Institute of Philology of the Siberian Branch of Russian Academy of Sciences
ISSN 2307–1753 [16+]
Founder — Institute of Philology, SB RAS
Critique and Semiotics
Digital network scientific journal
for specialists in philology and semiotics
DOI: 10.25205/2307-1737
Roskomnadzor certificate number Эл № ФС 77-84784 
Kritika i Semiotika (Critique and Semiotics)
По-русски
Archive
Submission requirements
Process for Submission and Publication
Editor′s office
Editorial Board and Editorial Council
Our ethical principles
Search:


Email: silantev@post.nsu.ru

Article

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

Authors: A. V. Podvornaya

Omsk State Pedagogical University

Issue 1, 2018Pages 152-164
UDK: 821.161.1DOI: 10/25205/2307-1737-2018-1-152-164

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

Bibliography:

Annensky I. F. Istoriya antichnoy dramy. Kurs lektsiy [The history of ancient drama. Lecture course]. St. Petersburg, 2003. (In Russ.)

Annensky I. F. Stikhotvoreniya i tragedii [Poems and tragedies]. Leningrad, 1990. (In Russ.)

Annensky I. F. Knigi otrazhenii [Books reflections]. Leningrad, 1979. (In Russ.)

Annensky I. F. Pis'ma [Letters]. In 2 vols. St. Petersburg, 2009, vol. 2: 1906–1909. (In Russ.)

Annensky I. F. Ucheno-komitetskiye retsenzii [Scientific and committee reviews]. Ivanovo, 2000, issue 2: 1901–1903. (In Russ.)

Bulgakov F. I. Sto shedevrov iskusstva [One hundred masterpieces of art]. St. Petersburg, 1903. (In Russ.)

Vyazova E. Gipnoz anglomanii. Angliya i «angliyskoye» v russkoy kul'ture rubezha XIX–XX veka [Hypnosis of Anglomania. England and «English» in the Russian culture of the turn of the 19th century]. Moscow, 2009. (In Russ.)

Mutter R Istoriya zhivopisi [The history of painting]. In 3 vols. Trans. from German Z. Vengerova. St. Petersburg, 1900, vol. 2. (In Russ.)

Nalagach N. V. Poetika ekfrasisa v stikhotvoreniyakh I. Annenskogo «K portretu...» [The poetics of the ekphrasis in Innokenty Annensky’s poems «To the portrait...»]. Vestnik KGU im. N. A. Nekrasova [Bulletin of Nekrasov KSU], 2016, no. 2. p. 129–133. (In Russ.)

Rubinchyk O. «Serdtse prosit roz pobleklykh...» Rozy u I. Annenskogo [«The heart asks roses faded...» Roses from I. Annensky]. Anna Akhmatova: epokha, sud'ba, tvorchestvo. Krymskiy Akhmatovskiy nauchnyy sbornik [Anna Akhmatova: era, destiny, creativity. Crimean Akhmatovsky scientific collection]. Simferopol, 2010, iss. 8, p. 186–212. (In Russ.)

Russkiye pisateli. 1800–1917. Biograficheskiy slovar' [Russian writers. 1800–1917. Biographical dictionary]. Moscow, 1989, vol. 1. (In Russ.)

Shestakov V. Istoriya angliyskogo iskusstva. Ot srednikh vekov do nashikh dney [History of English art. From the Middle Ages to the present day]. Moscow, 2010. (In Russ.)

Shestimirov A. Alma-Tadema Lourens [Alma-Tadema Lawrence]. Moscow, 2017. (In Russ.)

Ukazatel' angliyskoy khudozhestvennoy vystavki [Index of the English Art Exhibition]. St. Petersburg, 1898. (In Russ.)

Institute of Philology
Nikolaeva st., 8, Novosibirsk, 630090, Russian Federation
+7-383-330-15-18, ifl@philology.nsc.ru
© Institute of Philology