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Pablo Picasso and the Ballets Russes collaborated on several productions. Pablo Picasso’s Cubist sets and costumes were used by Diaghiliev in the Ballets Russes's ''Parade'' (1917, choreography: Massine), ''Le Tricorne'', otherwise known as ''The Three-Cornered Hat'' (1919, choreography: Massine), ''Pulcinella'' (1920, choreographer: Massine), and ''Cuadro Flamenco'' (1921, choreography: Spanish folk dancers). Picasso also drew a sketch with pen on paper of ''La Boutique Fantastique'' (''La course''), (1919, choreography: Massine).〔(Scenes from the Ballet 'La Boutique Fantastique', 1919 (pen on paper), Bridgemanart )〕 and designed the drop curtain for ''Le Train Bleu (ballet)'' (1924, choreography: Nijinska), based on his painting, ''Two Women Running on the Beach'' (''The Race''), 1922.〔Au, Susan. Ballet and Modern Dance. London: Thames and Hudson Ltd. 2002. p. 105-106〕 The idea for the set design of ''Parade'' came from the decorations at a small vaudeville theater in Rome as well as the décor of the Teatro dei Piccoli, a marionette theater. The original model was crafted in a cardboard box. Picasso realized immediately that he liked using vivid colors for his sets and costumes because they registered so well from the audience. Unfortunately, though, while the sets, costumes and music by Erik Satie were well received by critics, the ballet in general was panned when it first premiered and played for only two performances. When it was revived in 1920, however, Diaghilev said, "''Parade'' is my best bottle of wine. I do not like to open it too often." Picasso's sets and costumes for the Ballets Russes are now considered symbols of “the progressive art of their time, and () have only become more celebrated and better appreciated over the past century.” 〔(Scene design by Pablo Picasso for Le Tricorne, Harvard Libraries )〕 Nevertheless, according to his biographer, John Richardson, “Picasso’s Cubist followers were horrified that their hero should desert them for the chic, elitist Ballets Russes.“ 〔(Portraits of a Marriage, Vanity Fair )〕 It was the onset of WWI that prompted him to leave Paris and live in Rome, where the Ballets Russes rehearsed. He also was recovering from two failed love affairs at this time. Soon after he arrived in Rome, however, he met ballerina Olga Khokhlova, and married her in 1918. He remained married to her until her death in 1955, although they separated by the late 1920s.〔(The Women of Pablo Picasso (1881-1973), Saper Galleries )〕 He also became friends with Massine while in Rome; they were both interested in Spanish themes, women, and modern art. Picasso also became friends with Stravinsky during this time, though he found Diaghilev to be possessive and did not become close with him. Picasso was even quoted as saying that he "felt a desperate need to travel back to the land of human beings" after spending time with Diaghilev. Diaghilev, however, valued Picasso's work and the drop curtain he created for ''Le Train Bleu'' - the painting of which was completed not by Picasso, but by Prince Alexander Schervashidze - was deemed so impressive that Diaghilev used it as the logo for the Ballets Russes.〔 The writer Jean Cocteau, who introduced Picasso to Diaghilev,〔(''Ballets Russes, The Art of Costume'', National Gallery of Australia )〕 wrote the scenario for ''Parade'', and was Picasso’s neighbor in Rome said, “Picasso amazes me every day, to live near him is a lesson in nobility and hard work…A badly drawn figure of Picasso is the result of endless well-drawn figures he erases, corrects, covers over, and which serves him as a foundation. In opposition to all schools he seems to end his work with a sketch.” Additionally, Guillaume Apollinaire, who wrote the program notes for ''Parade'', described Picasso’s designs as “a kind of surrealism” (une sorte de surréalisme) three years before Surrealism developed as an art movement in Paris.〔(Richard Friswell, ''Washington’s National Gallery of Art with Diaghilev’s Ballets Russes, 1909–1929'', Artes Magazine, June 29, 2013 )〕 Other Theater Work In 1924, Picasso designed the sets and costumes for Massine’s ''Mercure'', which was produced not by Diaghilev, but by Comte Étienne de Beaumont with music by Satie.〔(Robert Orledge, ''Erik Satie's Ballet ''Mercure'' (1924): From Mount Etna to Montmartre'', Journal of the Royal Musical Association, 123, 1998 )〕 Picasso did not design for the theater again until 1946, when he did the curtain design for Roland Petit's ''Le Rendez-vous'' at the Ballets des Champs-Élysées.〔 File:Pablo Picasso, 1917-18, Portrait d'Olga dans un fauteuil (Olga in an Armchair), oil on canvas, 130 x 88.8 cm, Musée Picasso, Paris, France.jpg|Picasso's painting ''Olga in the Armchair'' (1918) File:Picasso's costume design for "Le Tricorne" (1919-1920).jpg|Picasso’s costume design for ''Le Tricorne'' (1919-1920) File:Picasso's costume design for "Pulcinella" (1920).jpg|Picasso’s costume design for ''Pulcinella'' (1920) File:Scene from "La Boutique Fantastique" drawn by Picasso, 1919.jpg|Scene from ''La Boutique Fantastique'' drawn by Picasso (1919) == References == 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Picasso and the Ballets Russes」の詳細全文を読む スポンサード リンク
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