The University of Texas at Austin has appointed head librarian of the Folger Shakespeare Library Stephen Enniss as the new director of the Ransom Center.
Enniss will take over the duties of current Director Thomas F. Staley, who will retire August 31. Staley, who has been responsible for scores of notable acquisitions and the Center’s enormous growth during his 25-year tenure, had announced plans to retire in 2011, but later agreed to postpone his retirement date. Staley, who is also the Harry Huntt Ransom Chair in Liberal Arts, will remain on faculty and plans to teach in the College of Liberal Arts. Enniss will start at the Ransom Center on August 1.
Enniss will be the seventh director in the Ransom Center’s 56-year history.
It is 1913 at the Théâtre des Champs-Élysées, and the audience is screaming, cat-calling, and fist-fighting. It’s the most famous riot in classical music history at the premiere of the ballet The Rite of Spring, composed by Igor Stravinsky, choreographed by Vaslav Nijinsky, and premiered by the Ballets Russes.
Accustomed to more “palatable” ballets such as Swan Lake, the audience at the premiere of The Rite of Spring was shocked by the dissonant and jarring music, the violent and unnatural choreography, and the depiction of a Russian pagan tribe celebrating the arrival of spring by choosing a sacrificial virgin to dance herself to death. Upon hearing the opening bassoon solo played in an unrecognizably high register, French Romantic composer Camille Saint-Saens is said to have fumed: “if that is a bassoon then I am a baboon!” He then stormed out of the theater.
The Ransom Center holds one of the costumes that no doubt helped to spark the legendary riot. The costumes were designed by archeologist and painter Nicholas Roerich.
The University of Texas Symphony Orchestra joins the world famous Joffrey Ballet for a performance of The Rite of Spring tomorrow and Wednesday, March 6, to celebrate the centennial of the work’s world premiere in Paris in 1913. The Joffrey Ballet’s Rite of Spring explores Stravinsky’s revolutionary score and Nijinsky’s radical choreography with a reconstruction of the 1913 production with original costumes, choreography, and design.
This blog text was adapted from an earlier version of this post from 2009.
The Ransom Center recently launched an online database for its Kraus map collection. The 36-map collection, acquired in 1969 by Harry Ransom from the New York antiquarian dealer Hans P. Kraus, features a wide range of individual maps of Europe and America, atlases, a rare set of large terrestrial and celestial globes (ca. 1688) produced by the Italian master Vincenzo Coronelli, and a group of manuscript letters by Abraham Ortelius.
“Visitors can see the remarkable foundations of modern cartography in this digital collection,” said Richard Oram, the Ransom Center’s Associate Director and Hobby Foundation Librarian. “From a medieval map that shows the world divided into three parts split by the Mediterranean Sea to an early portolan chart of the coast of Africa and a rare 1541 Mercator globe, it’s all accessible to anyone with an Internet connection.”
Because of size and conservation considerations—some maps are as large as six by nine feet—some of these maps have been seen by only a handful of visitors. This digital collection makes it possible for a broader public to examine the collection via the Ransom Center’s website. The maps are all zoom-able, and users can view detailed close-ups of images.
The Gernsheim Collection, co-published by the Harry Ransom Center and the University of Texas Press, has been awarded an Alfred H. Barr Jr. Award, which honors a distinguished catalog in the history of art published during the past year.
The Gernsheim collection is one of the most important collections of photography in the world. Amassed by the renowned husband-and-wife team of Helmut and Alison Gernsheim between 1945 and 1963, it contains an unparalleled range of images, beginning with the world’s earliest-known photograph from nature, made by Joseph Nicéphore Niépce in 1826.
The book includes more than 125 full-page plates from the collection accompanied by extensive annotations in which Flukinger describes each image’s place in the evolution of photography and within the collection.