Book contents
- Stravinsky in Context
- Composers in Context
- Stravinsky in Context
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Abbreviations
- Frontispiece
- Epigraph
- Part I Russia and Identity
- Part II Stravinsky and Europe
- Chapter 7 Sergei Diaghilev and Stravinsky: From World of Art to Ballets Russes
- Chapter 8 Paris and the Belle Époque
- Chapter 9 Paris, Art Deco and the Spirit of Apollo
- Chapter 10 Stravinsky’s Spain: Fan or Mirror?
- Chapter 11 ‘It is Venice that he loves’
- Part III Partnerships and Authorship
- Part IV Performance and Performers
- Part V Aesthetics and Politics
- Part VI Reception and Legacy
- Recommendations for Further Reading and Research
- Index
- Endmatter
Chapter 8 - Paris and the Belle Époque
from Part II - Stravinsky and Europe
Published online by Cambridge University Press: 03 December 2020
- Stravinsky in Context
- Composers in Context
- Stravinsky in Context
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Abbreviations
- Frontispiece
- Epigraph
- Part I Russia and Identity
- Part II Stravinsky and Europe
- Chapter 7 Sergei Diaghilev and Stravinsky: From World of Art to Ballets Russes
- Chapter 8 Paris and the Belle Époque
- Chapter 9 Paris, Art Deco and the Spirit of Apollo
- Chapter 10 Stravinsky’s Spain: Fan or Mirror?
- Chapter 11 ‘It is Venice that he loves’
- Part III Partnerships and Authorship
- Part IV Performance and Performers
- Part V Aesthetics and Politics
- Part VI Reception and Legacy
- Recommendations for Further Reading and Research
- Index
- Endmatter
Summary
Where am I? From the vantage point of a small, pedestrian-only square (nowadays a popular selfie spot), a trio of visual oddities looms large. To the north is a modern-looking edifice with exterior escalators, electrics, plumbing and ventilation pipes. Opposite is a chaos of water-spurting sculptures, including a snake, a treble clef, a bowler hat, giant lips painted rouge, an elephant, some sort of avian creature and a red-headed mermaid with oversize breasts. Equally bizarre, to the west, is a huge graffitied face, a black-and-white self-portrait by the French street-artist Jean-François Perroy (he prefers ‘Jef Aérosol’). Two bulging eyes stare down at those paddling in the shallow water of the fountains, while a single finger, pressed against pursed lips, calls for silence: Chuuuttt! (Shhhhh!).
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- Information
- Stravinsky in Context , pp. 71 - 79Publisher: Cambridge University PressPrint publication year: 2020