Research Catalog
Newest fashions for 1830
- Title
- Newest fashions for 1830 [graphic].
- Publication
- 1830.
Available Online
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Status | Format | Access | Call Number | Item Location |
---|---|---|---|---|
Available - Can be used on site. Please visit New York Public Library - Performing Arts Research Collections to submit a request in person. | Still image | Supervised use | *MGZFB Tag M P 39 | Performing Arts Research Collections - Dance |
Details
- Description
- 1 print : engraving, etching, col.; 21 x 18 cm.
- Summary
- Composite illustration, possibly a plate from a fashion periodical. At top is a half-length portrait labeled "Melle. Taglioni, the celebrated French dancer." She is fashionably dressed and coiffed, with a double strand of pearls around her neck. At left below is a full-length figure labeled "Queen Adelaide"; at right, a full-length figure of a woman in folk costume is labeled "Costumes of all nations no. 58. Italian." Between them are front and back views of a woman's elaborate coiffure.
- Subjects
- Genre/Form
- Engravings.
- Source (note)
- Lillian Moore.
- Biography (note)
- Marie Taglioni, the ballerina most closely identified with nineteenth-century Romantic ballet, made her London debut in June 1830 in a revival of Charles Didelot's ballet Flore et Zéphire. Though she fell short of conventional standards of physical beauty, her supernal grace of movement had audiences flocking to see her. This print predates the ballet in which she had her greatest triumph, her father Filippo Taglioni's La sylphide (1832), the defining work of the Romantic ballet. Her popularity evidently did not depend on a single role, but sprang from dance qualities she displayed in a variety of roles.
- Call Number
- *MGZFB Tag M P 39
- OCLC
- 768198217
- Title
- Newest fashions for 1830 [graphic].
- Imprint
- 1830.
- Biography
- Marie Taglioni, the ballerina most closely identified with nineteenth-century Romantic ballet, made her London debut in June 1830 in a revival of Charles Didelot's ballet Flore et Zéphire. Though she fell short of conventional standards of physical beauty, her supernal grace of movement had audiences flocking to see her. This print predates the ballet in which she had her greatest triumph, her father Filippo Taglioni's La sylphide (1832), the defining work of the Romantic ballet. Her popularity evidently did not depend on a single role, but sprang from dance qualities she displayed in a variety of roles.
- Local Note
- Cataloging funds provided by Friends of Jerome Robbins Dance Division.
- Source
- Gift; Lillian Moore.
- Connect to:
- Added Author
- Moore, Lillian. Donor
- Research Call Number
- *MGZFB Tag M P 39