#lila de nobili

[dozydawn]

[fashionbooksmilano]

Lila de Nobili - Yannis Tsarouchis An encounter

Maria Diamanti, Fani-Maria Tsigakou, Niki Grypari

Benaki Museum - Yannis Tsarouchis Foundation, 2002, 144 pages, 6 b/w and 278 color pictures, 24,6x22cm, ISBN 960-8452-93-7, Greek / English, softcover

euro 50,00

email if you want to buy booksinprogressmilano@yahoo.it

This is the catalogue that accompanied the exhibition “Lila de Nobili – Yannis Tsarouchis. An encounter”, that was held at the Benaki Museum, in cooperation with the Tsarouchis Foundation (4 July-23 September 2002), as a tribute to the great set and costume designer and painter Lila de Nobili (1916-2002). In this book more than 200 works by Lila de Nobili have been gathered together from the Yannis Tsarouchis Museum and private collections, as well as samples of her work in the theatre and the opera (models for sets, costume designs, etc.) and of her skill as a painter (illustrations of books, impressions of Italy, etc.). At the same time works by Yannis Tsarouchis are presented that demonstrate the artistic kinship and common concerns of the two artists.

09/03/24

[lagaleriapopurri]

Lila de Nobili

[saax2]

Danza

from serie Art Deco, 2007: Tantsovschitsa, 1920 | ph., Aleksey Galushkov (Ukraine)

Alicia Markova (1910-2004, England) as Giselle, 1948 | ph., Stirling Henry Nahum aka Baron (1910-1956, Italy-England)

Flapper Girls, 1920's

Anita Berber (1899-1928, Germany), 1920 | ph., Alexander Binder (1888-1929, Germany)

Doris Dupont (USA), 1930's | Archives of the Embassy Theatre Foundation, Ft. Wayne, Indiana

Untitled (dancer I), 1910-20 | František Drtikol (1883-1961, Czechia)

Dance of the Wind, 1927-28 | Bolesław Biegas (1877-1954, Poland)

Ballerina; a view from the loge | Everett Lloyd Bryant (1864-1945, USA)

Dancer, 1946 | František Drtikol (1883-1961, Czechia)

La Dance, 1910 (Hermitage St. Petersburg) | Henri Matisse (1869-1954, France)

Danseurs, 1939 | Maurice Brianchon (1899-1979, France)

Danseuse satirique, Paris, 1926 | ph., André Kertész (1894-1985, Hungary)

ph., Mark Olich (1983, Russia)

Hazel as Pavlova, 1913 | John Lavery (1856-1941, Ireland)

Ziegfeld Girls, 1920's | Ziegfeld Follies, 1907-31

Mary Pickford (1892-1979, Canada-USA), 1910's | ph., Edward S. Curtis (1868-1952, USA), 1910s Ziegfeld Girl, 1907-31

Spanish Dancer, 1971 | ph., Ruth Bernhard (1905-2006, Germany)

La guedra (moroccan dance) | Jean Gaston Mantel (1914-1995, France)

Dancers from 'Zigman Hall', New York, 1920

La scarpetta (the ballet slipper) | Lino Selvatico (1872-1924, Italia)

Helen Schjerfbeck (1862-1946, Finland)

Costumes de cigarières pour Carmen de Bizet, 1959 (scenografia dipinta) | Lila De Nobili (1916-2002, Italia)

Colombine, 1920 | Norman Lindsay (1879-1969, Australia)

Danseur | Jean-Louis Forain (1852-1931, France)

Le cours de danse, 1874 | Edgar Degas (1834-1917, France)

Danseuse au repos | Edgar Degas (1834-1917, France)

In camerino | Zinaida Serebryakova (1884-1967, Ucraina)

The ballet dancers (the dressing room), 1885 | Willard Leroy Metcalf (1858-1925, USA)

Dancer, early 1900s | Sergei Arsenyevich Vinogradov (1869-1938, Russia)

Ballerina at the Paris Opera in front of a Degas backdrop, 1949 | ph., Walter Sanders (1897-1985, Germany)

[amatesura]

Headdresses and crowns for 'The Sleeping Beauty', The Royal Ballet, Covent Garden, 1968

costume design by Lila De Nobili

[artfulfashion]

Lanvin-Castillo designs on a background painted by Lila de Nobili for the Paris Opera; photography by Henry Clarke for Vogue, June 1961

[cassanovarose]

“Lila de Nobili (1916-2002) was a designer of great delicacy and ingenuity. In 1968, she designed Peter Wright's production of The Sleeping Beauty for the Royal Ballet, and the surviving artefacts are little masterpieces of both imagination and craftsmanship. There were, in fact, so many visual delights that it took several viewings to realise them all.

