“Dance of Colors”

Fundacíon Mapfre | Recoletos

The drawings of Vaslav Nijinsky were first exhibited in 1932, thanks to his wife, née Romola de Pulszky, and while they have regularly aroused the interest of those who remain fascinated by his revolutionary achievements as a dancer and choreographer or simply as an exemplary and tragic figure of modernist culture, they have hardly been seen as significant instances of modernist art. Even as knowledgeable an observer as Marsden Hartley saw them mainly as “psychopathic charts.” Recently, however, with “La danza de los colores: E torno a Nijinsky y la abstracción” (Dance of Colors: Around Nijinsky and Abstraction), curators Hubertus Gaßner and Daniel Koep (respectively director and curator at the Kunsthalle Hamburg, where a different version of the exhibition was first mounted) made a case for Nijinsky as a significant contributor to modernist abstraction, presenting his work in the context

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