
Photo: © Kettle's Yard
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Stage design for Diaghilev's ballet, Romeo and Juliet, 1925
About the artist
Born 1901 – Died 1930
Christopher ‘Kit’ Wood was born in Knowsley, near Liverpool. Following an injury while playing football, Wood contracted a blood disease and was nursed at home by his mother, who encouraged him to take up watercolour painting. Although he had no formal training, he went to Paris in 1921 with the ambition of becoming ‘the greatest painter that ever lived.’ Soon establishing himself as a prominent and popular figure among the artistic and social circles of the 1920s Parisian avant-garde, he mingled with aristocrats and won the admiration of Pablo Picasso and Jean Cocteau. During these years, he also travelled to Europe and North Africa with José Antonio de Gandarillas, a diplomat at the Chilean embassy in Paris.
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Sergei Diaghilev’s Ballets Russes were a popularly controversial company which revolutionised ballet through the nurturing of young composers and choreographers, classically trained dancers and avant-garde painters as stage and costume designers. Pablo Picasso, Jean Cocteau and Fernand Léger were some of the artists against whose designs Wood hoped to be measured.
Diaghilev invited Wood to submit proposals when he began to plan a production of a ballet with English collaborators for the company’s visit to London in 1925. Wood had been recommended to him by Picasso and Cocteau. The impresario’s suggested theme was not the Shakespearian tale but the rehearsal of a ballet of the play, with music by British composer Constant Lambert. Wood’s designs try to convey the ‘behind the scene’ feel of the staging. Eventually his proposals were rejected in favour of designs by Joan Miró and Max Ernst.
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Stage design for Diaghilev's ballet, Romeo and Juliet, 1925
Stage design for Diaghilev's ballet, Romeo and Juliet
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Stage design for Diaghilev's ballet, Romeo and Juliet (Scene Two), 1925
Stage design for Diaghilev's ballet, Romeo and Juliet (Scene Two)
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