The article highlights Anna Pavlova’s photographic legacy as a phenomenon of her visual self-objectifi cation in the artistic world, and in her role as a photo model in particular. It describes her attitude towards the photo sessions, the different groups of her
photographic images in their thematic and formal features, as well as in terms of identifying their artistic merit in the representation of an image of a ballerina. The article provides the names of the photographers and their brief professional résumés.
Keywords: Anna Pavlova, Victor Dandre, dance, representation, photo, photographer,
photo model, composition.
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