Poster advertising the exhibition Diaghilev, Edinburgh 1954
Poster
1954 (made)
1954 (made)
Artist/Maker | |
Place of origin |
The Diaghilev exhibition staged by art critic Richard Buckle (1916-2001) at Edinburgh's College of Art, Lauriston Place, was a huge success, mounted as part of the 'Homage to Diaghilev' celebrations at the Edinburgh Festival from 22nd August to 11h September 1954. The exhibition was sponsored by the Edinburgh Festival Society Ltd, who printed the catalogue. Dickie Buckle, as he was known, was a great showman who helped revolutionise ideas about exhibitions, notably in this exhibition in which he obliged visitors to follow a fixed route through dramatic theatrical tableaux.
The exhibition was shown again in London where Alan Bennett saw it and recalled the excitement generated by Buckle's wild colours and designs. In 2001 Roy Strong wrote: 'As a schoolboy in the drab world of the early 1950s, I remember being swept away by the glamour of it all. From the moment one entered the now demolished Forbes House, the visitor trod a pathway of fantasy: past a tableau of grand ladies at the ballet before 1914, then the beach at Deauville in the 1920s, on through tented rooms hung with chandeliers, each with its separate theme, ending up ascending a huge staircase on which brooded statues of sentries embowered with greenery leading up to the palace of the Sleeping Beauty. One's ears were filled with the music of the ballet and the air was scented with Diaghilev's favourite perfume. This was magic of a high order, even if Ninette de Valois thought it was like Madame Tussaud's.'
The exhibition was shown again in London where Alan Bennett saw it and recalled the excitement generated by Buckle's wild colours and designs. In 2001 Roy Strong wrote: 'As a schoolboy in the drab world of the early 1950s, I remember being swept away by the glamour of it all. From the moment one entered the now demolished Forbes House, the visitor trod a pathway of fantasy: past a tableau of grand ladies at the ballet before 1914, then the beach at Deauville in the 1920s, on through tented rooms hung with chandeliers, each with its separate theme, ending up ascending a huge staircase on which brooded statues of sentries embowered with greenery leading up to the palace of the Sleeping Beauty. One's ears were filled with the music of the ballet and the air was scented with Diaghilev's favourite perfume. This was magic of a high order, even if Ninette de Valois thought it was like Madame Tussaud's.'
Object details
Categories | |
Object type | |
Title | Poster advertising the exhibition <i>Diaghilev</i>, Edinburgh 1954 (generic title) |
Materials and techniques | Printing ink on paper |
Brief description | Poster advertising the exhibition Diaghilev at the College of Art, Edinburgh, 22nd August to 11th September 1954. Screen print by R.L. Chapman after Léon Bakst |
Physical description | Pictorial and typographic in black and ochre ink on cream paper, featuring a line drawing by R.L.Chapman after Léon Bakst's 1921 design for Columbine in the Diaghilev Ballet's The Sleeping Princess, Alhambra Theatre, London |
Dimensions |
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Marks and inscriptions | |
Credit line | Given by Richard Buckle |
Object history | Associated Exhibition: Diaghilev organised by Richard Buckle, Edinburgh Festival 1954, sponsored by the Edinburgh Festival Society Ltd., as part of its 'Homage to Diaghilev' celebrations. |
Associations | |
Summary | The Diaghilev exhibition staged by art critic Richard Buckle (1916-2001) at Edinburgh's College of Art, Lauriston Place, was a huge success, mounted as part of the 'Homage to Diaghilev' celebrations at the Edinburgh Festival from 22nd August to 11h September 1954. The exhibition was sponsored by the Edinburgh Festival Society Ltd, who printed the catalogue. Dickie Buckle, as he was known, was a great showman who helped revolutionise ideas about exhibitions, notably in this exhibition in which he obliged visitors to follow a fixed route through dramatic theatrical tableaux. The exhibition was shown again in London where Alan Bennett saw it and recalled the excitement generated by Buckle's wild colours and designs. In 2001 Roy Strong wrote: 'As a schoolboy in the drab world of the early 1950s, I remember being swept away by the glamour of it all. From the moment one entered the now demolished Forbes House, the visitor trod a pathway of fantasy: past a tableau of grand ladies at the ballet before 1914, then the beach at Deauville in the 1920s, on through tented rooms hung with chandeliers, each with its separate theme, ending up ascending a huge staircase on which brooded statues of sentries embowered with greenery leading up to the palace of the Sleeping Beauty. One's ears were filled with the music of the ballet and the air was scented with Diaghilev's favourite perfume. This was magic of a high order, even if Ninette de Valois thought it was like Madame Tussaud's.' |
Associated objects |
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Collection | |
Accession number | S.347-2019 |
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Record created | October 31, 2019 |
Record URL |
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