Sergei Diaghilev

Sergei Pavlovich Diaghilev ( dee-AG-il-ef; Russian: Серге́й Па́влович Дя́гилев, IPA: [sʲɪrˈɡʲej ˈpavləvʲɪdʑ ˈdʲæɡʲɪlʲɪf]; 31 March [O.S. 19 March] 1872 – 19 August 1929), also known as Serge Diaghilev, was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes, from which many famous dancers and choreographers would arise.

Diaghilev's career can be divided into two periods: in Saint Petersburg (1898–1906) and while as an emigrant (1906–1929).

Biography

Sergei Diaghilev was born in Selishchi to a noble officer Pavel Diaghilev. His mother died from childbed fever soon after his birth. In 1873, Pavel met and married Elena Panaeva, who loved Sergei and raised him as her own child. The House of Diaghilev in Perm was a local cultural centre, and the Diaghilevs hosted a musical evening every second Thursday, Modest Mussorgsky being one of the most frequent guests. Sergei Diaghilev composed his first romance at the age of 15. When he entered the Saint Petersburg Imperial University, he also had private music lessons with Nikolai Rimsky-Korsakov. Instead of the usual four, it took him six years to graduate. By his own admission, Diaghilev used his student years ‘to look around’ and find his true interests in life. Seven months after graduation he opened his first exhibition.

Life in Saint Petersburg

During his years at University, Diaghilev's cousin Dmitry Filosofov introduced him to a circle of art-loving friends who called themselves The Nevsky Pickwickians. They included Alexandre Benois, Walter Nouvel, Konstantin Somov, and Léon Bakst. Although not instantly received into the group, Diaghilev was aided by Benois in developing his knowledge of Russian and Western art. In two years, he had voraciously absorbed this new obsession (even travelling abroad to further his studies) and came to be respected as one of the most learned of the group.

In the late 1890s, Diaghilev created several art exhibitions that were intended to introduce the contemporary artists to the local public and, later, to the Europeans. The exposition of British and German watercolorists in 1897 at the Imperial Society for the Encouragement of the Arts became a huge success—one which Diaghilev repeated in 1898 with the exhibition of the Russian and Finnish artists at the Stieglitz Academy with the works of those such as Mikhail Vrubel, Valentin Serov, and Isaac Levitan. In the same year he opened an exhibition of young Russian painters in Germany. Though the young art connoisseur had no private fortune, he managed to gain the protection and support of such high nobility as the Grand Duke Vladimir Alexandrovich and later even Nicholas II.

The Russian-Finnish exhibition of 1898 became the first action of the recently formed society ‘Mir iskusstva’, established by Benois and Diaghilev earlier that year. The group also included Konstantin Somov, Dmitry Filosofov, Léon Bakst, and Eugene Lansere. Soon, with the help of Savva Mamontov (the director of the Russian Private Opera Company) and Princess Maria Tenisheva, the group founded the journal Mir iskusstva (World of Art). The magazine was intended to serve ‘the god Apollo’ and promote modern art. The first issue was released in February 1898. As recalled by Benois, Diaghilev, as the art director, created the style and designed the publication, wrote critical essays, and, in 1904, published a monograph on Dmitry Levitzky. Nevertheless, Benois remembered him as the member of Mir iskusstva least interested in philosophy and literature, frequently revealing huge gaps in his knowledge of the classics.

On 6 March 1905, he opened an exhibition of the ‘Russian portraits of the 18th and 19th centuries’ at the Tauride Palace with more than 4000 paintings collected from 450 owners. Diaghilev himself travelled to acquire the portraits and wrote a catalogue of 2300 art works with information on the artists, models, and other relevant data. The exposition, designed by Benois, was an innovative example of art synthesis and greatly impressed the visitors. The paintings were combined into groups and accompanied with notes, and the interiors were decorated differently in order to emphasize their meanings and double the effect. The exhibition enjoyed enormous success and raised Diaghilev to the top of art and society elite.

Passionate to promote Russian art abroad, in 1906, Diaghilev organized and opened the ‘Two Centuries of the Russian art and Sculpture’ exposition at Salon d'Automne. It included 750 works from 103 authors, from modern artists to the ancient icons. The exhibition was designed by Léon Bakst and occupied 12 rooms in the Grand Palais. It, too, enjoyed enormous success and in many ways paved the way for the future success of the Ballet Russe. France was soon immersed in fashion à la russe. Diaghilev was offered the Legion of Honour award, but refused in honour of Bakst.

Imperial Theaters

In 1899, Prince Serge Wolkonsky received directorship of all Imperial theaters. On 10 September 1899, he gave Diaghilev the post of officer on special duty. The post was usually a nominal one, but since Diaghilev managed to actively engage into the theatrical world, he was soon made responsible for the production of the Annual of the Imperial Theaters. As editor-in-chief, he reformed the edition and converted it into a full-scale luxurious magazine with critical essays, playbills, articles about artists and lots of pictures. Diaghilev even changed the paper to print the issues. He invited many of his fellow members in Mir iskusstva to work on the magazine, design fonts and create illustrations. He also showed himself as a successful promoter by finding sponsors, advertisers, and new distribution channels. As recalled by Benois, the success of the magazine went to Sergey’s head and very soon he was thinking about himself as ‘the only one, without whom nothing can be done.

At that time Diaghilev started frequent visits to repetitions of the Imperial Ballet. His appearance as a dandy with a grey lock amazed the ballerinas, who soon nicknamed him ‘Chinchilla’. He was especially interested in young Mathilde Kschessinska, who was flattered by the attention of an already famous art connoisseur. Even though they would fight later and temporarily break contact, the friendship would last through all their lives.

Diaghilev brought the members of Mir iskusstva with him to the Imperial theatres. Apollinary Vasnetsov, Alexandre Benois, Léon Bakst, Valentin Serov, Eugene Lansere and other contemporary artists began working on decorations and costumes. In 1900, Prince Serge Wolkonsky entrusted Diaghilev with the staging of Léo Delibes' ballet Sylvia, a favorite of Benois. The two collaborators concocted an elaborate production plan that startled the established personnel of the Imperial Theatres. After several increasingly antagonistic differences of opinion, Diaghilev refused to go on editing the Annual of the Imperial Theatres and was discharged by Volkonsky in 1901. However, the scandal also ruined Wolkonsky’s career; in a week, he was similarly fired. By that time, even the Emperor, persuaded by Kschessinska, took Diaghilev’s side. Sergei didn’t think much of a civil servant career, so he went abroad and immersed in his other plans.

Ballets Russes

Concerts historiques russes

The success of the 1906 exhibition inspired Diaghilev to present Russian music to the world’s culture capitals such as Paris. In 1907, he organised ‘Concerts historiques russes’ with famous composers like Nikolai Rimsky-Korsakov, Sergei Rachmaninoff, Alexander Glazunov, Feodor Chaliapin, and Félia Litvinne. The tour was supported and sponsored by Diaghilev’s royal patrons Grand Duke Andrei Vladimirovich of Russia and Duchess Marie of Mecklenburg-Schwerin. In the spring of 1908, Diaghilev mounted a production of Mussorgsky's Boris Godunov, starring Feodor Chaliapin, at the Paris Opéra. Boris Anisfeld created the sets, designed by Bakst and Benois. To maximize authenticity, one of the artists Ivan Bilibin even travelled to Arkhangelsk Oblast to purchase the costumes. The tour became a sensation and the success was overwhelming, however, financially, it was unprofitable and ended with a loss of 85,000 francs.