the Stieglitz Museum (in 1898) and others are held with great success.
In public service
In 1899, the director of the Imperial Theaters S. Volkonsky appointed Sergei Diaghilev to the position of official on special assignments. In addition, he was entrusted with editing the annual publication dedicated to the activities of this department. Diaghilev turns the magazine into a high-quality artistic publication, and attracts A. Vasnetsov, A. Benois, L. Bakst, A. Serov, K. Korovin and others to work at the Imperial Theaters. However, cooperation with Volkonsky ends quite quickly, as Sergei Diaghilev has disagreements with his superiors in the process of preparing the ballet “Sylvia”. In addition, he has a painful break with Dmitry Filosofov, the cause of which is Zinaida Gippius. As a result, Diaghilev decides to cease the existence of the World of Art and in 1904 leaves St. Petersburg.
"Russian Seasons"
Sergei Diaghilev's active character and connections in the art world allowed him in 1908 to organize in Paris a showing of Russian operas “Boris Godunov” by M. Mussorgsky, “Ruslan and Lyudmila” by M. Glinka, etc., which were a huge success.
A year later, 1909, the first “Russian Seasons” took place in Paris, which became a striking event in the cultural life of all of Europe. Sergei Diaghilev's ballets were also seen in London, Rome and even in the United States. The ballet “Seasons” ended shortly before the outbreak of the First World War, after which the great entrepreneur decided to leave his homeland forever.
"Russian ballet"
Having settled in New York, where memories of performances with the participation of Anna Pavlova, Vaslav Nijinsky and other famous dancers and ballerinas were still fresh, Sergei Diaghilev organized a permanent troupe. It became known as the Russian Ballet and existed until 1929. During this period, Diaghilev was having a hard time breaking up with Vaslav Nijinsky, who had been the subject of his homosexual passion for many years. Unable to forgive his lover for his secret wedding with the Romanian ballerina Romola Pulskaya, he again became close to Mikhail Fokin. The latter created his own for him the best ballets, which have become classics of dance art.
last years of life
Sergei Diaghilev (see photo above) always took his health extremely seriously. Back in 1921, he was diagnosed with diabetes. At the same time, Diaghilev practically did not comply with doctors’ orders and did not spare himself, going on exhausting trips. Since 1927, he developed severe furunculosis. Some researchers believe that this was one of the manifestations of AIDS, which Diaghilev may have suffered from. In those years, antibiotics did not yet exist, so the presence of numerous foci of purulent infection meant a direct threat to life. Later, Diaghilev ignored the doctors' orders and went on a tour with his troupe, including visits to Berlin, Cologne, Paris and London. In the British capital, doctors advised him to undergo treatment with thermal waters, but instead the great entrepreneur visited Baden-Baden to discuss a new ballet with Hindemith, and from there went to Munich and Salzburg to listen to the operas of Mozart and Wagner. Feeling worse, he decided to spend some time in Venice.
Death
Sergei Diaghilev, whose biography is inextricably linked with the history of Russian ballet during the first quarter of the 20th century, arrived in Venice on August 8, 1929. Doctors stated that due to abscesses he developed blood poisoning. After 4 days he fell ill, but continued to make plans for the future. On August 18, Diaghilev took communion and died the next morning without regaining consciousness.
After the funeral service, his body was transferred to the island of San Michele, and he was buried in the Orthodox part of the cemetery.
Personal life of Sergei Diaghilev
As already mentioned, a famous entrepreneur with early youth showed homosexual tendencies. His first love was his cousin Dmitry Filosofov, with whom he founded the World of Art and, as they would say today, began promoting Russian art. Later there were rumors that the reason for his dismissal from the Imperial Theaters was his connection with Vaslav Nijinsky, which he did not even think of hiding. The next person to win Diaghilev’s heart was the young dancer Leonide Massine, who allowed himself to be loved in the name of his career, in which he succeeded. However, his marriage to Vera Savina put an end to the relationship between the ballet star and his patron. Afterwards, Diaghilev repeatedly brought young people closer to him, whom he helped with all his might to make a successful career. In particular, Sergei Lifar and Anton Dolin achieved fame in this way, while it was rumored about the first of them that he was devoid of homosexual inclinations, and the master’s love remained platonic. Be that as it may, as a result of these hobbies several famous ballets to music by Stravinsky, Balanchine and Rouault.
Now you know who Sergei Diaghilev was. The biography, personal life and novels of this famous Russian entrepreneur have often become the subject of discussion and condemnation. However, no one can deny his enormous role in the development of domestic and world ballet art.
Biography
Life in art
Russian seasons
Addresses in St. Petersburg
The fate of the Diaghilevs in the USSR
Diaghilev as a symbol in culture
In bonistics
Sergei Pavlovich Diaghilev(1872-1929) - Russian theatrical and artistic figure, entrepreneur, one of the founders of the World of Art group, organizer of the Russian Seasons in Paris and the Diaghilev Russian Ballet troupe.
