[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-sicis-leon-bakst-2022":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":219},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":214,"matched_pages":215,"match_count":216,"two_pages":217,"show_text":218},26267,"Leon Bakst 2022","sicis-leon-bakst-2022","\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fde\u002Ffef28877af3e04b3c0a621a45f13d0-29178c754e.pdf","SICIS",2367,"sicis","23.2 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,212],{"image":7,"text":15,"number":16},"BAKST\nL\nÉ\nO\nN\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.2.png","PPPPPPPP PP PPP PPPPPPPPPP \nPP PP. PPPPPPPPPP PPPPP \nPPPPPP PP PPPPPPP PPP PPPPP.\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.3.png","BAKST\nLÉON\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.4.png","O\n3\n2\n“Ciò che è sacro nell’arte è la bellezza.”\n“What is sacred in art is beauty”\nSimone Weil\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.5.png","4\n5\nLA STORIA DI SICIS ART\nUn legame indissolubile è quello che unisce SICIS al mondo dell’Arte. \nOpere pittoriche che diventano incredibili mosaici, mosaici che diventano \nveri capolavori artistici.\nForse per via dello stretto rapporto tra l’azienda e la città che l’ha vista \ncrescere, Ravenna, luogo ricco di storia e di cultura, uno dei pochi al mondo \na vantare ben 8 monumenti patrimonio culturale dell’UNESCO. L’Azienda \nha saputo trarre da questo territorio così fertile in termini artistici la linfa \nche ha nutrito e ispirato lo studio e il perfezionamento delle opere musive. \nUna passione profonda per questa tecnica antica, coltivata con cura, fatta \ncrescere e resa propria introducendo innovazioni e formando una squadra \ndi abili maestri che hanno trasformato SICIS nel più grande laboratorio \ndi mosaico artistico al mondo.\nQuesta attrazione magnetica nei confronti dei più grandi artisti passati e \ncontemporanei ha spinto più volte SICIS a trasporre celebri opere pittoriche, \nper loro natura delicate ed effimere, in eterne interpretazioni musive.\nLa prima volta accadde nel 1998, quando il Comune di Roma coinvolse \nSICIS per realizzare un grandioso progetto. L’idea era quella di decorare \nin mosaico intere pareti delle più importanti stazioni della Metropolitana \ndi Roma, allora in costruzione. La particolarità stava nel fatto che per \nla prima volta si cercava di utilizzare in questo specifico ambito il mosaico \nartistico, a differenza delle semplici tessere tinta unita presenti in molte altre \nstazioni europee.\n1998\n2014\n2015\n2018\nTHE HISTORY OF SICIS’S ART\nAn unbreakable bond is what unites SICIS with the world of art. Pictorial \nworks that become incredible mosaics, mosaics that become true artistic \nmasterpieces.\nPerhaps due to the close relationship between the company and the city where \nit grew, Ravenna, a place rich in history and culture, one of the few in the \nworld to boast 8 UNESCO cultural heritage monuments. From this area, so \nfertile in artistic terms, the company has been able to draw the lymph that \nhas nourished and inspired the study and evolution of mosaic works. A deep \npassion for this ancient technique, cultivated with care, grown and made \noriginal by introducing innovations and forming a team of skilled masters \nwho have transformed SICIS into the biggest artistic mosaic laboratory \nin the world.\nThis magnetic attraction towards the greatest artists of the past and present \nhas prompted SICIS to transform famous paintings, by their nature delicate \nand ephemeral, into eternal mosaic interpretations.\nThe first time happened in 1998, when the Comune of Rome involved SICIS \ninto a great project. \nThe idea was to decorate with mosaic art entire walls of the most important \nunderground stations in Rome, which were under construction at the time. \nThe peculiarity lay in the fact that it was the first use of mosaic art in this \nspecific field, unlike the simple single-colour tiles present in many other \nEuropean stations.\n2010\n2020\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.6.png","6\n7\nThe project, of international significance, brought together 27 contemporary artists \nfrom Italy, Belgium, the Netherlands, England, Spain, Russia, Japan, and many \nother countries. It was the first step towards an artistic patronage aimed at offering \nan idea of an open-air museum that is close to the everyday life of citizens in order \nto bring culture and beauty even during their daily commutes, and not only during \nthose privileged moments dedicated to museums or cultural visits.\nA few years later, SICIS’s interest was directed towards an Italian painter of the \nMannerist period, known for his ‘Teste Composte’ (portrait heads made entirely of \nobjects): Giuseppe Arcimboldo. The richness of the details, especially of flowers and \nfruits, and the eclecticism of the artworks, prompted the Ravenna-based company to \nreproduce some of the best-known paintings, reinterpreting them with its own style \nand adapting them to the artistic technique. The mastery in the use and cuts of the \ntiles and in the choice of colours made it one of the most refined reproduction series \nfrom antiquity while never remaining without innovation, combining impactful \niridescent shades in the modernity of the almost exclusively mirroring backgrounds.\nIn 2014 a complete change of course. SICIS decided to pay homage to one of the \nmost significant painters of the late 19th century, Gustav Klimt. The rich golden \nbackgrounds, whose inspiration for the Austrian painter came from some trips to \nRavenna, which made him discover the Byzantine mosaics, seemed perfect for the \nSICIS Gold collection. Some of the artist’s most famous paintings were reproduced, \nincluding “The Kiss”, “Judith”, and portrait of “Adele Bloch Bauer”.  \nThe result is nothing short of stunning.\nThe following year, thanks to a trip to Japan, the president of SICIS was captivated \nby the pictorial art of the Edo period. He thus began a collaboration with the \n“Museum of the Imperial Collections’” and various private collections to interpret \nsome of the finest paintings by Itō Jakuchū, depicting animals and nature in \nharmony with Shinto beliefs.