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Fokeeva A.V., Makarova T.L. Synergy of visual language in scenography and livre d’artiste on the example of Pablo Picasso’s “Le tricorne”. Journal of Clothing Science. 2022; 7(2). Available at: https://kostumologiya.ru/PDF/03IVKL222.pdf (in Russian).
Synergy of visual language in scenography and livre d’artiste on the example of Pablo Picasso’s “Le tricorne”
Fokeeva Anastasiia Vladimirovna
Russian State University named A.N. Kosygin (Technologies. Design. Art), Moscow, Russia
E-mail: foknastyabelk@mail.ru
Makarova Tatʹyana Lʹvovna
Russian State University named A.N. Kosygin (Technologies. Design. Art), Moscow, Russia
Institute of Design
E-mail: 2710tlm@list.ru
Abstract. Costume and scenography in productions is one of the topics where the artistic conception gives birth to new entities. But there are cases when a project for the development of scenography becomes a world masterpiece in several art forms at once. One of such world discoveries was the work of Pablo Picasso on Sergei Diaghilev’s production of The Three-Cornered Hat.
Pablo Picasso is one of the most significant artists in the art of the twentieth century. The creative heritage of the master is so voluminous that it is almost impossible to determine the number of his exhibitions taking place around the world. He worked in all possible forms of art: in painting, graphics, sculpture, ceramics. And everywhere he tried to achieve conciseness and sonorous sounding of the form.
Patrick Kremer’s catalog featured the edition «Le Tricorne», translated into Russian as «Cornered Hat». This is one of the unique livre d’artiste of Pablo Picasso. Its peculiarity lies in the fact that this publication was based on Picasso’s developments for the production of «The Three-Cornered Hat». It included all the developments of scenography and costume designs of the artist. Thus, a very complex and valuable cultural phenomenon appears before the viewer: within the livre d’artiste genre, the conceptual formula of Picasso’s artistic scenography was revealed.
The artist saw the performance as a single canvas, where all the components interact according to the same principles: costume, music, curtain, scenery, movement, light. At the same time, the artist starts from the general to the particular, which allows him to maintain a commitment to the theme and tone of the narrative at all levels of the creation of the production.
Keywords: livre d’artiste; collector’s edition; Pablo Picasso; ballet «Le Tricorne»; scenography; Sergei Diaghilev; stage costume; ornament in a suit; symbolism of the ornament; art of the 20th century; original printed graphics

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