ITALIAN PAINTING IN THE CREATIVITY OF V. F. ODOEVSKY: THE IMAGE OF MADONNA
DOI: 10.23951/1609-624X-2017-7-134-139
The article examines the issue of Italian painting reception in the creativity of V.F. Odoevsky at the levels of images, motives, allusions. This issue is associated with pictorial art as a challenge for Odoevsky. Italian art in his prose is connected with a creator’s destiny: his …, insanity, unrealized … Art and creativity express chaotic and irrational part of the human nature, forming opposition with philosophy. The image of Italian Madonna is interpreted as an aesthetic and etic ideal of beauty. Odoevsky’s perception in this aspect corresponds with perception of the Lubomudry in general. This idea of perfection reflected in the images of wise and beautiful women playing the role of Muse. In aesthetic conception of Vackenroder the same image creates ties between art and religion. Madonna is identified in short stories “Vicenzio and Cecilia”, “The improvisator”, in stories “Silphide” and “Black glove”. Odoevsky uses ideas of German romanticists and Zhukovsky, but reconsiders them. For example, Cecilia embodies not only beauty, but also spiritual independence. The picture with Madonna in “The improvisator” expresses motive of beauty damaged by analysis and rationality. In the image of Siphide Odoevsky combines features of Venus, the divine of love and beauty painted by Botticelli, and Cristian Madonna. “Black glove” demonstrates absence of Madonna (line of Maria) in modern world. In conclusion, interpretation of Madonna’s image is included in Italian text system of the Lubomudry. However, Odoevsky adds to this text individual features typical of his philosophical prose.
Keywords: the Lubomudry, Russian romanticism, Italian text, the image of Madonna
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Issue: 7, 2017
Series of issue: Issue 7
Rubric: PROBLEMS AND POETICS OF THE RUSSIAN LITERATURE OF XIX-XX CENTURIES
Pages: 134 — 139
Downloads: 905