\nThe collection evokes the essence of eastern naturalistic and figurative art, with \nmosaics with a strong pictorial effect. The calibrated choice of colours, which reflects \nthe typical palettes of Japanese paintings, and the refined manufacturing are what \nmost characterize these panels, tapestries that can adorn the walls of a house with \nmagnificence and preciousness.\nThree years later, in the wake of important results and synergies in every part of the \nworld, the Chinese Government proposed to SICIS, through “The Forbidden City \nCulture”, to interpret some ancient masterpieces kept inside the Forbidden City, \namong the most famous in all of Chinese history.  Immortal masterpieces illustrating \nlandscapes, mountains, and animals that would be exhibited in Beijing in a \ndedicated exhibition. SICIS enthusiastically accepted, starting an accurate phase \nof study and research on the artworks. Months of intense work, choice of shades, \nand careful processes to obtain one of the largest and most complex artistic mosaic \npanels ever to come out of its labs. Almost 9 by 3 meters of trees and mountains in \nall shades of green, blue, and brown.\nIn more recent past, SICIS took part in a project that definitively established its \nlink with art and beauty. As a sponsor of the Padiglione Italia at Expo Dubai 2020, \nit created the artistic mosaic interior claddings of the “Teatro della Memoria”, \nwhich houses, among other things, the reproduction of Michelangelo’s David. It is \na mosaic of about 15 by 2 meters that reproduces a deer hunting scene taken from \nthe splendid mosaic decorations of the Palazzo dei Normanni in Palermo, as well as \na magnificent blue and gold starry sky inspired by the mosaics of Galla Placidia in \nRavenna. \nThe official claim of Padiglione Italia, ‘Beauty unites people’, represents exactly the \nvision of SICIS, according to which art is a passion that goes beyond any place, \nreligion, ideology, or difference.\nAnd it is by following this philosophy that, at the beginning of 2022, SICIS decided \nto face its new challenge, interpreting through glass tiles some artworks of one of the \npersonalities that most characterized the fashion and design of the 1900s: Léon Bakst.\nIl progetto, di rilevanza internazionale, riunì 27 artisti contemporanei provenienti \nda Italia, Belgio, Olanda, Inghilterra, Spagna, Russia, Giappone e molti altri paesi.\nFu il primo passo verso un mecenatismo artistico indirizzato a offrire un’idea di \nmuseo a cielo aperto che si avvicinasse al quotidiano dei cittadini per riuscire \na portare cultura e bellezza anche durante gli spostamenti di ogni giorno, e non \nsolo durante quei momenti privilegiati dedicati alle visite museali o culturali.\nQualche anno più tardi l’interesse di SICIS si indirizza verso un pittore italiano \ndel periodo manierista, noto per le sue “Teste Composte”: Giuseppe Arcimboldo. \nLa ricchezza di dettagli, soprattutto di fiori e frutti, e l’eclettismo delle opere, \nhanno spinto l’azienda ravennate a riprodurre alcuni dei dipinti più noti, \nreinterpretandoli con il proprio stile e adattandoli alla tecnica artistica.\nLa maestria nell’utilizzo e nei tagli delle tessere e nella scelta dei colori ne hanno \nfatto una delle serie più raffinate di riproduzione dall’antico pur non restando mai \npriva di innovazione e abbinando nella modernità dei fondi quasi esclusivamente \nspecchianti, impattanti tonalità iridescenti.\nNel 2014 un cambio totale di rotta. SICIS decide di rendere omaggio a uno dei \npiù significativi pittori di fine ‘800, Gustav Klimt. I ricchi sfondi in oro, ispirati \ntra l’altro al pittore austriaco proprio da alcuni viaggi a Ravenna che gli fecero \nscoprire i mosaici bizantini, sembravano perfetti per dare sfoggio della collezione \nSICIS Gold. \nVengono riprodotti alcuni dei più celebri dipinti dell’artista, fra cui “Il bacio”, \n“Giuditta” e “Adele Bloch Bauer”. Il risultato è a dir poco stupefacente.\nL’anno successivo, grazie a un suo viaggio in Giappone, il presidente di SICIS \nresta colpito dall’arte pittorica del periodo Edo. Inizia così una collaborazione con \nil “Museum of the Imperial Collections” e varie collezioni private per interpretare \nalcuni tra i più raffinati dipinti di Itō Jakuchū, raffiguranti animali e natura in \naccordo con il pensiero Shinto.\nLa collezione evoca l’essenza dell’arte naturalistica e figurativa orientale, con \nmosaici dal forte effetto pittorico. La calibrata scelta dei colori, che riflette le \ntipiche palette dei dipinti Giapponesi, e la ricercata manifattura sono ciò che più \ncaratterizzano questi pannelli, veri e propri arazzi che possono adornare i muri di \nuna dimora donando magnificenza e preziosità.\nTre anni dopo, sulla scia di importanti risultati e sinergie in ogni parte del \nmondo, il Governo Cinese propone a SICIS, tramite il “The Forbidden City \nCulture”, la traslazione di alcuni antichi capolavori custoditi all’interno della \nCittà Proibita, fra i più celebri di tutta la storia cinese. \nCapolavori immortali illustranti paesaggi, montagne e animali che sarebbero stati \nesposti a Pechino in una mostra dedicata. SICIS accetta entusiasta, cominciando \nun’accurata fase di studio e ricerca sulle opere. Mesi di intenso lavoro, scelta delle \ntonalità e attenta lavorazione per ottenere uno dei più grandi e complessi pannelli \nin mosaico artistico mai uscito dai suoi laboratori. Quasi 9 metri per 3 di alberi e \nmontagne in tutte le sfumature di verde, azzurro e marrone.\nArrivando al passato più recente, SICIS prende parte a un progetto che sancisce \ndefinitivamente questo suo legame con l’arte e la bellezza. Come sponsor del \nPadiglione Italia ad Expo Dubai 2020 infatti realizza i rivestimenti interni in \nmosaico artistico del “Teatro della Memoria”, che ospita fra l’altro la riproduzione \ndel David di Michelangelo. Si tratta di un mosaico di circa 15 metri per \n2 di altezza che riproduce una scena di caccia al cervo tratta dalle splendide \ndecorazioni musive del Palazzo dei Normanni di Palermo, oltre a una magnifica \nvolta stellata blu e oro ispirata ai mosaici di Galla Placidia a Ravenna. \nIl claim ufficiale del Padiglione Italia, “La bellezza unisce le persone”, rappresenta \nesattamente la visione di SICIS, secondo cui l’arte è una passione che va oltre \nqualsiasi luogo, religione, ideologia o differenza. \nEd è sempre seguendo questa filosofia che, all’inizio del 2022, SICIS decide di \naffrontare la sua nuova sfida, trasporre in tessere di vetro alcune opere di una delle \npersonalità che più hanno caratterizzato la moda e il design del 1900: Léon Bakst.