Editing Igor Stravinsky (section)

== Artistic influences ==
Stravinsky worked with some of the most famous artists of his time, many of whom he met after achieving international success with ''The Firebird''.{{sfn|White|1979|p=35}}{{Sfn|Walsh|2003|p=10}} Diaghilev was one of the composer's most prominent artistic influences, having introduced him to composing for the stage and bringing him international fame with his first three ballets.{{Sfn|White|1979|pp=560, 561}} Through the Ballets Russes and Diaghilev, Stravinsky worked with figures like [[Vaslav Nijinsky]], [[Léonide Massine]],{{Sfn|Walsh|2003|p=10}} [[Alexandre Benois]],{{Sfn|Walsh|2003|p=10}} [[Michel Fokine]], and [[Léon Bakst]].{{Sfn|White|1979|p=32}}

[[File:Igor_Stravinsky_as_drawn_by_Pablo_Picasso_31_Dec_1920_-_Gallica.jpg|alt=Pencil drawing of Stravinsky sitting sideways, arms crossed|thumb|left|upright|Stravinsky as drawn by [[Pablo Picasso]] in 1920]]
The composer's interest in art propelled him to develop a strong relationship with Picasso, whom he met in 1917.{{sfn|Nandlal|2017|pp=81–82}} In the years following, the two engaged in an artistic dialogue in which they exchanged small-scale works of art to each other as a sign of intimacy, which included the famous portrait of Stravinsky by Picasso,{{sfn|Stravinsky|Craft|1959|p=117}} and a short sketch of clarinet music by Stravinsky.{{sfn|Nandlal|2017|p=84}} This exchange was essential to establish how the artists would approach their collaborative space in ''Ragtime'' and ''Pulcinella''.{{sfn|Nandlal|2017|p=81}}{{sfn|Stravinsky|Craft|1959|pp=116–117}}

Stravinsky displayed a taste in literature that was wide and reflected his constant desire for new discoveries.{{Sfn|Predota|2021b}} The texts and literary sources for his work began with interest in [[Folklore|Russian folklore]].{{sfn|White|Noble|1980|p=248}}{{sfn|Taruskin|1980|p=501}} After moving to Switzerland in 1914, Stravinsky began gathering folk stories from numerous collections, which were later used in works like ''{{Lang|fr|Les noces}}'', ''Renard'', ''{{Lang|fr|[[Pribaoutki]]}}'', and various songs.{{sfn|White|1979|p=51}} Many of Stravinsky's works, including ''The Firebird'', ''Renard'', and ''{{Lang|fr|L'Histoire du soldat}}'' were inspired by [[Alexander Afanasyev]]'s famous collection ''Russian Folk Tales''.{{sfn|White|1979|p=240}}{{Sfn|Taruskin|1996|pp=558–559}}{{Sfn|Zak|1985|p=103}} Collections of folk music influenced Stravinsky's music; numerous melodies from ''The Rite of Spring'' were found in an anthology of Lithuanian folk songs.{{sfn|Taruskin|1980|p=502}}

An interest in the [[Roman Rite|Latin liturgy]] began shortly after Stravinsky rejoined the church in 1926, beginning with the composition of his first religious work in 1926 ''{{Lang|la|Pater Noster}}'', written in [[Old Church Slavonic]].{{sfn|White|1979|pp=89, 90}}{{Sfn|Steinberg|2005|p=270}} He later used three [[psalms]] from the [[Latin Vulgate]] in his ''Symphony of Psalms'' for orchestra and mixed choir.{{Sfn|White|1979|pp=359, 360}}{{Sfn|Steinberg|2005|p=268}} Many works in the composer's neoclassical and serial periods used (or were based on) liturgical texts.{{Sfn|Steinberg|2005|p=270}}{{sfn|Zinar|1978|p=177}}

Stravinsky worked with many authors throughout his career. He first worked with the Swiss novelist [[Charles Ferdinand Ramuz|Charles F. Ramuz]] on ''{{Lang|fr|L'Histoire du soldat}}'' in 1918, with whom he formed the idea and wrote the text.{{sfn|Keller|2011|p=456}} In 1933, [[Ida Rubinstein]] commissioned Stravinsky to set music to a poem by [[André Gide]], later becoming the melodrama ''{{Lang|fr|[[Perséphone (Stravinsky)|Perséphone]]}}''.{{Sfn|White|1979|p=375}} The Stravinsky-Gide collaboration was apparently tense: Gide disliked how the music did not follow the [[Prosody (music)|prosody]] of his poem and did not attend rehearsals, and Stravinsky ignored many of Gide's ideas.{{sfn|Boucourechliev|1987|pp=191–192}} Gide later left the project and did not attend the premiere run.{{Sfn|White|1979|pp=376–377}} The story of ''The Rake's Progress'' was first conceived by Stravinsky and [[W. H. Auden]], the latter of whom wrote the libretto with [[Chester Kallman]].{{Sfn|White|1979|pp=451–452}}{{Sfn|Stravinsky|Craft|1960|p=146}} Stravinsky befriended many other authors as well, including [[T. S. Eliot]],{{Sfn|Predota|2021b}} Aldous Huxley, Christopher Isherwood, and [[Dylan Thomas]],{{sfn|Holland|2001}} the last of whom Stravinsky began working with on an opera in 1953 but stopped due to Thomas's death.{{sfn|White|1979|p=477}}