A. V. Chayanov’story “The extraordinary, but true adventures of the count Feodor Buturlin…” and illustrations by A. I. Kravshenko

Ganna Savorovska

Abstract


The aim of this work – based on the study of romantic novels A. V. Chayanov and illustrations to it, made A. I. Kravchenko, identify factors romantic desire for synthesis of different kinds of arts, see how the tools of painting helps to convey the idea of disharmony, discord with the romantic world.

The primary objective for us is to study the relationship of art and illustrations to him early XX century with the traditions of the Romantic period. Connection with the traditions of Romanticism, in the works of Chayanov, manifested at the level on the system of motive, images and issues. Nonrandom selection of Chayanov as Illustrator A. I. Kravchenko, whose best works are illustrations for the works of Pushkin, Hoffmann and Byron. Romantic tone prints Kravchenko. Chayanov drew his musical rhythm, the ability to map the world in its disharmony and mutual penetration of the fantastic and the real elements.

The idea of synthesis of the arts, as an independent, was first comprehended by German romantics. We had to find out for what purpose did Chayanov emphasis on illustrations to his work, drew readers' attention to the synthesis of the arts, beginning with the title of the story, and by what means is updated romantic desire for synthesis of different kinds of arts and at the level of art, and the word level. As a result of the study, we concluded that the link with the traditions of romanticism in the works of A. V. Chayanov was reflected in the world of illustration, A. I. Kravchenko, in order to provide a multilateral aesthetic impact on the reader. For Chayanov, as a man of imagination, the important thing was to rely on the impact on the reader, not only with words, but also the means of representation.

Keywords


intermediality; image; art; romance; context; ideology; tradition; synthesis; A. V. Chayanov

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