\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.7.png","8\n9\nÈ stato durante la ricerca di nuovi artisti da \nrappresentare che SICIS si è resa conto di quanto \nprofondamente l’Europa di inizio secolo fosse \nstata influenzata da questo straordinario \npersonaggio. Nelle sue scene e nei suoi costumi \nriuscì sapientemente a coniugare la raffinatezza \ndel simbolismo francese alle diverse tradizioni \npopolari, raggiungendo un successo che varcò i \nconfini dell’Europa per arrivare sull’altra sponda \ndell’Atlantico. \nDiversi gli stilisti che decisero di collaborare con \nlui, primi fra tutti Paul Poiret e Jeanne Paquin, \nfondatrice dell’omonima Maison Paquin.\nForse è proprio la sua personalità poliedrica, \nla capacità di interpretare la bellezza nei più \ndiversi ambiti, dall’arte, alla moda, al design, \nche ha attratto SICIS. \nPerché quello che SICIS fa da oltre 30 anni è \nproprio questo, portare il bello in ogni aspetto \ndella vita.\nIt was during the search for new artists to \nrepresent that SICIS realized how deeply Europe \nhad been influenced by this extraordinary \ncharacter at the beginning of the century. \nIn his scenes and in his costumes he wisely \nmanaged to combine the refinement of French \nsymbolism with several popular traditions, \nachieving a success that crossed the borders of \nEurope to reach the other side of the Atlantic. \nMany were the fashion designers that decided \nto collaborate with him, first among them \nPaul Poiret and Jeanne Paquin, founder of the \nhomonymous Maison Paquin.\nPerhaps it is precisely his multifaceted \npersonality, the ability to interpret beauty in \nthe most diverse fields, from art, to fashion, to \ndesign, that attracted SICIS. \nBecause what SICIS has been doing for over 30 \nyears is precisely that: bringing beauty into every \naspect of life.\nDisegno originale “La Peri” di Bakst ed interpretazione in mosaico artistico.\nOriginal drawing “La Peri” by Bakst and artistic mosaic interpretation.\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.8.png","10\n11\nBIOGRAFIA\nLéon Bakst, pseudonimo di Lev Schmule Rozenberg, fu un brillante \npittore, illustratore, scenografo e costumista.\nDi origine ebraica, nacque a Grodno, nell’attuale Bielorussia, il 10 maggio \ndel 1866. Interessato alla pittura sin dall’infanzia, nel 1883 si iscrisse \nall’Accademia delle Belle Arti di San Pietroburgo, partecipando alle prime \nmostre collettive. Negli anni successivi viaggiò tra Europa e Nordafrica, \narrivando infine a Parigi dove studiò pittura presso l’Académie Julian. Qui \nebbe modo di approfondire la conoscenza dell’arte francese e accostarsi al \nsimbolismo, ma soprattutto strinse un’amicizia, che sarebbe durata fino alla \nsua morte, con l’impresario teatrale Sergej Pavlovič Djagilev. \nNel 1898 fondarono la rivista “Il mondo dell’arte”.\nBakst raggiunse la notorietà grazie alle sue doti di illustratore e ritrattista, \ne in seguito come disegnatore di scene e bozzetti per il teatro dell’Ermitage. \nNel 1910 si trasferì stabilmente a Parigi, dove si dedicò principalmente \nai disegni per i Ballet Russes, la celebre compagnia fondata da Djagilev. \nIn questo periodo Bakst lavorò a fianco dei principali artisti dell’epoca, \ncome il ballerino e coreografo Nižinskij o i compositori Stravinskij, Ravel e \nDebussy. I suoi disegni, ricchi di colori saturi e dettagli, segnarono una vera \ne propria svolta per l’epoca. Le figure non erano più statiche e inespressive, \nma sinuose e ammiccanti, ricreando i passi di danza. Molti dei costumi da \nlui disegnati suscitarono scalpore per la sensualità lussureggiante e la nudità \napparente. Bakst fu tra i primi inoltre ad abbandonare tutù, calzamaglia e \nsoprattutto le scarpette da punta, lasciando nudi i piedi dei ballerini.\nSull’onda del successo ottenuto grazie ai Ballet Russes, Bakst iniziò a lavorare \nanche per altri committenti, non solo in ambito teatrale ma arrivando a \ncollaborare anche con i principali stilisti francesi e lanciando alcune delle \nmode del periodo. Questa sua passione per la moda e questa sua abilità \nnel saper intercettare e anticipare i trend lo portò a valutare l’avvio di una \npropria casa di moda, dove poter proporre non solo abiti e gioielli, ma anche \narredi e carta da parati.\nLa morte prematura, nel 1924 a Rueil-Malmaison, infranse però i suoi \nprogetti.\nLa sua eredità vive ancora in quella sua capacità di curare ogni minimo \ndettaglio e rendere vive le scene, che lo ha fatto diventare uno dei primi \nmaestri della scenografia moderna.\nLéon Bakst ritratto da Amedeo Modigliani\nLéon Bakst portrayed by Amedeo Modigliani\nBIOGRAPHY\nLéon Bakst, pseudonym of Lev Schmule Rozenberg, was a brilliant painter, \nillustrator, set designer, and costume designer.\nOf Jewish origin, he was born in Grodno, in present-day Belarus, on 10 \nMay 1866. Interested in painting since childhood, in 1883 he enrolled at \nthe Academy of Fine Arts in St. Petersburg, participating in the first public \nexhibitions. In the following years he travelled between Europe and North \nAfrica, finally arriving in Paris where he studied painting at the Académie \nJulian. Here he was able to deepen his knowledge of French art and get closer \nto symbolism, but above all he formed a friendship, which would last until his \ndeath, with theatre manager Sergej Pavlovič Djagilev. \nIn 1898 they founded the magazine Mir iskusstva (World of Art).\nBakst achieved notoriety thanks to his skills as an illustrator and portraitist, \nand later as a designer of stages and sketches for the Hermitage theatre. In \n1910 he moved permanently to Paris, where he devoted himself mainly to \ndrawings for the Ballets Russes, the famous company founded by Djagilev.