Almée in ‘Schéhérazade’ 1910 - 1916

Curator: Here we have Léon Bakst's "Almée in 'Schéhérazade'," a watercolour illustration likely completed between 1910 and 1916. Editor: Oh, what a fever dream of swirling fabric and improbable poses! The way the dancer’s body contorts—it’s almost unsettling, yet somehow graceful. Like a hummingbird trapped in a silk scarf. Curator: The work exemplifies Bakst's interest in Orientalism and Art Nouveau. Consider the chromatic intensity—the dominant pinks, punctuated by the emerald and ruby details, orchestrate a dynamic interplay of line and colour. This calculated chromatic arrangement, of course, aims at expressing something more. Editor: Right. Beyond the balletic costume and exotic setting, there's this underlying sense of confinement, wouldn't you agree? The dancer's expression is hidden. It could be a triumphant performance, or it could be someone's gilded cage. And her skin... almost sickly in contrast with the colours surrounding it. Curator: Indeed. Bakst's utilization of line serves not only to delineate form but also to express emotional states. Note the fluidity of the watercolor medium itself. Editor: It really lends to the dreamlike atmosphere. I can almost hear the discordant music and smell the incense. But do you think he's fetishizing the Orient a bit too much? Curator: Bakst's art invariably reflects an intense artistic interpretation, so we cannot approach it without recognising that cultural projections might have been at play here. However, its enduring appeal hinges, in no small part, on how he synthesizes disparate elements to express the anxieties of his age. Editor: That’s well said. I feel like, as time has passed, my perception has also evolved and changed! I guess this illustration has an inherent timeless quality. Curator: Ultimately, “Almée in ‘Schéhérazade’” remains compelling not just for its stylistic virtuosity but because of the complex, ambiguous feelings it evokes, pushing our emotional and analytical responses in unison.