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No other European émigré artist of the 1930s had as great an effect on American culture and bequeathed as rich a legacy to it as George Balanchine. When he arrived in New York in October 1933, architecture was flourishing in the United States, conservatories and fine arts academies existed, and painters, poets, sculptors, and composers somehow survived. But in this country, classical ballet, that international transplant, indigenous nowhere, was not for certainty considered an art at all, much less a respectable one.
Review, 4170 words
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