Taglioni, Marie. (1804-1884). Original 1833 Portrait Lithograph. Paris: Le Charivari, Imprimerie d'Auffray. [Feb. 4, 1833]. A stunning early portrait of the most famous Italian ballerina of the Romantic ballet era, a central figure in the history of European dance. Issued only one year after La sylphide, which her father (and teacher) had created for her in 1832. 22 x 29.5 cm. Edges a little rough and with minor creases, otherwise fine.
"Her frail physique was schooled relentlessly by her father, the ballet-master Filippo Taglioni (1777–1871), to develop a style distinguished by lightness, grace and modesty, by the use of point-shoes for artistic effect, and by unusual elevation and delicacy on landing. Her freer, more graceful movement, enhanced by a new style of costume with a diaphanous, bell-shaped skirt and fitted bodice, gave a fresh purpose to the art of dance in the theatre. It enabled it to become more poetic and imaginative, an art of illusion rather than illustration." (Grove Online)
"Her frail physique was schooled relentlessly by her father, the ballet-master Filippo Taglioni (1777–1871), to develop a style distinguished by lightness, grace and modesty, by the use of point-shoes for artistic effect, and by unusual elevation and delicacy on landing. Her freer, more graceful movement, enhanced by a new style of costume with a diaphanous, bell-shaped skirt and fitted bodice, gave a fresh purpose to the art of dance in the theatre. It enabled it to become more poetic and imaginative, an art of illusion rather than illustration." (Grove Online)
Taglioni, Marie. (1804-1884). Original 1833 Portrait Lithograph. Paris: Le Charivari, Imprimerie d'Auffray. [Feb. 4, 1833]. A stunning early portrait of the most famous Italian ballerina of the Romantic ballet era, a central figure in the history of European dance. Issued only one year after La sylphide, which her father (and teacher) had created for her in 1832. 22 x 29.5 cm. Edges a little rough and with minor creases, otherwise fine.
"Her frail physique was schooled relentlessly by her father, the ballet-master Filippo Taglioni (1777–1871), to develop a style distinguished by lightness, grace and modesty, by the use of point-shoes for artistic effect, and by unusual elevation and delicacy on landing. Her freer, more graceful movement, enhanced by a new style of costume with a diaphanous, bell-shaped skirt and fitted bodice, gave a fresh purpose to the art of dance in the theatre. It enabled it to become more poetic and imaginative, an art of illusion rather than illustration." (Grove Online)
"Her frail physique was schooled relentlessly by her father, the ballet-master Filippo Taglioni (1777–1871), to develop a style distinguished by lightness, grace and modesty, by the use of point-shoes for artistic effect, and by unusual elevation and delicacy on landing. Her freer, more graceful movement, enhanced by a new style of costume with a diaphanous, bell-shaped skirt and fitted bodice, gave a fresh purpose to the art of dance in the theatre. It enabled it to become more poetic and imaginative, an art of illusion rather than illustration." (Grove Online)