  Markov-AV-Vestnik-2020-1.pdf |
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- El Greco in Russian poetry
- Markov V.A. El Greco in Russian poetry. Vestnik of Kostroma State University, 2020, vol. 26, № 1, pp. 93–101 (In Russ.). DOI 10.34216/1998-0817-2020-26-1-93-101
- DOI: 10.34216/1998-0817-2020-26-1-93-101
- УДК: 75.03:821.161.1.09
- Publish date: 2020-09-15
- Annotation: The name El Greco (Doménikos Theotokópoulos) is rarely found in Russian poetry, although French romanticism included him in the canon of world classics. This article assumes that El Greco’s reception in Russian poetry is due not so much to the influence of French romanticism or Spanish surrealism as to the stylistic features of the artist himself, who inherited Cretan icon painting, while in his mature period he followed the Renaissance principles of life-like and rivalry. As a result, El Greco is perceived in Russian culture as a classic imitating nature, and stylistic features are then interpreted as existentially significant rather than a strange and bizarre artist. El Greco is then compared with the characters of his paintings, such as the apostles and evangelists, and is considered to be an artist, communicating something existentially significant about fate. His landscape style was then interpreted as the transformation of artistic conventions into ontologically significant constructions. A close reading of poetic texts dedicated to El Greco (Konstantin Balmont, Anna Akhmatova, Yevgeny Yevtushenko, Viktor Krivulin, Bella Akhmadulina, Svetlana Kekova), and taking into account the theoretical statements about El Greco (Alexandre Benois, Dmitry Likhachov) allows us to show that El Greco was not perceived within the framework of expressionism or surrealism, but in the key of icon-painting ontologism. The techniques of El Greco were then understood in Russian poetry as plot-significant: chiaroscuro and colour turned out to be symbols of life's upheavals, and the mission of the apostle and Orpheus was then identified as a model for a poetic attitude to everyday life.
- Keywords: El Greco (Doménikos Theotokópoulos), pictorial technique, ekphrasis, lyric poetry, complex ekphrasis, Spanish painting, lyrical plot, mannerism, technique (device)
- Literature list: Benois A.N. Istoriia zhivopisi vsekh vremen i narodov [The history of painting of all time.]. SPb.: Shipovnik Publ., 1912. Vol. 2. Bychkov V.V. Metafizicheskii smysl iskusstva El' Greko [The metaphysical meaning of El Greco art]. Vestnik slavianskikh kul'tur [Bulletin of Slavic cultures], 2014, № 2 (32), pp. 158–170. Zaitsev V.A. O khudozhestvenno-stilevykh techeniiakh v russkoi poezii XXI veka [On the style of art in Russian poetry of the XXI century]. Vestnik Moskovskogo universiteta. Ser. 9. Filologiia [Bulletin of Moscow University. Ser. 9. Philology], 2009, № 4, pp. 16–38. Kagane L.L. Avtoportret El' Greko v kartine «Apostoly Petr i Pavel» iz Gosudarstvennogo Ermitazha [Self-portrait of El Greco in the painting “The Apostles Peter and Paul” from the State Hermitage Museum]. Pamiatniki kul'tury. Novye otkrytiia. Ezhegodnik [Monuments of culture. New Discoveries: Yearbook], 1975, pp. 370–383. Likhachev D.S. Zametki ob istokakh iskusstva [Notes on the origins of art] Kontekst – 1985: Literaturno-teoreticheskie issledovaniia [Context – 1985: Literary and Theoretical Studies]. Moscow, Nauka Publ., 1986, pp. 15–20. Mnikh L. Simvolicheskie prostranstva ekfrasisa v poezii Belly Akhmadulinoi [Symbolic spaces of ecfrasis in the poetry of Bella Akhmadulina]. Teoriia i istoriia ekfrasisa: itogi i perspektivy izucheniia [Theory and history of ecfrasis: results and prospects of study], Sedl'tse, 2018, pp. 663–673. Markov A.V. Izobrazimoe v snovidenii. Preprint (Russkaia antropologicheskaia shkola RGGU) [Pictured in a dream]. URL: http://kogni.narod.ru/markov1.htm (20.12.2019). Rubinchik O. Ob ispanskoi sostavliaiushchei v «Poeme bez geroia» [About the Spanish component in “A Poem Without a Hero”]. Anna Akhmatova: epokha, sud'ba, tvorchestvo: Krymskii Akhmatovskii nauchnyi sbornik [Anna Akhmatova: era, destiny, creativity: Crimean Akhmatovsky scientific collection], Simferopol', 2006, vol. 4, pp. 56–85. Fuko M. Slova i veshchi: arkheologiia gumanitarnykh nauk: per. s fr. [Words and things: archeology of the humanities]. Moscow, Progress Publ., 1977, 487 p. Khairulin T.P. Literaturno-kriticheskie strategii V. Krivulina v 1970–1980-kh g [Literary and critical strategies of V. Krivulin in the 1970–1980s.]. SPb., 201, 73 p. Shalud'ko I.A. Virtuoznym perom o legchaishei kisti: ob epitafii El' Greko, sochinennoi Gongoroi [A virtuoso pen about the lightest brush: about the epitaph of El Greco composed by Gongora]. Novoe iskusstvoznanie [New Art Studies], 2018, № 1, pp. 56–58. Shurupova O.S. K voprosu o sverhtekste [To the question of supertext]. Filologicheskie nauki. Voprosy teorii i praktiki [Philological Sciences. Questions of theory and practice], 2012, № 7, part 1, pp. 225–227.