The antique Greek dance, after sculptured and painted figures . Fig. 4Q& Fig. 405. as a leap the postures of the legs which were favored by the early painters. But, the moment the painter ceases to posethe dancer on the ground and makes him dartthrough the air, he stops using the symbol:he has learned to express the movement bymore direct means. Between the two moments of Fig. 404 mustbe interposed the moment of suspension duringwhich the dancer leaps from the right leg tothe left. 301. Fig. 405, in which the raising and low-ering, progressively, of the dancers legs is shown, is a remarkableex
The antique Greek dance, after sculptured and painted figures . Fig. 4Q& Fig. 405. as a leap the postures of the legs which were favored by the early painters. But, the moment the painter ceases to posethe dancer on the ground and makes him dartthrough the air, he stops using the symbol:he has learned to express the movement bymore direct means. Between the two moments of Fig. 404 mustbe interposed the moment of suspension duringwhich the dancer leaps from the right leg tothe left. 301. Fig. 405, in which the raising and low-ering, progressively, of the dancers legs is shown, is a remarkableexample of a complete analytic series (291). The knee of the sup-porting leg is bent and it is evident that thedancer is leaping from the left leg to the right:he lifts the upper left leg as well as the upperright leg. He executes, in place, a series ofleaps from one leg to the other, the hip-actionbeing exaggerated. Fig. 406 is one of the best types of the liftedhip. 302. While lifting the hip as high as he can,the joyful dancer in Fig. 407, a dancer of Ko
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