\nDuring this period Bakst worked alongside the leading artists of the time, such \nas dancer and choreographer Nižinskij or composers Stravinsky, Ravel, and \nDebussy. His drawings, rich in saturated colours and details, marked a true \nturning point for the era. The figures were no longer static and inexpressive, \nbut sinuous and suggestive, recreating dance steps. Many of the costumes he \ndesigned caused a sensation for their profuse sensuality and apparent nudity. \nBakst was also among the first to abandon tutus, tights, and especially pointe \nshoes, leaving the dancers’ feet bare.\nIn the wake of the success achieved thanks to the Ballets Russes, Bakst also \nbegan working for other clients, not only in the theatrical field, reaching \ncollaborations with leading French fashion designers, and launching some of \nthe fashion trends of the period. This passion of his for fashion and his ability \nto know how to intercept and anticipate trends led him to consider starting \nhis own fashion house, where he could offer not only clothes and jewellery, but \nalso furnishings and wallpaper.\nHis premature death in Rueil-Malmaison in 1924, however, shattered his \nplans.\nHis legacy still lives on in his ability to take care of every detail and make \nscenes come alive, which made him one of the first masters of modern \nscenography.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.9.png","1909\n1910\n1911\n1911\n1911\n1911\n1911\n12\n13\nCOSTUMI E COREOGRAFIE\nCOSTUMES AND CHOREOGRAPHIES\nINTRODUZIONE\nDopo ormai più di un secolo, i leggendari spettacoli dei Ballet russes \nrappresentano ancora un punto di riferimento importante in tutto il mondo.\nFu proprio Léon Bakst che, nel suo ruolo di direttore artistico fino all’abbandono \ndella compagnia nel 1914, contribuì al loro enorme successo, lasciando ai \nposteri la possibilità di ammirare alcuni dei bozzetti da lui realizzati.\nLe intense armonie cromatiche, l’interesse per il movimento e i motivi \norientali, la passione e l’erotismo raffinato furono i principali elementi \nche caratterizzarono i Ballet russes. Ambientazioni e costumi che trassero \nispirazione dai viaggi che Bakst fece nel corso della sua vita.\nLéon Bakst realizzò i primi bozzetti di scene e costumi per il teatro dell’Ermitage \ne per il Teatro Marijinskij di San Pietroburgo, tra il 1902 e il 1904. \nIl successo arrivò proprio in quegli anni, quando la sua collaborazione con \nla compagnia di Djagilev si fece più intensa. Fu celebre la sua scenografia per \nl’”Antigone” di Sofocle, così come, negli anni successivi, “Cleopatra” (1909) \ne “Sherazade” (1910), che seppero suscitare meraviglia e indignazione al \ntempo stesso. Alla base di questa reazione moralistica c’era in realtà il rifiuto \ndi ciò che i Ballet russes stavano introducendo a Parigi: un genere nuovo, \nmoderno e anticonformista.\nBakst è stato in grado di fondere assieme diverse arti, in un’interpretazione \ncomplessa di suono, movimento e colore. Costumi prosperosi, creatività \npura in perfetto equilibrio tra forma e colore. Una produzione artistica \ninfluenzata dall’arte mediorientale, dal simbolismo e dall’Art Nouveau, in un \nmix di linee sinuose, sensualità e vividezza.\nUna capacità la sua di osare senza mai eccedere nel cattivo gusto. Una \nvisione dello spettacolo completo, dove scena, costumi e artisti diventavano \nparte di un’unica entità, consentendo allo spettatore di entrare all’interno di una \ndimensione onirica in grado di allontanarlo temporaneamente dalla realtà.\nIl sodalizio con Djagilev portò ulteriori successi: \nThe partnership with Djagilev brought further successes:\n“Sherazade” (1910), “L’uccello di fuoco” (1910), \n“Prélude à l’après-midi d’un faune” (1912), \n“Daphnis et Chloé” (1912), “Le Dieu Bleu” (1912)\nINTRODUCTION\nAfter more than a century, the legendary shows of the Ballets Russes still \nrepresent an important reference point all over the world.\nIt was Léon Bakst who, in his role as artistic director until 1914, contributed to \ntheir enormous success, leaving future generations the opportunity to admire \nsome of the sketches he made.\nThe intense chromatic harmonies, the interest in movement and Eastern \nmotifs, the passion and refined eroticism were the main elements that \ncharacterized Ballets Russes. Sets and costumes that drew inspiration from the \ntravels that Bakst made during his life.\nLéon Bakst made the first sketches of sets and costumes for the Hermitage \ntheatre and for the Mariinsky Theatre in St. Petersburg, between 1902 \nand 1904. Success came right in those years, when his collaboration with \nDjagilev’s company grew more intense. Some of his famous examples were \nhis scenography for Sophocles’ Antigone, as well as, in the following years, \nCléopâtre (1909), and Schéhérazade (1910), which were able to arouse awe \nand indignation at the same time. At the base of this moralistic reaction there \nwas actually the rejection of what the Ballets Russes were introducing in Paris: \na new, modern, and nonconformist genre.\nBakst managed to blend different arts together, in a complex interpretation \nof sound, movement, and colour. Grand costumes, pure creativity in perfect \nbalance between shape and colour. An artistic production influenced by \nMiddle Eastern art, symbolism, and Art Nouveau, in a mix of sinuous lines, \nsensuality, and vividness.\nHe had the ability to dare without ever crossing the threshold of bad taste. \nA complete vision of the show, where stage, costumes, and artists became \npart of a single entity, allowing the audience to enter a dreamlike dimension \ncapable of temporarily taking them away from reality.\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.10.png","COSTUMI E COREOGRAFIE\nCOSTUMI E COREOGRAFIE\n15\n14\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.11.png","Disegno originale di Léon Bakst per una beoziana in “Narcisse”\nOriginal design by Léon Bakst for a boeotian in “Narcisse”\n16\n171\nBOEOTIAN YELLOW\nProperty of the Collection of St. Petersburg State Museum of Theater and Music.