Biography
Sergei Diaghilev was born on March 19 (31), 1872 in Selishchi, Novgorod province, in the family of a career military man, a hereditary nobleman, and a cavalry guard. His father, P. P. Diaghilev, was widowed early, and Sergei was raised by his stepmother Elena, daughter of V. A. Panaev. As a child, Sergei lived in St. Petersburg, then in Perm, where his father served. My father's brother, Ivan Pavlovich Diaghilev, was a philanthropist and founder of a music circle.
In Perm, on the corner of Sibirskaya and Pushkin streets (formerly Bolshaya Yamskaya), the ancestral home of Sergei Diaghilev has been preserved, where the gymnasium named after him is now located. The mansion in the style of late Russian classicism was built in the 50s of the 19th century according to the design of the architect R. O. Karvovsky.
For three decades, the house belonged to the large and friendly Diaghilev family. In the house, called by contemporaries “Perm Athens,” the city’s intelligentsia gathered on Thursdays. Here they played music, sang, and performed home plays.
After graduating from the Perm gymnasium in 1890, he returned to St. Petersburg and entered the law faculty of the university, while simultaneously studying music with N. A. Rimsky-Korsakov at the St. Petersburg Conservatory.
Life in art
In 1896, Diaghilev graduated from the university, but instead of practicing law, he began a career as an artist. A few years after receiving his diploma, he created the World of Art association together with A. N. Benois, edited the magazine of the same name (from 1898 to 1904) and wrote art criticism articles himself. He organized exhibitions that caused a wide resonance: in 1897 - an Exhibition of English and German watercolorists, which introduced the Russian public to a number of major masters of these countries and modern trends in fine arts, then the Exhibition of Scandinavian artists in the halls of the Society for the Encouragement of the Arts, the Exhibition of Russian and Finnish artists in the Stieglitz Museum (1898) were considered by the World of Art students themselves to be their first performance (Diaghilev managed to attract participation in the exhibition, in addition to the main group of the original friendly circle from which arose association "World of Art", others largest representatives young art - Vrubel, Serov, Levitan, etc.), Historical and artistic exhibition of Russian portraits in St. Petersburg (1905); Exhibition of Russian art at the Autumn Salon in Paris with the participation of works by Benois, Grabar, Kuznetsov, Malyavin, Repin, Serov, Yavlensky (1906) and others.
"Yearbook of the Imperial Theaters"
In 1899, Prince Sergei Volkonsky, who became the director of the Imperial Theatres, appointed Diaghilev an official on special assignments and gave him the editorship of the Yearbook of the Imperial Theatres. Together with Diaghilev, many artists came to the Imperial Theaters (Ap. M. Vasnetsov, A. N. Benois, L. S. Bakst, V. A. Serov, K. A. Korovin, A. E. Lanceray).
In the 1900-1901 season, Volkonsky entrusted Diaghilev with the production of Delibes' ballet Sylvia. Diaghilev attracted artists from the World of Art group to the production, but the project fell through due to a protest from management officials. Diaghilev did not obey the order of director Volkonsky, pointedly refused to edit the Yearbook, and the matter ended with Diaghilev’s dismissal.
Russian seasons
In 1907, Diaghilev organized annual foreign performances of Russian artists, called “Russian Seasons”. In 1907, as part of the “seasons”, introductions of musicians were held - “Historical Russian Concerts”. N.A. Rimsky-Korsakov, S.V. Rachmaninov, A.K. Glazunov, F.I. Chaliapin and others took part in them. In 1908, seasons of Russian opera took place. Despite the success, the season brought losses to Diaghilev, so the next year, knowing the tastes of the public, he decided to bring ballet to Paris. At the same time, at that moment Diaghilev treated ballet with disdain:
The ballet seasons then continued until 1913. Diaghilev invited a number of famous artists, including M. M. Fokin, A. P. Pavlov, V. F. Nizhinsky, T. P. Karsavin, E. V. Geltser.
With this troupe he toured in London, Rome, and also in the USA. Participated in the design of the ballets outstanding artists, members of the “World of Art”, in particular A. N. Benois, L. Bakst, A. Ya. Golovin, N. K. Roerich, N. S. Goncharova. "Seasons" were a means of promoting Russian ballet and visual arts and contributed to the flourishing of ballet in countries where this genre was not developed.
Troupe
In 1911, Diaghilev organized the ballet troupe "Diaghilev's Russian Ballet". The troupe began performing in 1913 and existed until 1929, that is, until the death of its organizer.
Death
Diaghilev died on August 19, 1929 in Venice, rumored to be from furunculosis. He was buried on the nearby island of San Michele.
The meaning of the name Diaghilev at present
- The gymnasium in Perm, where Diaghilev studied, has been named after him since 1992. In this gymnasium No. 11 a museum named after S. P. Diaghilev was opened.
- In 2007 in concert hall A monument to Diaghilev by sculptor Ernst Neizvestny was erected at Diaghilev's house.
