Amidst recent debate over whether the “blockbuster” art show is dead, alive, dying, waning or mutating, it takes a blockbuster to appreciate the value of a blockbuster. This is especially so in Australia, whose several fine museums all started collecting way too late to acumulate many of the great masters. As Edmund Capon said in a recent interview, the quirky array of names along the sandstone frieze of the Art Gallery of New South Wales — Raphael, Michael Angelo (sic), Bellini, Titian — are aspirational, a list of all the artists whose works “we don’t have.” He didn’t add that we never will have them, but there is a poignance to that list of names in bronze, a reminder of one “tyranny of distance” which was untraversable at the time of the gallery’s construction and remains so. Whether or not one of Australia’s mining billionaires ever finds the taste and generosity to buy one of our public galleries some minor Titian, Capon, retiring after thirty very successful years as director of the Gallery, can now justifiably brag that he leaves it “full of Picassos.”
In the decade after the second world war, Paris and London, in addition to the big national companies, supported a myriad of small and prolific ballet companies. One of these was Boris Kochno's Ballets des Champs-Elysées. Kochno had been Serge Diaghelev's secretary in the Ballets Russes days, so in a way it was he who inherited the Ballets Russes tradition in Europe while Colonel de Basil and Serge Denham's two respective Ballets Russes spin-offs were still touring the US and Australia. Kochno, as artistic director, founded the company with writer Jean Cocteau, and dancer and choreographer Roland Petit, who had trained in the Paris Opera Ballet School and danced in the corps de ballet until the Liberation. In 1948 Petit started his own small company, the Ballets de Paris, which only lasted a few years, but managed to cause great excitement in Paris and travelled well to London. Indeed, he worked with Margot Fontaine several times. We don't often get to see his ballets nowadays (though there are also a great many other modern ballets from those years, even some of Michel Fokine's, that don't get much air either), but the Paris Opera Ballet is currently showing three of Petit's short pieces, Le Rendez-vous (1945), Le Loup (1953) and Le Jeune Homme et La Mort (1946) which have been in the national company's repertoire since 1992, 1975 and 1990 respectively.