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Nijinsky portrayed Daphnis, a mythic shepherd from Longus’ pastoral tale, in a ballet that emphasized fluid movement and ethereal grace. Montenegro’s print isolates the dancer’s face and neck—distinctive features—while stylizing the body to suggest idealized antiquity. The choice to emphasize elegance over realism reflects the ballet’s poetic aims, not documentary accuracy.

Montenegro employed ink printing with hand-applied gold highlights to elevate the image beyond mere illustration. The composition elongates Nijinsky’s silhouette, contrasting his stocky frame with a slender, almost architectural form. The minimal palette and refined lines align with Art Nouveau sensibilities, prioritizing line and symbolic form over naturalism.

The print originated from a series of ten drawings sold to Cyril Beaumont, a noted dance historian, under the condition of limited publication. It later appeared as Plate 7 in a small portfolio. The Victoria and Albert Museum holds examples of these prints, preserving their connection to early 20th-century ballet documentation and collector culture.

Fokine’s Daphnis and Chloe, set to music by Ravel and designed by Bakst, premiered in June 1912 with only two performances due to scheduling and production delays. Despite its brief run, the role inspired numerous illustrations, reflecting Nijinsky’s cultural resonance. The ballet had been delayed for years, its sets and costumes previously repurposed for Narcisse.

Montenegro’s print endures as a visual record of Nijinsky’s artistry, though stylized. Its existence alongside other illustrations underscores how the dancer’s presence transcended his limited stage appearances. The work remains a key artifact in the study of early modern ballet imagery and the intersection of fine art with performing arts documentation.