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- <text id=94TT0882>
- <title>
- Jul. 04, 1994: Books:The Dreamy Impresario
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1994
- Jul. 04, 1994 When Violence Hits Home
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- ARTS & MEDIA/BOOKS, Page 74
- The Dreamy Impresario
- </hdr>
- <body>
- <p> Lincoln Kirstein recounts his gilded youth and the path that
- led him to George Balanchine and the New York City Ballet
- </p>
- <p>By Paul Gray
- </p>
- <p> Lincoln Kirstein's career as a cultural impresario began early,
- grounded in two attributes rarely found together in the same
- person: good taste and money. The latter came from his indulgent
- father, a partner in a Boston department store, and it enabled
- Kirstein, during his freshman year at Harvard in 1926, to found
- Hound & Horn, an influential literary quarterly that ran seven
- years, published original work by the likes of T.S. Eliot and
- Ezra Pound and lost approximately $8,000 an issue. Somewhat
- less expensively, Kirstein also began the Harvard Society for
- Contemporary Art, an organization that provided much of the
- impetus for the establishment of the Museum of Modern Art.
- </p>
- <p> Those were heady accomplishments for someone in his early 20s,
- but Kirstein's greatest coup lay a few years ahead, in 1933,
- when he persuaded choreographer George Balanchine to come to
- America. The brilliant Russian emigre and the well-heeled native
- son built up what became the New York City Ballet, in its prime
- the most influential dance company on earth.
- </p>
- <p> It may at first seem peculiar that Kirstein's autobiography,
- Mosaic (Farrar, Straus & Giroux; 270 pages; $25), concludes
- just prior to his successful approach to Balanchine. But he
- has written other books (Portrait of Mr. B, Thirty Years: The
- New York City Ballet) about their long collaboration. This time
- the author, 87, tries to recapture the influences and experiences
- that led him to Balanchine in the first place.
- </p>
- <p> The result is both eccentric and oddly endearing. Kirstein portrays
- himself as a child with "an inborn greed for artificed splendor,"
- mesmerized by patterns and designs. One of the longest episodes
- in the book recounts his intense quest for just the right emblem
- to paint on his canoe paddle at summer camp. Citing an occasion
- when his father gave him a $20 bill, Kirstein remembers "the
- papery cash, its tough fibrous thinness inlaid with bits of
- red and green silk." The dreamy young man did not take much
- interest in academics, but he passed Harvard's entrance exam
- anyway. Once enrolled, he writes, "I felt like a minnow with
- the freedom to swim in whomever's wake I wanted."
- </p>
- <p> Kirstein never lacked for accomplished or famous people in his
- near vicinity; Mosaic records the steady patter of dropping
- names, starting with his father's lawyer (Louis D. Brandeis)
- and running through most of Bloomsbury ("Maynard Keynes guided
- me to a show of Cezanne's water-colors at the Leicester Galleries")
- and a Who's Who of 20th century artists, writers and performers.
- This recitation seems forgivable. Kirstein recognizes that some
- of these big names were "glad enough to suffer rich idiots like
- myself," but he genuinely knew, learned from and helped many
- of the others. His own youthful dreams of being an artist went
- unfulfilled, but he had the sense and the dedication to help
- others--principally Balanchine--work wonders.
- </p>
- </body>
- </article>
- </text>
-
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