3 Ekim 2013 Perşembe

Erte - Fashion And Dance Costumes



In 1975 autobiography, Things Remember, Roman Petrovich Tyrtov - who the world knows as Ert - wrote: "I firmly assume that every our possesses a duty in order to make himself as attractive as possible. Very few people are born beautiful; this is why I actually have always attached much importance to clothes. Clothes are a form of alchemy; they are able to transform humans into things of beauty or ugliness... Elegance can be an innate quality, it would not be acquired. A female of humble background are usually elegant thanks to her appearance, her carriage and movements, her means of speaking as well as a thousand other details. Chic is elegance in just a context of what's currently fashionable; woman are generally elegant even it she has sporting yesterday's fashions, or in a properly personal style."

The height of Ert's career was at the 1930s: His designs, especially dancers and "decadent," deluxe and subtly erotic fashion images, became icons in the "Art Deco" style. A prolific artist and designer, Ert created 240 Harper's Bazaar covers (1917 to 1937), designed sets and costumes for countless theater, cabaret, music hall and film productions, and, later within the career, now use seriagraphs, sculpture, and jewelry.

Images designed by Ert influenced dance costuming, both directly through his own designs, and indirectly by establishing the silhouettes, the "lines," the "dancerly look." His costume ideas are already emulated and echoed by dancers and dance theaters however genres and fashoins -- ballet, modern, bellydancers, Vegas showgirls and drag queens.

Ert was created in St. Petersburg, Russia, in 1892. His father Pyotr Ivanovich Tyrtov was an Admiral of the Russian Imperial Fleet and then the Director with the Naval Engineering School; he wanted his son to check out in his footsteps and turn into a marine officer. When Ert was 6 he drew a sketch...associated with an evening gown. His mother was impressed to it they has a seamstress make the gown belonging to the sketch.

"My mother was extremely beautiful, " wrote Ert in her memoir, "with blue-black hair worn in any smooth chignon which contrasted with your ex wife white skin. I shall remember one night as i was quite young; she had get to my room to present us a goodnight kiss before going to a ball. She wore an outfit of black chantilly lace over pink taffeta; round her decolletage was obviously a garland of real roses. Perhaps it was the start of my fascination with every item and fixture connected with beautiful clothes and elegance."

Despite the fact that his design debut taken place in some family, Ert's conservative aristocratic parents perceived his art career as the disgrace, and as the artist turned 20, he moved to Paris (1912) and assumed the pseudonym "Ert" (Russian/French pronunciation of his initials "RT") to make certain that his life on the bohemian and gay demimonde couldn't compromise his family. His real name is also often spelled in a very French manner, "Romain de Tirtoff."

In Paris Ert fell gets interested fashion and costuming design, and signed an agreement while using the famous Parisian couturier Paul Poiret who drew inspiration from Leon Bakst's designs for Diaghilev's Ballets Russe. Many of Erte's earliest costume designs manufactured in 1913 for 'Le Minaret' featuring among the earliest "belly dancer" showgirls - Mata Hari. It was common in that , era for fashion brands to outfit stars of theater and opera. The Mata Hari costumes brought Ert notoriety and helped to determine his career.

Ert's theatrical costume designs reflected the spirit of lavish spectacle and indulgence in escapism usual for the era of "decadence." Interestingly, Ert actually wore her own designs. "I am very fond of masked balls," he admitted, "and I really like dressing myself in costumes involving me as well as for myself, personally."

A lot more durable air of exuberant spectacle conveyed by Ert's work, he had not been dependent on social interaction nor to reaping the fruits of fame. "Being alone is very important in my situation and my work., " he explained. "I am a solitary person, and that may explain why Concerning a great great love of cats. Cats and i have grown much alike. The kitten is really a solitary animal, independent and quiet by nature. Like cats who hide themselves away when ill, I dislike people visiting me while i am indisposed. I must remain alone."

And contrary to the images of decadence he created, Ert followed a strict personal discipline regarding and moderate physical esercise which certainly contributed to his incredible productivity and longevity. In his words, "I stand up late every morning. Once i wake up I exercise for quarter-hour before breakfast. Sometimes I supplement my morning workout by having an additional a few moments before dinner. Ive never deviated with this routine, although I'm traveling. "

Ert designed dance costumes to your Ballets Russes, and like many artists of these era pursued exotic silhouettes, rich saturated textures and colours to generate his highly-stylized work. He borrowed in the European Orientalist art, Russian icons, Byzantine mosaics, Greek vase paintings, images of Indian and Egyptian art, although when mentioned the resources of his inpiration he admitted to only loving the Persian and Indian miniatures and Greek vases he saw at the Hermitage Museum, St. Petersburg, as a child. It absolutely was these miniatures, he wrote, which "my guide to the kind of exotic feminine eyes with ascending eyebrows, "des yeux des biche" (the eye area with the doe), as they simply were called France, that have already always fascinated me. The technical virtuosity and perfection of individuals miniatures were built with a tremendous impact on me. Despite what many critics later maintained, it absolutely was they, as opposed to the work of Aubrey Beardsley, that profoundly influenced my ultimate style. Some discover Beardsley until once i had long been in Paris for just a year. "

Ert's first illustration to appear within the "Harper's Bazaar" cover was Orientalist in spirit: "Scheherazade."

In 1925, Ert was invited by Louis B. Mayer to MGM Studios in Hollywood to produce film costumes. He worked on many films throughout his career, including La Bohme (1926) and Ben Hur (1959).

While in the mid-1930s Ert a break down personal loss through the tragic death of Prince Nicholas Ourousoff. Ert and Price Ourousoff lived together in Monte Carlo from 1914 to 1923. Ourousoff worked as Ert's business manager and helped to produce and establish the designer's spectacular career. At the outbreak of war, Ert focused on north america . market, and even through on the post-World War II era interest for Ert's work declined, it exploded anew during the 70s and 80s during the Art Deco revival in the usa. In 1967, Grosvenor Gallery exhibited Erte prints on their galleries in Ny and London, all pieces were acquired via the Metropolitan Museum of Art, NYC, and Erte's fame was back full force. Ert's seriagraphs, limited-edition sculpture and jewellery flooded market trends. Ert was actually 82 while he started designing jewelry, emulating the design and style and spirit from the Art Deco. His only previous venture into jewelry design was a student in 1922, as he had made designs for armlets inspired by jewelry worn by Sarah Bernhardt as Cleopatra. Jewelry designer Natalie Kane O'Keiff of Santa Fe, New Mexico was employed to implement Erte's designs, the jewellery pieces bear Erte's signarure.

Erte loved is an excellent prints simply because it made his art very widely accessible - "Lithography is often a means," he wrote, "whereby most people of limited means, who could not afford originals, can easily purchase one from somewhere or several prints." In 1974, Erte signed a partnership with lithograph publisher Jack Solomon of Circle Artwork Corp. to provide serigraphs, lithographs and etchings of his earlier designs and illustrations.

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