Léon Bakst (1866-1924) was a painter, illustrator, stage and costume designer. He is universally acknowledged for representing a synthesis of creative energy in the late 19th and early 20th centuries. Bakst travelled widely throughout Europe and in 1890 joined the World of Art journal circle which numbered many artists among its members, the most famous being Benois and Diaghilev. This book illustrates the wealth of Bakst's contribution to the world of theatre and dance. His best known work includes sets for Stravinsky's Firebird, and Weber's Spectre de la Rose.

"Marking the 150th anniversary of the artist's birth, Designing dreams, a celebration of Léon Bakst, highlights Bakst's contribution not only to the theater, but also to textile design and fashion, and to the tastes of his time. It is fitting that the exhibition takes place at the Nouveau Museé National de Monaco" -- p. 11.

Scarce original English-language edition printed in Austria & published in Russia/USSR (commissioned by the renowned Aurora Art based in St. Petersburg), beautifully illustrated throughout on glossy paper. Many subsequent publications on Bakst issued by various American/Western European publishers are based on this very edition.

The political and social turmoil of the twentieth century took Magda Nachman from a privileged childhood in St. Petersburg at the close of the nineteenth century, artistic studies with Léon Bakst and Kuzma Petrov-Vodkin at the Zvantseva Art Academy, and participation in the dynamic symbolist/modernist artistic ferment in pre-Revolutionary Russia to a refugee existence in the Russian countryside during the Russian Civil War followed by marriage to a prominent Indian nationalist, then with her husband to the hardships of émigré Berlin in the 1920s and 1930s, and finally to Bombay, where she established herself as an important artist and a mentor to a new generation of modern Indian artists.

"Published ... on the occasion of the exhibition Hymn to Apollo: the ancient world and the Ballets Russes, March 6, 2019-June 2, 2019"--page 140.

"First published in hardcover by The Vendome Press in 2008"--Copyright page.

"This book takes you through the collection gallery by gallery, illuminating the art and installations in each room"--From preface.

Beyond Vision is the first English-language collection of essays on art by Pavel Florensky (1882–1937), Russian philosopher, priest, linguist, scientist, mathematician – and art historian. In addition to seven essays by Florensky, the book includes a biographical introduction and an examination of Florensky’s contribution as an art historian by Nicoletta Misler. Beyond Vision reveals Florensky’s fundamental attitudes to the vital questions of construction, composition, chronology, function and destination in the fields of painting, sculpture and design. His reputation as a theologian and philosopher is already established in the English-speaking world, but this first collection in English of his art essays (translated by Wendy Salmond) will be a revelation to those in the field. Pavel Florensky was a true polymath: trained in mathematics and philosophy at Moscow University, he rejected a scholarship in advanced mathematics in order to study theology at the Moscow Theological Academy. He was also an expert linguist, scientist and art historian. A victim of the Soviet government’s animosity towards religion, he was condemned to a Siberian labor camp in 1933 where he continued his work under increasingly difficult circumstances. He was executed in 1937.

This book provides biographical and analytical data on significant historical and contemporary practitioners and theorists of the theatrical design field who have contributed to the development of the art. Beginning with a historical survey on the evolution of theatrical design, the volume features entries on some 270 set, costume, lighting, and theatre building designers, mainly dating from the fifteenth century to the present. Coverage is international, with a necessary emphasis on the United States and Western Europe. Essays of varying length describe and evaluate the career and contributions of each designer, providing information on positions, productions, and awards and generally ending with sources for further reading. Particularly valuable are the detailed chronological listings of design credits given as available, mainly for prominent twentieth century figures. Appendixes to the volume list the designers chronologically by birth date and also by country of birth. The volume ends with an annotated general bibliography on theatre design and designers and an index. The only reference book specifically dedicated to theatrical designers, its coverage will significantly extend the information contained in more general works on theatre presently available for library research.