Capturing Nureyev: James Wyeth Paints the Dancer

by Pamela J. Belanger (Editor)

Painter James Wyeth first met Rudolf Nureyev in New York City in 1974. He was instantly intrigued with the dancer, so much so that Nureyev has continued to inspire him artistically for 24 years. Nureyev was one of the most photographed dancers in history. His image, as it was presented to the public, was very important to him, and he was notorious among photographers for tearing up images of himself that he considered unflattering. Wyeth recognized that the photographs of the dancer only revealed a small portion of Nureyev's complex character. Their growing rapport and friendship enabled Wyeth to capture in the portraits aspects of the dancer not seen through the photographer's lens.

Rarely in art history has a model and artist relationship continued and evolved years after the model's death. Beginning in 1977, Wyeth created over 30 finely rendered, small-scale portraits of Nureyev. These intimate studies primarily focus on the subtleties of Nureyev's expressive face and physical presence. In 1993, following the dancer's death, Wyeth returned to several earlier large scale, three-quarter figure studies and reworked them with an energy and vitality that recalled Nureyev in life. The 2001 portraits show Wyeth's evolution as a painter and also reflect on Nureyev as a performer.

Capturing James Wyeth Paints the Dancer features introductions to Nureyev and his illustrious career written by two noted experts in the dance field. Clive Barnes, former New York Times dance critic and author of the biography entitled Nureyev, gives a brief but poetic overview of the dancer's professional history. Lynn Seymour, one of Nureyev's former partners in London's Royal Ballet writes a personal account of her experiences dancing with Nureyev. Phyllis M. Wyeth, wife of James Wyeth and close friend of the dancer, shares her memories of Nureyev through personal photographs and memoirs. In her essay entitled, "Presenting Visual Cues in Promotional Dance Photography," Barbara Cohen-Stratyner, Curator of Exhibitions at the New York Public Library for the Performing Arts, discusses promotional dance photography, illustrated with images of Nureyev used for promotional purposes. Lauren Raye Smith, Conservator and Assistant Curator at the Farnsworth Art Museum, explores Wyeth's artistic view of Nureyev in her essay entitled, "Nureyev James Wyeth's Portraits." Wyeth's fascination with Nureyev has lead him to create more than 35 portraits of the dancer over a span of 24 years. Wyeth explains, "What's exciting is the continuity. You're getting closer and closer. Doing a series allows me to concentrate on how a subject evolved and how it affects me . . . At times I could work on a painting for the rest of my life."

Genres: Art

80 pages, Hardcover

First published February 1, 2002

Reviews

[Evelyn]

Nureyev was friend and muse to Wyeth and the paintings raise the question of whether it's possible to capture his extraordinary presence. I was in the Brandywine last week where my mother and I encountered the startling painting Nureyev-- purple scarf. What is so startling about the painting is not the purple scarf but the shocking whiteness of Nureyev's face and the date of the work, eight years after his death. I can't find the words for the effect of this painting. There's a ghoulish aspect to his face, but I hesitate to use a word that implies exploitation and that's not what's in play in this portrait. Clearly Wyeth remains obsessed with the dancer beyond his death and the portrait does conjure death. In the book there is an anecdote about how after a performance, Nureyev would often throw on his street clothes , leaving the theatre in full make up. I can only imagine how real-life Nureyev must have startled passers-by with his face glowing white in the darkness, and how this image must have haunted Wyeth beyond Nureyev's untimely death. In addition to the many portraits and studies presented here, there are essays that explore the dancer and this work from many angles. The photo essay by Wyeth's wife Phyllis is particularly disarming. Also raised are questions about the distance between the fleeting art of a performance/performer and any attempt to preserve that experience/presence. I like the studies in particular and feel grateful they are included.

[Christine]

Quite disappointed with this book: a dancer by definition is a character of action. There are VERY few action images painted or drawn of this amazing dancer printed in this book. Most images are of the dancer's face. While that face may be expressive, his being is about the dance. Drawings and paintings are good here, and seem to be well printed. It just seems to me that the collection misses the most important point.