1840-49. Spanish dancer

1840-49.
Spanish dancer
Bailarina española

1863. La Castagnetta.

1863
La Castagnetta
The Dancing Girl
Dante Gabriel Rossetti
Oval 40,3 x 37,7

S.XIX. Merkt's Euch,Ihr Mädchen Spanish dancers.

S.XIX.
Merkt's Euch,Ihr Mädchen
Spanish dancers
21 x 16.5 cm

S.XIX. Dancing girl with castanets

s. XIX
Dancing girl with castanets
Anónimo
hermitage

1909. Dancing Girl with Castanets

1909
RENOIR, Pierre-Auguste
Dancing Girl with Castanets
Oil on canvas, 155 x 65 cm
National Gallery, London

En el vibrante universo del Impresionismo tardío, Pierre-Auguste Renoir nos regala una obra maestra que captura la esencia de la danza y la alegría del movimiento: "Bailarina con Castañuelas". Creada en 1909, esta pintura no solo decora las paredes de la National Gallery de Londres, sino que también nos invita a sumergirnos en un torbellino de colores y emociones.

La bailarina, ataviada con un vestido fluido que se funde con el fondo, se convierte en el centro de atención. Su pose dinámica, con una pierna levantada y los brazos extendidos mientras sostiene castañuelas, irradia energía y vitalidad.

1824-28. Phantom Dancing with Castanets

1824-28
Fantasma con castañuelas

Goya y Lucientes, Francisco de

Lápiz sobre papel verjurado

191 x 150 cm

Para saber más: Museo del Prado

1835. The cachucha

1835.
The cachucha
as danced by Celeste
Une valse sentimentale.

1846. Mlle Augusta dancing the Cachucha.

1846.
Mlle Augusta dancing
the Cachucha.

1812. Bacchante Dancing.

1812.
Bacchante Dancing.
Thomas Hope

BIBLIOTECA. 1831 The art of dancing R. Barton

1831 The art of dancing R. Barton

THE ART OF DANCING. Comprising Its THEORY AND PRACTICE, And A HISTORY OF ITS RISE AND PROGRESS,FROM THE EARLIEST TIMES.
Intended As Well For
THE INSTRUCTION OF AMATEURSAs The
USE OF PROFESSIONAL PERSONSBY C. BLASIS,
Principal Dancer At the King's Theatre,
And Composer of Ballets
Translated, Under the Author's Immediate Inspection,
BY R. BARTON. THE SECOND EDITION. LONDON:
PRINTED FOR EDWARD BULL, HOLLES TREET.
1831

The Fandango is danced by two persons, and accompanied by the castanets, an instrument made of walnut wood, or of ebony. The music is in the time of 3/8, and is a rapid movement. The sound of the castanets, and the movements of the feet, arms, and body, keep time to it to the greatest nicety. It is all life and action in the Fandango.

It was formerly danced much more generally by persons of quality, after the regulations enacted for the theatre, which introduced more dignity, more formality, and unaccompanied by the slightest movement that could give offence to modesty, or shock good taste.

The lower orders, amongst whom this dance is in high request, accompany it with attitudes which savour of the vulgarity of the principal performers, and their extravagant movements never slacken, never cease, till they are fairly tired out.

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Italian dancing was universally applauded, and excited the admiration and imitation of foreigners; among whom the Spanish were the first to follow it. They at first partially succeeded; the use of the castagnettes, which they added, produced a pleasing effect; but having in the sequel incorporated with it a multiplicity of leaps, capers, uncouth postures, and, in short, the most graceless and extravagant motions; the art of dancing in Spain became a degradation and a vice, whilst in Italy it preserved a certain dignity and decency.

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Love and pleasure are conspicuous throughout this dance. Each motion, each gesture is made with the most voluptuous gracefulness. Animated by the accompanying mandolines, tambourines and castagnettes, the woman tries, by her rapidity and liveliness, to excite the love of her partner, who, in his turn, endeavours to charm her with his agility, elegance and demonstrations of tenderness. The two dancers unite, separate, return, fly into each other's arms, again bound away, and in their different gestures alternately exhibit love, coquetry and inconstancy.