Abstract
A print of Botticelli’s painting La Primavera in the dancer Isadora Duncan’s childhood home had a fundamental impact on her development of modern dance. This article explores Duncan’s dance and costume based on La Primavera in conjunction with other neo-Renaissance dancers (Sacharoff and Sachetti) and Aby Warburg’s interest in the Florentine nymph and moving draperies, arguing for the importance of studying the old masters, of looking like a woman, and embracing continued renascences.
Original language | English |
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Journal | 19: Interdisciplinary Studies in the Long Nineteenth Century |
Volume | 34 |
Number of pages | 10 |
DOIs | |
Publication status | Published - 2023 |
Keywords
- Faculty of Humanities
- Isadora Duncan
- Sandro Botticelli
- Florence
- Renaissance reception
- modern dance