\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.12.png","18\n19\nCon incredibile professionalità, combinando antiche tecniche artigianali \na nuovi linguaggi pittorici, i maestri mosaicisti di SICIS hanno saputo \nricreare i preziosi effetti dei disegni di Léon Bakst. \nMateriali vitrei lucidi, opachi, iridescenti e metallici che reinterpretano \nle ricche vesti in seta, organza, broccato e georgette e i meravigliosi monili \nin metalli e pietre preziose, perle e catene con cui Léon Bakst amava \nadornare i corpi dei ballerini.\nNella Parigi di inizio secolo gli artisti dipingevano nei loro Atelier sulla \ncollina di Montmartre ancora costellata di mulini e vigne dalla bellezza \nmagica e bucolica con cavalletti e tele nascoste da pesanti tessuti.\nCosì SICIS ha immaginato che questa particolare rivisitazione dei disegni di \nLéon Bakst potesse nascere ed evolversi proprio con la stessa attenzione \ne cura che i grandi pittori ponevano nel completare le loro tele.\nUna sensazione di scoperta dell’opera, come collezionisti o mecenati in \nvisita all’atelier di Léon Bakst, il quale con maestria offra la scoperta lenta \ne desiderata dell’opera alla vista.\nLéon Bakst creò questa serie di bozzetti in dimensioni ridotte e l’omaggio di \nSICIS è di averli portati in scala 1:1, quasi per far percepire nuovamente il \nrealismo dei ballerini che, creando l’incanto con la loro danza, hanno reso \nquesti costumi immortali.\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.13.png","20\n21\nWith incredible professionalism, combining ancient artisan techniques with \nnew pictorial languages, the SICIS mosaic masters have been able to recreate \nthe precious effects of Bakst’s drawings. Glossy, opaque, iridescent, and metallic \nglass materials that reinterpret the rich robes in silk, organza, brocade, and \ngeorgette, and the marvellous jewels in metals and precious stones, pearls, and \nchains with which Léon Bakst loved to adorn the bodies of the dancers.\nIn the Paris of the beginning of the century, artists painted in their Ateliers \non the Montmartre hill still dotted with mills and vineyards of magical and \nbucolic beauty with easels and canvases hidden by heavy fabrics.\nSICIS imagined that this particular reinterpretation of Léon Bakst’s drawings \ncould be born and evolve with the same attention and care that the great \npainters devoted to completing their canvases.\nA feeling of discovery of the artwork, like collectors or patrons visiting the \natelier of Léon Bakst, who skilfully offered the slow and coveted unveiling of \nthe artwork.\nLéon Bakst created this series of sketches in small dimensions, and SICIS’s \nhomage is to have brought them to a scale of 1:1, as if to perceive again the \nrealism of the dancers who, enchanting with their dance, made these costumes \nimmortal.\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.14.png","Pannello Artistico SICIS su disegno originale di Léon Bakst, “Boeotian” misura 180x225cm. \nSICIS artistic panel based on original drawing by Léon Bakst, “Boeotian” size 180x225cm.\n22\n23\nDrawing for the costume of a Boeotian in the production Narcisse, staged in \n1911 by the Ballets Russes. \nChoreography by Michel Fokine and music by Nikolai Tcherepnin. It was one \nof the three Greek ballets designed by Bakst, best remembered for the costume \ndesigns, in which fabrics and figures intertwine in a triumph of vibrant \nexoticism.\nDisegno per il costume di una Beoziana nell’opera “Narcisse”, messa in \nscena nel 1911 dai Ballet Russes. \nCoreografia di Michel Fokine e musiche di Nikolai Tcherepnin. Fu uno dei \ntre balletti Greci disegnati da Bakst, ricordato principalmente per i disegni \ndei costumi, in cui i tessuti e le figure si intrecciano in un tripudio di \nvibrante esotismo.\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.15.png","24\n25\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.16.png","Disegno originale di Léon Bakst,“Boeotian”\nOriginal drawing by Léon Bakst,“Boeotian”\n26\n272\n BOEOTIAN OCHRE\nProperty of the Collection of St. Petersburg State Museum of Theater and Music.\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.17.png","28\n29\nLuci, ombre, colore, materia sono solo alcuni dei dettagli che i maestri \nmosaicisti devono valutare quando si tratta di traslare opere di così grande \nvalore grafico e di così immediata e incisiva bellezza come questi disegni \ndi Léon Bakst.\nSolo una ricerca accurata e meticolosa della tonalità perfetta, selezionata tra \ni più di 900 colori delle collezioni SICIS, permette di raggiungere risultati \ndi questo livello, creando un magico bilanciamento tra fondi e incarnato, \nbrillanza e opacità.\nLights, shadows, colour, material are just some of the details that mosaic \nmasters must evaluate when it comes to translating artworks of such great \ngraphic value and of such immediate and incisive beauty as these drawings \nby Léon Bakst.\nOnly an accurate and meticulous search for the perfect shade, selected from \nthe more than 900 colours of the SICIS collections, allows to achieve results of \nthis level, creating a magical balance between backgrounds and complexion, \nbrilliance and opacity.\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.18.png","30\n31\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.19.png","32\n33\nPannello Artistico SICIS su disegno originale di Léon Bakst, “Boeotian” misura 180x225cm\nSICIS artistic panel based on original drawing by Léon Bakst, “Boeotian” size 180x225cm.\n“Narcisse” andò in scena per la prima volta l’8 giugno 1911 al Théâtre de \nMonte Carlo. Nonostante un’accoglienza non esattamente entusiastica, \nche non consentì al balletto di restare in repertorio a lungo, di quest’opera si \nricordano in particolare i magnifici disegni di Léon Bakst per le scenografie \nbucoliche e i costumi leggeri e sensuali.\n“Narcisse” was staged for the first time on 8 June 1911 at the Théâtre de \nMonte Carlo. Despite a not exactly enthusiastic welcome, which did not \nallow the ballet to remain in the repertoire for long, the magnificent drawings \nby Léon Bakst for the bucolic sets and the light and sensual costumes are \nparticularly worthy of note.\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.20.png","34\n35\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.21.png","Disegno originale di Léon Bakst, “Cléopâtre” \nOriginal drawing by Léon Bakst, “Cléopâtre” \n36\n373\nCLEOPATRA\nProperty of the Collection of St. Petersburg State Museum of Theater and Music.