In Act III of the ballet, the guests at the wedding of Princess Aurora and her Prince include several fairy-tale characters, including Red Riding Hood and the Wolf. The costume for the Wolf was a glorious mix of realism and imagination, the mask intensely realistic, allied to a chain-mail tunic and tights, with a very smart little hat. This wolf's head was a superb example of animal headdress-making. It was devised by the great mask-maker Rostislav Doboujinsky, who was later to make the headdresses for the film of Frederick Ashton's ballet Tales of Beatrix Potter. Dancing under the heat of stage lights is uncomfortable, and having to wear full head mask is not popular with the performers, so the masks have to be as light as possible and give some ventilation. By the 1960s, new materials allowed Doboujinsky to create heads that were substantial but light enough to be worn for long periods, give as wide an angle of vision as possible and try to ensure that the wearer did not overheat.”

http://collections.vam.ac.uk/item/O110580/theatre-costume-doboujinsky-rostislav/

[dozydawn]

[fashionbooksmilano]

Umberto Tirelli Ritorno a Gualtieri

Catalogo a cura di Sabine Vollmann-Schipper e Andrea Casoli

Corsiero Editore, Reggio Emilia 2018, 135 pagine, ISBN  978-8898420940

euro 35,00

email if you want to buy: booksinprogressmilano@yahoo.it

"Con la mostra 'Umberto Tirelli. Ritorno a Gualtieri' rendiamo omaggio a un nostro genio illustre e, per questa ragione, cittadino onorario. La storia di Umberto Tirelli parte da Gualtieri, naturalmente, ma la vita e l'attività di quest'uomo rappresentano, fin dalla giovinezza, l'esatto contrario dell'angustia provinciale. Con la forza inarrestabile che lo ha sempre contraddistinto, Umberto Tirelli ha segnato una tappa importantissima per l'arte del costume teatrale e cinematografico, in Italia e nel mondo. È quindi motivo di orgoglio per Gualtieri a novant'anni dalla nascita tributargli, nella Sala dei Giganti di Palazzo Bentivoglio, una mostra di alcuni dei costumi più significativi prodotti dalla sua sartoria. Credo che nel tempo difficile in cui viviamo, alzare lo sguardo sulla storia di chi ha fatto la storia - e nella storia del costume Umberto Tirelli è sicuramente tra questi - costituisca una scelta importante per dare senso, coesione e futuro alla nostra comunità." (Renzo Bergamini)

08/06/20

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[aperfumedpearl]

Illustration by Lila De Nobili, Balenciaga Lelong, 1947

[mirellabruno]

Super Rare Antique French Paris Lila de Nobili for Le Nouveau | Etsy

[my-world-of-colour]

Vogue Paris 1947 May Christian Bérard Lila de Nobili Coltellacci Descombes Gjon Mili Louise de Vilmorin

[meohmyohmyohme]

Wolf mask designed for Peter Wright’s production of The Sleeping Beauty,1968.

Lila de Nobili, designer

Rostislav Doboujinsky, mask maker

[ripplefactor]

A scagliola table sits in front of a worn plaster wall adorned with a portrait by Lila de Nobili of the then-7-year-old Donatella Garani — the house’s current owner — peeking through a door ..

‘The Italian architect and set designer created imagined worlds full of layers — of color, pattern, artifice and history — that have succeeded at being timeless. In a sense, they feel as relevant and beautiful as ever.’

Inside Three Rarely Seen Renzo Mongiardino-Designed Homes, The New York Times, May 2016.

[suzylwade]

Renzo Mongiardino Though he was often referred to as the greatest designer of the twentieth century, Renzo Mongiardino was never a household name — not even in his native Italy where he lived and worked until his death in 1998 at the age of eighty-one. Instead, he was that most rarefied of talents: a designer's designer a creator of dazzling special effects that were built on a foundation of exacting scholarship. Atmosphere, not authenticity, was the secret of his success; after all he was first and foremost a set designer. Who can forget the Renaissance earthiness of the sets for the rough-and-tumble Zeffirelli film ‘The Taming of the Shrew’? His décors were similarly dramatic. Whether executed for a French aristocrat like Baron Guy de Rothschild a Manhattan financier like Peter Sharp or an international presence like Gianni Versace a house by Renzo Mongiardino was a miracle of stage-set trickery. Floors were paved in marble that was not marble; walls were panelled with Neoclassical boiserie’s that had been conjured out of paint and shadows; sofas and chairs were upholstered in sumptuous velvets skilfully aged by an artisan who then scribbled on them with coloured pens from an office-supply store. "Illusion comes into being as part of the pleasure," he wrote in ‘Roomscapes’ a treatise on his specialty which he preferred to call "decorative architecture." The same painters, carpenters, gilders and model makers who manufactured Mongiardino's sets for stage and screen worked on the maestro's interiors as well (including Lila de Nobili, a painter and designer whose work in the Italian theatre world was every bit as revered as his own). Witness Mongiardino’s trick of eye by reading ‘The Interiors and Architecture of Renzo Mongiardino: A Painterly Vision’ by Martina Mondadori Sartogo, published by Rizzoli and out now. #neonurchin #neonurchinblog #dedicatedtothethingswelove #suzyurchin #ollyurchin #art #music #photography #fashion #film #words #pictures #neon #urchin #renzomongiardino #interiordesigner #setdesigner #theatrical #atmosphere #cabana #trompeloeil #highsociety #liladenobili #roomscapes #martinamondadorisartogo #rizzoli https://www.instagram.com/p/B156tUIAIIY/?igshid=1qkejitxq1sp2