The compositional addition to the depiction of Expectation is Fulfillment, also called “Lovers”, on the opposite side: a man in a red kimono standing with ...
A lover, a documentarian or a voyeur? A new exhibition at MoMA lets us question Degas' fixation with ballet.
Bottle made of colorless glass, faceted and blue overlay. Wide frieze with dancing girls and a long garland of flowers, etched, gilded and rubbed with brown paint. Manufacturer: Ludwig Moser & Sons in Meierhöfen near Karlsbad, West Bohemia around 1910 Height 21 cm, 8.4 inches Condition: no damage, pump ball with hose missing
Misty Copeland made history when she became the first African-American principal ballerina in the American Ballet Theatre, and now she's solidifying her legacy
La chorégraphe américaine, qui a quitté le Centre chorégraphique national de Roubaix, a fait don de ses archives, soit dix mille documents.
A pretty border featuring dancing ballerinas. Shown in the pink colourway. Self adhesive border - please request sample for true colour and texture. Pattern repeat is 62.5cm.
Canon 400D + Canon 18-55mm f/3.5-5.6 + Natural Light
Toute l'actu autour de la gymnastique (sportifs, clubs, jeux olympiques,...)
Choreographer/dancer Merce Cunningham repertory, 1975.
In 'Interpretations' exhibit, Joy-Marie Thompson reimagines photos featuring famous performers at the August Wilson Center.
I am really enjoying looking at the various details in the Art Deco friezes by Charles Comfort at Montreal's Gare Central. The other day I ...
Ontdek met de DJECO observatiepuzzel de feestelijke wereld van de Carnaval in Rio. De bontgekleurde puzzel heeft 200 stukjes, formaat puzzel 61 x 38 cm. Verpakt in een mooie doos + voorbeeldposter. Leuke puzzel om samen te maken. Is de puzzel af? Dan zoek je alle afbeeldingen die in de rand van de puzzel staan. Geschik
From enfant terrible of British ballet to a retrospective at the Barbican Gallery, how the choreographer and performer found a home in the contemporary art world
Carl Andre’s eminent obscurity.
The third edition of the London performance festival makes the case for collective action in an age of political frustration