\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.22.png","38\n39\nLo stile voluttuoso dei corpetti ricoperti di perle o dei larghi \npantaloni arabeggianti, uniti alle catene tempestate di pietre \npreziose, hanno richiesto l’uso di speciali tessere iridescenti o \nmetalliche con sfumature cromate così da ricreare \nla luminosità che sicuramente abbagliava il pubblico di inizio \n‘900 durante questi balletti illuminati solo parzialmente da \nmagiche coreografie.\nThe voluptuous style of the bodices covered with pearls or \nthe wide arabesque trousers, combined with the chains studded \nwith precious stones, required the use of special iridescent \nor metallic tiles with chrome shades in order to recreate the \nbrightness that surely dazzled the audiences of the early 1900s \nduring these ballets only partially illuminated by magical \nchoreographies.\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.23.png","40\n41\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.24.png"," \n“Cléopâtre” fu il primo spettacolo dei Ballet russes a vedere coinvolto il genio \ndi Léon Bakst. Debuttò il 2 giugno 1909 al Théâtre du Châtelet di Parigi, con Ida \nRubinštejn nel ruolo di Cléopâtre. Un sontuoso e imponente allestimento \nscenico disegnato da Bakst stesso faceva da sfondo ai movimenti dei \nballerini. Lo spettacolo destò scandalo per i corpi seminudi e le scene di \npassione, ma lanciò al tempo stesso a Parigi la moda dei colori contrapposti \ne delle fogge orientali.\n“Cléopâtre” was the first show by the Ballets Russes to involve the genius of \nLéon Bakst. It debuted on 2 June 1909 at the Théâtre du Châtelet in Paris, \nwith Ida Rubinštejn in the role of Cléopâtre. A sumptuous and imposing stage \nset designed by Bakst himself was the background to the movements of the \ndancers. The show caused a scandal for the half-naked bodies and scenes of \npassion, but launched at the same time the fashion of contrasting colours and \nEastern styles in Paris.\n42\n43\nPannello Artistico SICIS su disegno originale di Léon Bakst, “Cléopâtre” misura 180x225cm.\nSICIS artistic panel based on original drawing “Cléopâtre” size 180x225cm.\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.25.png","44\n45\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.26.png","4\nESTRELLA\nDisegno originale di Léon Bakst, “Estrella” \nOriginal drawing by Léon Bakst, “Estrella”\n46\n47\nProperty of the Collection of St. Petersburg State Museum of Theater and Music.\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.27.png","48\n49\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.28.png","50\n51\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.29.png","52\n53\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.30.png","Una raffigurazione apparentemente bicromatica nasconde complessità \nanche superiori rispetto ai mosaici artistici più colorati. Sta tutto nell’abilità \ne nella sensibilità dei maestri mosaicisti infatti accostare tessere di colore \nsimile per ricreare la tridimensionalità delle pieghe dell’abito e l’effetto \nfrastagliato che ricorda il pizzo.\n“Carnaval”, su coreografia di Michel Fokine e musiche di Robert Schumann, \nvenne rappresentato per la prima volta nel 1910. Per i costumi Léon Bakst si \nispirò ai personaggi della Commedia dell’Arte italiana, mettendo in scena un \nballo di Carnevale in maschera durante il quale si intrecciavano coppie \ne amori sul filo di una trama leggera e piacevole.\nAn apparently two-tone representation hides even greater complexity than \nthe most colourful artistic mosaics. It all lies in the skill and sensitivity of \nthe mosaic masters, combining tiles of similar colour to recreate the three-\ndimensionality of the folds of the dress and the jagged effect reminiscent of \nlace.\nCarnaval, based on a choreography by Michel Fokine and music by Robert \nSchumann, was performed for the first time in 1910. For the costumes, Léon \nBakst drew inspiration from the characters of the Italian Commedia dell’Arte, \nstaging a masked Carnival ball during which couples and loves intertwined \non the thread of a light and pleasant plot.\n54\n55\nPannello Artistico SICIS su disegno originale “Estrella” misura 180x225cm.\nSICIS artistic panel based on original drawing “Estrella” size 180x225cm.\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.31.png","56\n57\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.32.png","Disegno originale di Léon Bakst, “La Péri”\nOriginal drawing by Léon Bakst, “La Péri” 5\nLA PÉRI\n58\n59\nProperty of the Collection of St. Petersburg State Museum of Theater and Music.\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.33.png","Creare differenti pattern in mosaico di marmo ribassato, abbinando più \ntonalità di beige in diverse dimensioni riproducendo pergamene di inizio \nsecolo, è stato il plus che ha offerto all’insieme dell’opera unità e morbidezza \nvisiva, tanto da risultare in una sensibilità impareggiabile verso i bozzetti \noriginali ingranditi in scala.\nCreating different patterns in lowered marble mosaic, combining several \nshades of beige in different dimensions reproducing parchments from the \nbeginning of the century, was the touch that offered the whole artwork unity \nand visual softness, reproducing with unparalleled sensitivity the original \nsketches enlarged to scale.\n60\n61\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.34.png","62\n63\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.35.png","64\n65\nPannello Artistico SICIS su disegno originale di Léon Bakst, “La Péri” misura 180x225cm.\nSICIS artistic panel based on original drawing by Léon Bakst, “La Péri” size 180x225cm.\n“La Péri” andò per la prima volta in scena nel 1911. Bakst realizzò \nil costume per la protagonista femminile, uno spirito di incredibile bellezza \ninterpretato da Natasha Trouhanova, ispirandosi all’Art Nouveau. \nVenne ripreso più volte da Bakst, tanto che ne esistono diverse versioni, \ndiventando il suo disegno simbolo.\n“La Péri” was staged for the first time in 1911. Bakst created the costume \nfor the female protagonist, a spirit of incredible beauty played by Natasha \nTrouhanova, drawing inspiration from Art Nouveau. \nIt was revisited several times by Bakst, who ended up creating several versions, \nbecoming his most emblematic drawing.