«Roses of Tadema» (Alma-Tadema Lawrence in the Artistic Reception
of I. Annensky)

There is the reconstructed story of I. Annensky’s acquaintance
with the paintings of the widely-popular in those days British artist Alma-
Tadema Lawrence in the context of the English-Russian art ties of the silver
age. The article contains estimates of the artist's works which are authoritative for the Annensky, these estimates were given by the German art critic R. Muther
and the Russian art critic F. I. Bulgakov.
According to R. Muther’s assessment Tadema is significant as an artist who
managed to recreate truthfully and vitally the pictures of the ancient world
through deep penetration into the spirit of the depicted era. However, the artist’s
very picturesque manner is defined by Muter as rigid, engraving and prone to
pedantry. On the contrary, for Bulgakov this feature of the artist rather indicates
his skill and giftedness.
The facts of I. Annensky’s appeal to Alma-Tadema's works are investigated.
Annensky attests Tadema in a review of the F. Bulgakov’s book «Alma Tadema
and his works» as «one of the most interesting artists of the second half of the
19th century», «an excellent connoisseur of the ancient world» and «an amazing
artist of the brush». It is established that in 1906 the artistic world of Alma-
Tadema persistently attracted the attention of the poet as evidenced by his letter
to A. Borodina on June 25, 1906 and the draft version of the poem «Melody for
the harp». The established view about the Alma Tadema’s painting «Roses
Heliogabala» is challenged.
In this picture, the dominant pictorial and decorative motif completely removes
the drama of the depicted moment, which is incompatible with the creative
axiology of Annensky. The painting «Roses, delices de lamour» is indicated
as a possible source where the rose petals are also important pictorial and symbolic
details. The O. Rubinchik’s assumption about the presence in the draft
version of the poem Annensky «Melody for the harp» of the picturesque allusion
to the picture of Tadema «the rose of all roses» is confirmed. What is the
text of the poem is concerned the play of words on the motif of the artist’s canvas
is evident.
It is suggested that the Russian poet’s interest to the work of the British artist
can be explained by a common desire to revive the living spirit of ancient culture
as well as the proximity of views on the nature of art. For Tadema and
Annensky a work of art whether it is a picture or a lyric text awakens the imagination
of the recipient, encourages creation and gives intellectual pleasure.