Paul Colin not only designed posters for the revolutionary Ballets Russes—he also made significant contributions to the troupe as a theatrical designer. In 1952, he again provided his creative services—this time, for a summer resort ball at the municipal casino, which was surely a festive occasion. Colin's spectacular brevity once more comes to the fore: the vivacity and flare of the evening's festivities are encapsulated in the sole dancer's featureless form; she's exuberantly lost in the purity of uninhibited movement.
P.S.P. Opera
literature: PAI-XCII, 194