\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.36.png","66\n67\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.37.png","Disegno originale di Léon Bakst per l’opera “Narcisse”\nOriginal drawing by Léon Bakst for “Narcisse” 6\nBOEOTIAN GREEN\n68\n69\nProperty of the Collection of St. Petersburg State Museum of Theater and Music.\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.38.png","70\n71\nUna parte molto complessa e interessante per SICIS è stata \nl’interpretazione dei supporti in carta naturale dei disegni prodotti \ndall’artista. Carte di fatture e qualità differenti, con macchie, sfumature e \nsegni del tempo non potevano restare semplicemente un unico colore in \ntinta unita.\nUno studio speciale è stato dunque rivolto al materiale con cui realizzare \ntutti i fondi, per riportare la matericità delle antiche carte, riuscendo ad \naggiungere tridimensionalità ma senza sovrapporsi alle figure. \nLa scelta è ricaduta su tessere lucide e opache in marmo Crema e Botticino, \nin differenti formati e ribassate a 4mm per renderle complanari alle tessere \nvitree ottenendo uno sfondo apparentemente uniforme ma a uno sguardo \npiù attento ricco di sfumature.\nLa nascita di un’opera d’arte richiede sperimentazione, pazienza ed estrema \nattenzione al dettaglio.\nA very complex and interesting part for SICIS was the interpretation of \nthe natural paper supports of the drawings produced by the artist. Papers of \ndifferent types and qualities, with stains, shading, and signs of aging could \nnot simply remain a single solid colour.\nA special study was therefore aimed at the materials for the backgrounds, to \nbring back the materiality of those ancient papers, managing to add three-\ndimensionality but without overpowering the foreground. \nThe choice was ultimately glossy and opaque tiles in Crema and Botticino \nmarble, in different sizes and lowered to 4mm to make them coplanar to the \nglass tiles, obtaining an apparently uniform background that is however rich \nin nuance on closer look.\nThe birth of a work of art requires experimentation, patience, and extreme \nattention to detail.\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.39.png","72\n73\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.40.png","74\n75\nPannello Artistico SICIS su disegno originale di Bakst per “Narcisse” misura 180x225cm\nSICIS artistic panel based on original Bakst drawing for “Narcisse” size 180x225cm\nI Ballet Russes realizzarono durante la loro attività una serie di opere \ndedicate alla mitologia greca. Una di queste venne dedicata al mito di \nNarciso, giovane di incredibile bellezza che proprio per questo eccessivo \namore nei confronti della sua figura fu punito dalle ninfe per mano \ndella Nemesi.\nThe Ballets Russes created during their activity a series of productions \ndedicated to Greek mythology.   \nOne of these was dedicated to the myth of Narcissus, a young man of incredible \nbeauty who was punished by the nymphs at the hands of Nemesis for this \nexcessive love for himself.\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.41.png","76\n77\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.42.png","78\n79\nDisegno originale di Léon Bakst, “Nymphe”\nOriginal drawing by Léon Bakst, “Nymphe” 7\nNYMPH\nProperty of the Collection of St. Petersburg State Museum of Theater and Music.\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.43.png","80\n81\nLa straordinaria attenzione per il dettaglio ha permesso \ndi rendere al meglio l’espressività dei volti disegnati da Bakst. \nEspressioni estatiche, sognanti, ammaliatrici o maliziose \nrealizzate tramite un sapiente taglio delle tessere e incastri \nmillimetrici. \nOgni pezzo si adatta perfettamente allo spazio che lo ospita, \ncome se semplicemente appartenesse a quell’opera. \nNon c’è però nulla di semplice in quella che è una vera e propria \narte, e richiede anni di studi e perfezionamento per raggiungere \nciò che, oggettivamente, è un’ opera di straordinaria bellezza.\nThe extraordinary attention to detail made it possible to best \nrecreate the expressiveness of the faces drawn by Bakst. \nEcstatic, dreamy, bewitching, or mischievous expressions made \nthrough a skilful cut of the tiles and millimetre-wide joints. \nEach piece fits perfectly into the space that hosts it, as if it simply \nbelonged to that artwork. \nHowever, there is nothing simple in what is a proper art, and \nit requires years of study and practice to achieve what is, \nobjectively, an artwork of extraordinary beauty.\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.44.png","82\n83\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.45.png","84\n85\nPannello Artistico SICIS su disegno originale di Léon Bakst, “Nymphe” misura 180x225cm.\nSICIS artistic panel based on original drawing by Léon Bakst, “Nymphe” size 180x225cm.\nDisegno per il costume di una ninfa creato da Léon Bakst per “Narcisse” \n(1911). La scelta dei verdi sfavillanti e dei dettagli floreali rappresenta alla \nperfezione la freschezza e la dinamicità di uno spirito della natura.\nDrawing for the costume of a nymph created by Léon Bakst for Narcisse \n(1911). The choice of sparkling greens and floral details perfectly represents the \nfreshness and dynamism of a spirit of nature.\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.46.png","86\n87\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.47.png","88\n89\nBAKST\nLÉON\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.48.png","90\n91\nCONCLUSIONS\nThe particular production of mosaic in Murano enamel, following the ancient \ntechnique conceived centuries ago by the greatest glass masters of the venetian \nisland, is the reason why great contemporary artists of international fame, art \ngalleries, and museums from all over the world, have chosen the SICIS mosaic \nas a contemporary means of expression to give new life to artworks of the past \nor create new ones.