- About Lincoln Kirstein
First issue of Hound & Horn, the quarterly which he founded with Varian Fry, of which he was editor with R.P. Blackmur, Bernard Bandler, A. Hyatt Mayor, Allen Tate, and Yvor Winters, and to which he contributed articles on dance, art, literature, and other subjects until its final issue in 1934. Among other contributors were Ezra Pound, T. S. Eliot, Katherine Anne Porter, James Agee, Michael Gold, Granville Hicks, Glenway Wescott, Harry Crosby, Irving Babbitt, Edmund Wilson, and E.E. Cummings.
With classmates John Walker III and Edward M.M.Warburg founds the Harvard Society for Contemporary Art, a precursor of New York's Museum of Modern Art. Among exhibitions were "School of Paris," "Modern German Presses," "Modern Mexican Art," "American Folk Painting," "International Photography," "The Bauhaus," Ben Shahn, Alexander Calder, Buckminster Fuller, Derain, Matisse, Picasso, and Despiau.
Studies abroad in preparation for his Harvard dissertation on El Greco. Sees first Balanchine ballet, Prodigal Son, at a performance of Diaghilev's Ballets Russes. Is present by chance at Diaghilev's funeral in Venice.
Is graduated from Harvard University.
Meets Walker Evans, Hart Crane,W.H. Auden, Ben Shahn, and others; shares a Hudson River summer house at Snedens Landing with Archibald MacLeish.
Moves to New York City.
Meets Sergei Eisenstein and entertains him in New York.
Publishes first novel, Flesh Is Heir, which includes a description of Balanchine's Prodigal Son and the funeral of Diaghilev.
Writes the catalogue introduction for the Museum of Modern Art exhibition he initiated and supervised, Murals by American Painters and Photographers.
Begins association with Michel Fokine, which leads to the publication of Fokine (1934); meets Romola Nijinsky and begins work which leads to the publication of Nijinsky (1933).
Corresponds with T.E. Lawrence, who becomes the central figure in an unpublished novel.
Lives in Paris and meets Virgil Thomson. Taken to Pavel Tchelitchew's studio by Monroe Wheeler. Through Romola Nijinsky arranges to meet George Balanchine in London; invites Balanchine to come to America to establish a ballet school.
Arrival of George Balanchine in New York; first efforts, with Lincoln Kirstein, Edward M.M. Warburg, and Vladimir Dimitriew, to found a ballet school and company at the Wadsworth Atheneumin Hartford with the assistance of A. Everett Austin, Jr.
The School of American Ballet opens at 637 Madison Avenue, New York City: George Balanchine, Artistic Director and Maître de Ballet; Lincoln Kirstein, Secretary-Treasurer and Director of the Division of Theatrical Sciences.
Demonstration debut of the Producing Company of the School of American Ballet at the Warburg estate,White Plains, New York; premiere of first ballet choreographed by Balanchine in the United States, Serenade, to music of Peter Ilyich Tchaikovsky.
1934 December 6
Premiere of Transcendence, first of a number of ballets with libretti by Lincoln Kirstein, by the Producing Company of the School of American Ballet: Avery Memorial Theater, Hartford, Connecticut.
Publication of Dance: A Short History of Classical Theatrical Dancing, and Low Ceiling, first book of poems.
After obtaining patronage and commissions for Gaston Lachaise, arranges for a Museum of Modern Art retrospective exhibition of the sculptor's work and writes the accompanying catalogue.
First season of the American Ballet Company, founded by George Balanchine and Lincoln Kirstein: Adelphi Theater, New York City.
First American Ballet Company tour.
1935 Fall-Spring 1938
The American Ballet Company provides the ballets for the Metropolitan Opera Association, and performs independently at the Metropolitan Opera House.
Organizes Ballet Caravan, a touring company of dancers from the American Ballet Company, with the intention of building a repertory of American work. First performance: Bennington College, July 17; continuing tours through 1941. Commissions include music by Elliott Carter, Paul Bowles, Robert McBride, Virgil Thomson, Aaron Copland, and Henry Brant; choreographers include Lew Christensen, Erick Hawkins, William Dollar, and Eugene Loring.
Stages the dances for Lawrence Langner's production of Molière's The Would-be Gentleman with Jimmy Savo and RuthWeston at the Country Playhouse, Westport, Connecticut, danced by members of Ballet Caravan.
Appointed head of the Works Projects Administration Federal Dance Theater; through Walker Evans' introduction discusses art programs with Harry L. Hopkins, administrator of the WPA.
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Lincoln in Cambridge, Massachusetts, 1931, by Walker Evans