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THE ROSE-COLORED SPECTER: NATALIA DANKO'S NIJINSKY*

THE ROSE-COLORED SPECTER: NATALIA DANKO'S NIJINSKY* During the quarter century in which she worked at the Lomonosov Porcelain Factory in Leningrad, the sculptor Natalia Yakovlevna Danko (1892-1942) made several statuettes of well-known Russian dancers cos- tumed for their most celebrated roles.1 Her 1920 portrait of Vaslav Ni- jinsky is particularly interesting both for the treatment it received from critics and in terms of its distribution (Fig. 46). Yet however important Ni- jinsky's international stature as a dancer, his statuette was relegated to the margins of critical assessment and deemed appropriate for export only, at least in the 1920s and 1930s. While this official response might be at- tributed to Nijinsky's choice to live outside the Soviet Union, the source of the problems seem to rest in the public persona and reputation of the dancer rather than in the particular pose or execution of the figure itself.2 Speculation about the ill-defined boundaries of Nijinsky's sexual orientation and the ways this was performed in the roles he danced as a member of Sergei Diaghilev's Ballets Russes lie at the root of the figure's status as outcast. To make some sense of the history of the Nijinsky statuette, the inter- nal situation of the factory where it http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Experiment Brill

THE ROSE-COLORED SPECTER: NATALIA DANKO'S NIJINSKY*

KETTERING, KAREN
Experiment , Volume 2 (1): 16 – Jan 1, 1996
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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1084-4945
eISSN
2211-730X
DOI
10.1163/2211730X96X00072
Publisher site
See Article on Publisher Site

Abstract

During the quarter century in which she worked at the Lomonosov Porcelain Factory in Leningrad, the sculptor Natalia Yakovlevna Danko (1892-1942) made several statuettes of well-known Russian dancers cos- tumed for their most celebrated roles.1 Her 1920 portrait of Vaslav Ni- jinsky is particularly interesting both for the treatment it received from critics and in terms of its distribution (Fig. 46). Yet however important Ni- jinsky's international stature as a dancer, his statuette was relegated to the margins of critical assessment and deemed appropriate for export only, at least in the 1920s and 1930s. While this official response might be at- tributed to Nijinsky's choice to live outside the Soviet Union, the source of the problems seem to rest in the public persona and reputation of the dancer rather than in the particular pose or execution of the figure itself.2 Speculation about the ill-defined boundaries of Nijinsky's sexual orientation and the ways this was performed in the roles he danced as a member of Sergei Diaghilev's Ballets Russes lie at the root of the figure's status as outcast. To make some sense of the history of the Nijinsky statuette, the inter- nal situation of the factory where it

Journal

Experiment – Brill

Published: Jan 1, 1996

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