\nThe raw material combines with the mastery with which the skilled SICIS \nmosaic artists are able to unify traditional mosaic techniques with innovative \ntechniques specifically designed project by project. The skill in the use of colour, \nlike the skilful brushstrokes of a master creator of art. Last but not least, \nthe patience, precision, and dedication with which, tile by tile, they give shape \nto these masterpieces.\nFor the mosaic interpretation of the seven artworks by Léon Bakst, the initial \nintent was to reproduce the drawings on a larger scale, so that they could \narrive at a format that would make the idea of the movement of those sinuous \nbodies even more vivid, making people relive the splendour and magnificence \nof the enchanting clothes that rustled to the hypnotic rhythm of the music.\nThe final result exceeds all expectations. Intense and multifaceted portraits, \ndetails so accurate that you want to touch them to verify first-hand their \ncraftsmanship. These panels are a homage that SICIS wanted to pay once again \nto the world of art and to those who love it.\nCONCLUSIONI\nLa particolare produzione di mosaico in Smalto di Murano, seguendo \nl’antica tecnica ideata secoli fa dai più grandi maestri vetrai dell’isola \nveneziana, è il motivo per cui grandi artisti contemporanei di fama \ninternazionale, gallerie d’Arte e Musei da ogni parte del mondo, \nhanno scelto il mosaico SICIS come mezzo espressivo contemporaneo \nper donare nuova vita a opere del passato o crearne di nuove.\nAlla materia prima si unisce la maestria con cui gli abili Maestri \nmosaicisti SICIS, riescono a padroneggiare la tecnica musiva tradizionale \ncombinandola a tecniche innovative studiate appositamente progetto per \nprogetto. L’abilità nell’uso del colore, come le pennellate sapienti di un \nmaestro creatore d’arte. Non ultima la pazienza, la precisione e la dedizione \ncon cui, tessera dopo tessera, riescono a dare forma a questi capolavori.\nPer la trasposizione in mosaico delle sette opere di Léon Bakst, l’intento \niniziale è stato quello di riprodurre i disegni in una scala maggiore, così \nche potessero arrivare ad un formato che rendesse ancora più vivida l’idea \ndel movimento di quei corpi sinuosi, facendo rivivere allo stesso tempo lo \nsplendore e la magnificenza degli abiti che frusciavano ammalianti al ritmo \nincalzante della musica.\nIl risultato finale va oltre ogni aspettativa. Ritratti intensi e ricchi di \nsfaccettature, dettagli talmente accurati che fanno venire il desiderio di \ntoccarli per verificare con mano la loro fattura. \nQuesti pannelli rappresentano un omaggio che SICIS ha voluto fare ancora \nuna volta al mondo dell’arte e a coloro che la amano, come lei.\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002F3e\u002F4381f545b59ad232f6aba20e20c776-29179c05ab.49.png","AVVISO LEGALE\nRicevendo il presente catalogo SICIS, prendi atto ed accetti i seguenti \ntermini e condizioni:\nIl presente catalogo è e rimane di proprietà di SICIS S.r.l. (“SICIS”). \nSICIS si riserva il diritto, in qualsiasi momento, di richiederne la \nrestituzione.  \nIl catalogo è fornito a TITOLO GRATUITO e NON ne è AUTORIZZATA \nLA RIVENDITA. Se hai dovuto pagare per questo catalogo, ti preghiamo di \nsegnalarcelo scrivendoci all’indirizzo riportato di seguito.\nLe leggi in materia di diritto d’autore (Copyright) proteggono il contenuto \ndel presente catalogo, inclusi, senza alcuna limitazione, le fotografie, \nimmagini, testi, layout ed i disegni in esso contenuti. La riproduzione \no la copia di qualsiasi parte del presente catalogo, inclusi, senza alcuna \nlimitazione, le fotografie, immagini, testi, layout ed i disegni in esso \ncontenuti, È VIETATA, e SICIS si riserva il diritto di intraprendere azione \nlegale nei confronti di chiunque (incluso te) violi il presente divieto. L’aver \nricevuto una copia del presente catalogo, non dà diritto in alcun modo ad \nalcuna licenza da parte di SICIS, né implicita né tantomeno espressa, di \nriprodurre o copiare, in qualsiasi modo o forma, alcuna parte di esso.\nIl marchio SICIS® è un marchio registrato e di proprietà della SICIS S.r.l., ed \nè protetto dalle leggi nazionali ed internazionali in materia.\nSICIS espressamente si riserva tutti i diritti e rimedi.\nLEGAL NOTICE\nBy retaining this SICIS catalogue, you acknowledge and agree to the following:\nThis catalogue is and remains the property of SICIS S.r.l. (“SICIS”).  \nSICIS reserves the right, at any time, to request the return of this catalogue.  \nThe catalogue is provided to you FREE OF CHARGE and is NOT FOR \nRESALE. If you paid for this catalogue, please write to SICIS at the address \nprovided below.\nCopyright laws protect the content of this catalogue, including, without \nlimitation, the photographs, images, text, layout and designs contained therein.\nThe reproduction or copying of any part of this catalogue, including, without \nlimitation, the photographs, images, text, layout and designs contained therein, \nIS PROHIBITED, and legal action may be commenced against anyone, \nincluding, but not limited to, yourself, who violates this prohibition.\nBy giving you a copy of this catalogue, SICIS is not thereby giving you any \nlicense, either implied or express, to reproduce or copy it or any parts of it, in \nany way.\nThe trademark SICIS® is a registered trademark and the property of SICIS \nS.r.l., and is protected under domestic and international laws. \nSICIS reserves all its rights and remedies.\ninfo@SICIS.com\nSICIS · Sede Legale · Via Borgonuovo, 29 · 20121 Milano (Italy)\nSICIS s.r.l. Ravenna (Italy) · September 2022\n© 2022 SICIS S.r.l.\nSICIS® is trademark of SICIS S.r.l.\nwww.SICISvetrite.com ∙ www.SICIS.com\nSICIS ITALY\nShowroom Milano 20121 · Via Fatebenefratelli, 8\nPh. +39 02 87 60 99 · Fax +39 02 72 09 68 53\nShowroom & Factory Ravenna (Italy) 48123 · Via Canala, 85\nPh. +39 0544 469 711 · Fax +39 0544 46 98 11\n \nSICIS FRANCE\nShowroom Paris 75008 · 41, Rue François 1er\nPh. +33 (0)1 4952 8989 · Fax +33 (0)1 4952 8990\n \nSICIS SPAIN\nShowroom Madrid 28006 · 33, calle Josè Ortega y Gasset\nPh. +34 91066252\nSICIS UNITED KINGDOM\nShowroom & Offices London 15A Dover St, Mayfair, W1S 4LR\nPh. +44 207 491 9849 \nSICIS NORTH AMERICA\nCorporate Headquarters New York \n150 Bruckner Blvd Bronx NY 10454\nPh. +1 212 965 4100 · Fax +1 646 390 4587\n \nSICIS H.K. 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