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
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.
association with Michel Fokine, which leads to the publication
of Fokine (1934); meets Romola Nijinsky and begins
work which leads to the publication of
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figure in an unpublished novel.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
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.
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
First season of the American Ballet Company, founded by
George Balanchine and Lincoln Kirstein: Adelphi Theater, New
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.
1936 DecemberAppointed head of
the Works Projects Administration Federal Dance Theater;
through Walker Evans' introduction discusses art programs
with Harry L. Hopkins, administrator of the WPA.