Juliet BellowChercheuse invitée du 6 juin au 5 juillet 2022

Juliet Bellow is Associate Professor of Art History at American University. Her book Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde was published by Ashgate Press in 2013, and she served as a Consulting Scholar for the 2013 exhibition “Diaghilev and the Ballets Russes, 1909-1929: When Art Danced With Music.” Her other publications include articles in Art Bulletin, Art Journal, American Art, and Modernism/modernity; chapters in edited volumes including The Cambridge Companion to Ballet, The Modernist World, and Foreign Artists and Communities in Modern Paris, 1870-1914,and contributions to exhibition catalogues on Sonia Delaunay (Tate Modern/Musée d’Art Moderne de la Ville de Paris), Merce Cunningham (Walker Art Center), Henri Matisse (Musée d’Orsay/Philadelphia Museum of Art) and Auguste Rodin (Courtauld Institute of Art/Musée Rodin, Paris).

Selected publications: 

“Drawing a Line with the Body,” in Anne Leonard, ed., Arabesque without End: (London and New York: Routledge, 2021): 173-202.

 Co-author with S. Elise Archias, Introduction to Special Issue, “Dance and Abstraction,” /ARTS/, November 2020: https://www.mdpi.com/2076-0752/9/4/120

 “Hand Dance: Auguste Rodin’s Drawings of the Cambodian Royal Ballet,” Art Bulletin 101, no. 3 (September 2019): 37-65.

 “Au-delà du mouvement: Auguste Rodin et les danseurs de son temps,” in Rodin et la danse (Paris: Musée Rodin, 2018).

 “A May-December Romance? Time and Collaboration in The Seasons,” in Fionn Meade and Joan Rothfuss, eds., Merce Cunningham: Common Time (Minneapolis: Walker Art Center, 2017): 49-58.

 Co-author with Nell Andrew, “Inventing Abstraction?” The Modernist World (London: Routledge, 2015): 329-338.

 “Instant et séquence: le paradoxe du simultanisme de Sonia Delaunay,” in Anne Montfort and Cécile Godefroy, eds., Sonia Delaunay (Paris: Réunion des Musées Nationaux/London: Tate Publishing, 2014): 98-102.

 Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde (Farnham and Burlington: Ashgate Press, 2013).

 “When Art Danced with Music,” in Jane Pritchard, ed., Diaghilev and the Golden Age of the Ballets Russes: When Art Danced with Music (London: V&A Publications/Washington, DC: National Gallery of Art, 2013): 186-203.

 “Fashioning Cléopâtre: Sonia Delaunay’s New Woman,” Art Journal 68, no. 2 (Spring 2009): 6-25.

 “Reforming Dance: Auguste Rodin’s Nijinsky and Vaslav Nijinsky’s L’Après-Midi d’un Faune,” Cantor Arts Center Journal 3 (2002-03): 172-185.  Special issue, “New Studies on Rodin” 

Project description:

Rodin’s Dancers: Sculpture in the Age of Spectacle

Focusing on Auguste Rodin’s interactions with dancers during his late career (1890-1917), this project connects the histories of sculpture and dance at a pivotal point in their mutual development. The dancers that Rodin admired—including Loïe Fuller, Vaslav Nijinsky, and the Cambodian Royal Ballet troupe—were central to the formation of his modernist sculptural idiom and to the construction of his celebrity persona. But this was not a simple case of one-way influence. These performers actively courted an affiliation with Rodin, marshaling sculpture’s cultural authority to legitimate their dances as “high art.” Bringing together art history and performance studies, this project traces the ways in which dancers and sculptors experimented with one another’s means of expression, sites of display, and techniques of publicity.