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拍品專文
In, Diaghilev Ballet, backstage Knight conveys an air of expectancy as the dancers prepare to step out on stage. She held great admiration for this profoundly physical art form, more fleeting and transient than her own, having been captivated by the Ballet Russes performance at the Convent Garden Coronation Gala in June 1911.
It was not until after the war, upon the Ballet Russes' return to London, that Knight was granted permission to observe the dancers from backstage. This privileged viewpoint into the world of ballet enabled Knight, in her numerous sketches and oil paintings, to depict the grace and movement of the dancers in both performance and repose. Here the comparatively relaxed stance and stillness of the dancers belies the magic of their imminent transformation into creatures of expressive movement.
It was not until after the war, upon the Ballet Russes' return to London, that Knight was granted permission to observe the dancers from backstage. This privileged viewpoint into the world of ballet enabled Knight, in her numerous sketches and oil paintings, to depict the grace and movement of the dancers in both performance and repose. Here the comparatively relaxed stance and stillness of the dancers belies the magic of their imminent transformation into creatures of expressive movement.