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DOI Artikel:Swirida, Inessa: Wersal w kulturze rosyjskiej
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.49351#0384
Inessa Syirida
376
increasing scalę, as much in aristocratic as tsarist
residences, Russian artists and architects did not reach
Versailles until the 1760s, by which time the
principles of Le Nótre were no longer in vogue.
Somewhat earlier, the Russian elite had started to
become familiar with Yersailles. Seiwing as a place
for pleasure and educational purposes, it gradually
took on in their eyes a museum-like spirit. In N.M.
Karamzin’s description (1790), Yersailles was fuli
of ‘delightful, wearying objects of Art’, leaving
visitors with no alternative but to ‘fali silent in awe’.
The Russian interest in Yersailles, being virtually
non-existent after the French Revolution, experienced
a rebirth at the turn of the 19th century as part of an
academic and artistic passion for the 18th century,
which represented a continuation of the retrospective
current in European culture. Under the influence of
this and a second passion, the activity of Alexander
Benois, known as the ‘painter of Yersailles’, grew.
The topos of the garden in art and poetry of the
‘Silver’ century to a large degree took shape precisely
under the influence of Yersailles as perceived through
the prism of the past. The creators of this period
preferred naturę in forms lent to it by art, in which,
as it seemed, it could reveal its perpetual substance.
Yersailles was associated with a clearly defined
repertoire of personages, objects and attributes. With
the help of theatricality, stylisation and pastiche in
paintings and drawings, the intimate garden was
brought back to life - rococo, rather than Baroąue -
whose residential and magnificent splendour had once
bewitched Peter the Great.
The turn of the 19th century proved the last period
in which the topos of Yersailles played any
significantly inspirational role in Russian culture,
being perceived on the borders of reality and myth.
Subsequently, coming to be regarded as a frivolity
and a phenomenon of manners rather than artistry,
this topos hardly expressed itself at all (although for
entirely different reasons) in the poetry and art either
of the avant-garde or of social realism; nor did it leave
any impression on the underground.
Translated by Peter Martyn
376
increasing scalę, as much in aristocratic as tsarist
residences, Russian artists and architects did not reach
Versailles until the 1760s, by which time the
principles of Le Nótre were no longer in vogue.
Somewhat earlier, the Russian elite had started to
become familiar with Yersailles. Seiwing as a place
for pleasure and educational purposes, it gradually
took on in their eyes a museum-like spirit. In N.M.
Karamzin’s description (1790), Yersailles was fuli
of ‘delightful, wearying objects of Art’, leaving
visitors with no alternative but to ‘fali silent in awe’.
The Russian interest in Yersailles, being virtually
non-existent after the French Revolution, experienced
a rebirth at the turn of the 19th century as part of an
academic and artistic passion for the 18th century,
which represented a continuation of the retrospective
current in European culture. Under the influence of
this and a second passion, the activity of Alexander
Benois, known as the ‘painter of Yersailles’, grew.
The topos of the garden in art and poetry of the
‘Silver’ century to a large degree took shape precisely
under the influence of Yersailles as perceived through
the prism of the past. The creators of this period
preferred naturę in forms lent to it by art, in which,
as it seemed, it could reveal its perpetual substance.
Yersailles was associated with a clearly defined
repertoire of personages, objects and attributes. With
the help of theatricality, stylisation and pastiche in
paintings and drawings, the intimate garden was
brought back to life - rococo, rather than Baroąue -
whose residential and magnificent splendour had once
bewitched Peter the Great.
The turn of the 19th century proved the last period
in which the topos of Yersailles played any
significantly inspirational role in Russian culture,
being perceived on the borders of reality and myth.
Subsequently, coming to be regarded as a frivolity
and a phenomenon of manners rather than artistry,
this topos hardly expressed itself at all (although for
entirely different reasons) in the poetry and art either
of the avant-garde or of social realism; nor did it leave
any impression on the underground.
Translated by Peter Martyn