- Perm still hosts annual international cultural festivals named after S. Diaghilev - “Diaghilev Seasons: Perm-Petersburg-Paris”. The initiator of the first Diaghilev festival in Russia was Permsky academic theater Opera and Ballet named after. P.I. Tchaikovsky, whose building was constructed thanks to significant financial support Diaghilev and, according to many Perm residents, is the most beautiful in the city.
- In the year of the centenary of the Russian Seasons, interest in the personality of S. P. Diaghilev increased again. In 2008 Auction house Sotheby's organized the exhibition "Dancing Toward Glory: The Golden Age of the Ballets Russes" in honor of the 100th anniversary of Diaghilev's Ballets Russes, which was held in Paris. On it one could see about 150 paintings, sketches, costumes, scenery, drawings, sculptures, photographs, manuscripts and programs. The organizers of the exhibition reflected the key moments in the development of the Russian Ballets, which over the twenty years of its existence completely changed traditional ideas about theater and dance. Among the exhibits of the exhibition were costumes, sketches for which were made French artists Andre Derain (The Magic Shop, 1919) and Henri Matisse (The Song of the Nightingale, 1920). Separately, it is worth mentioning the costumes designed by Lev Bakst. Bakst is the first set designer to become a worldwide celebrity. When creating sketches of ballet costumes, he was inspired by oriental and ancient Greek outfits. The models he developed not only delighted audiences in the theater, but also influenced fashion trends. From contemporary artists Inspired by Diaghilev's legacy, a paper installation by the famous Belgian sculptor Isabelle de Borchgrave took an important place.
- In May 2009, two were released in Monaco stamps“Centenary of Diaghilev’s Russian Ballet”, created by Russian artist Georgy Shishkin.
- In 2009, a discussion began in Perm about the creation in the city of a number of monuments to S. P. Diaghilev, showing him in different years life.
- In 2009, preparations for a project for a monument to Diaghilev began in Paris. The model by sculptor Viktor Mitroshin became the winner international competition. His Diaghilev stands in full height in a top hat, tails and with a cane in his hand, on a high pedestal on which Petrushka opens the curtain. Probably, the monument will be erected with the support of patrons, donations, and the efforts of the Russian diaspora. At the time of the competition, the project was supported by President Jacques Chirac, and his wife Bernadette expressed a desire to supervise the work on the project. The former mayor of Paris, Jean Tiberi, was against it, but construction of the monument could only begin after he was replaced by Bertrand Delanoë. IN this moment the work is being carried out under the patronage of Pierre Cardin. A monument to Diaghilev will be erected on the square in front of the Grand Opera in Paris.
Addresses in St. Petersburg
- 1899 - autumn 1900 - apartment building- Liteiny Avenue, 45;
- autumn 1900-1913 - apartment building of N. I. Khmelnitsky - embankment of the Fontanka River, 11.
The fate of the Diaghilevs in the USSR
- The fates of Sergei Diaghilev's two brothers, Yuri and Valentin, are tragic. Yuri Pavlovich was repressed, and Valentin was shot on Solovki in 1929 on a fabricated criminal case.
- Diaghilev's eldest nephew, Sergei Valentinovich, was a symphony conductor. He was repressed in 1937, like his father Valentin Pavlovich, on a fabricated political article. He served 10 years in camps and 5 years in exile. After rehabilitation he returned to Leningrad, where he continued creative activity. Died on August 13, 1967.
- His grandson Diaghilev Sergei Alexandrovich (Sergei Diaghilev Jr.) is a composer and conductor. Lives in St. Petersburg.
- The younger nephew Vasily Valentinovich Diaghilev was forced to hide his relationship with his famous uncle in the USSR.
Diaghilev as a symbol in culture
- In the spring of 2006, the most famous club in Russia, with a capacity of 1,500 people, “Dyagilev” (also known as “Dyagilev project”) opened in the building of the Shchukin stage on the territory of the famous Moscow Hermitage garden. The club logo became black and white drawing, depicting a mustachioed man in a tailcoat, top hat and bow tie with a clear hint of the image of Sergei Pavlovich Diaghilev.
- There is a tradition among choreographers and dancers - when visiting the grave of Sergei Diaghilev in Venice, they place their shoes on a marble pedestal. Almost always, someone left pointe shoes and various theatrical paraphernalia on his grave. In the same Greek cemetery of the island of San Michele, next to Diaghilev’s grave, there is the grave of another great figure of the Russian stage - Igor Stravinsky, as well as the poet Joseph Brodsky, who called Diaghilev “Citizen of Perm”. For “theatrical” visitors, a special sign “Diaghilew Strawinski” has been installed at the cemetery.
- The epitaph is engraved on the grave itself: “Venice is the constant inspirer of our peace.” This phrase, written by Diaghilev shortly before his death in a dedicatory inscription to Serge Lifar, became popular among cultural figures.
In bonistics
- Diaghilev is depicted on the front side of the 500 Ural francs banknote issued in 1991.