Illustration

In November 2021, on the 200th anniversary of the birth of Fyodor Dostoevsky, the Alexander Pushkin Museum in Moscow opened the exhibition “The Meeting that Changed the World”, where the artist Viktor Apukhtin presented his works for the first time - graphic reflections on the problems elucidated in the novel “The Idiot” and their timeless relevance. Viktor Olegovich Apukhtin (b. 1952) is known as a graphic artist: he has illustrated such works as Goethe's “Faust”, “The Divine Comedy” by Dante, “Don Quixote” by Cervantes, the poems of Ali-Shir Nava'i, a collection of Uzbek folklore (Hodja Nasreddin series) and Pushkin’s “Eugene Onegin” (in an edition of the novel in Uzbek). Visiting the exhibition “Letters of Heaven” at the Solzhenitsyn House for the Russian Diaspora in Moscow, Irina Antonova called Apukhtin an upholder of the tradition of advancing book illustration.

“The Brothers Karamazov” as Illustrated by Russian hmigre Artists in the 1920s-1930s

In the late 1910s, certain influential theoreticians insisted that illustrating Dostoevsky’s novels was an undertaking that made no sense and, moreover, was doomed to failure from the start. Indeed, the attempts to visually interpret the writer’s works turned out so inauspicious (with but a handful of exceptions) that they could simply be disregarded. As literary critic Nina Goncharova noted, the illustrators “were scratching the surface without any appreciation of the depth of the material. With his 20th-century consciousness, Dostoevsky was out of step with his generation, so it took some time before ... his revelations were heard and understood.” The first visual interpretations of the great writer’s works that managed to be daring and unconventional but also compelling appeared in the 1920s and early 1930s, when, enriched with avant-garde experimentation, book design was flourishing and discovering new horizons. Unsurprisingly, this complex literary material received special attention from Russian artists living outside Soviet Russia. In the official Soviet culture of that period, Dostoevsky was an objectionable, semi-banned writer; however, among emigre intellectuals, he remained a dominant influence, his personality and writings provoking heated debate and his works seen as a place where one could find answers to vital questions of the times.

The year 2009 marks the 200th anniversary of the birth of the Russian writer Nestor Vasilievich Kukolnik. Eclipsed by the great Gogol’s anniversary, Kukolnik’s will most likely go unnoticed. The writer once seriously viewed as Pushkin’s literary rival is forgotten today - as undeservedly as he was once extravagantly extolled. Nestor Kukolnik, who was not only Gogol’s contemporary but also his classmate at the Nezhinsky school, today is probably remembered only as a friend of Karl Briullov and Mikhail Glinka. We owe to this friendship above all two masterpieces of Russian art: Karl Briullov made a superb portrait of Kukolnik, while the composer Glinka composed a series of romances to his poems “A Farewell to St. Petersburg”.

InArtis Gallery presented a show of 34 engravings created by the famous British Pre-Raphaelite artists Edward Burne-Jones and William Morris from October 14 through December 14 2010 in the Old English Courtyard in Moscow. The exhibition was noteworthy not only because it showcased a school rarely seen in Moscow - in Russia exhibitions of the Pre-Raphaelites’ artwork are rare - but also because viewers had the chance to see a collection of engravings that for a long time were believed to have been lost forever.

The exhibition “Alexander Pushkin and Spain” has been timed to mark the Year of Russian Language and Literature in Spain and the Year of Spanish Language and Literature in Russia, held in the two countries in 2015-2016. Divided into two major sections, it explores respectively the plots and images in Pushkin’s art inspired by Spain, and the periods, and accompanying attitudes, in which Pushkin’s creative works were received by Spanish readers.