Article

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

Authors: A. V. Podvornaya

Omsk State Pedagogical University

Abstract: 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.

Keywords: Annensky’s creativity, Alma-Tadema Lawrence, an ancient theme in art, a picturesque allusion, the English-Russian art communications of a silver age

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