Book contents
- Frontmatter
- Contents
- Preface
- Acknowledgements
- Note on the text and list of abbreviations
- Prologue: decadence or rebirth? The European fin de siècle and the Russian precursors
- Part 1 The art of the cell
- Part 2 Collective creation
- Part 3 Gleams of paradise
- Part 4 A glittering hell
- Part 5 Our home from the beginning
- 11 ‘From the real to the more real’. Blok's ‘Russia and the Intelligentsia’. Ivanov's ‘A realibus ad realiora’. Bely's and Remizov's prose. (1907–10)
- 12 Russian Symbolism and Russian literature. Apollon and Annensky's summing-up. ‘The crisis of Symbolism’. Disintegration and reconciliation. (1909–10)
- Epilogue
- Chronology
- Notes
- Bibliography
- Index
12 - Russian Symbolism and Russian literature. Apollon and Annensky's summing-up. ‘The crisis of Symbolism’. Disintegration and reconciliation. (1909–10)
Published online by Cambridge University Press: 08 January 2010
- Frontmatter
- Contents
- Preface
- Acknowledgements
- Note on the text and list of abbreviations
- Prologue: decadence or rebirth? The European fin de siècle and the Russian precursors
- Part 1 The art of the cell
- Part 2 Collective creation
- Part 3 Gleams of paradise
- Part 4 A glittering hell
- Part 5 Our home from the beginning
- 11 ‘From the real to the more real’. Blok's ‘Russia and the Intelligentsia’. Ivanov's ‘A realibus ad realiora’. Bely's and Remizov's prose. (1907–10)
- 12 Russian Symbolism and Russian literature. Apollon and Annensky's summing-up. ‘The crisis of Symbolism’. Disintegration and reconciliation. (1909–10)
- Epilogue
- Chronology
- Notes
- Bibliography
- Index
Summary
… мы упраздняем себя как школу. Упраздняем не потому, чтобыот чего-либо отрекались и думали ступить на иной путь: напротив, мы остаемся вполне верными себе и раз начатой нами деятельности. Но секты мы не хотим; исповедание же наше — соборно […] Символист […] заботится о том, чтобы твердо установить некий общий принцип. Принцип этот — символизм всякого истинного искусства
Вячеслав ИвановThe last great modernist journal in Russia was Apollon (1909–17), the first number of which came out on 15 October, 1909. It is a measure of the success of the ‘new art’ in all its forms that it was not founded specifically by the Symbolists for the Symbolists.
The original impulse for a new journal came from Sergei Makovsky, the son of the Populist artist Konstantin Makovsky, a man of considerable experience in art-journalism who had been co-editor of the journal Starye Gody (Bygone Years) since 1907, and was also the organiser of exhibitions in Russia and abroad and himself an amateur artist and a competent poet.
At Makovsky's ‘Salon of 1909’, an exhibition held in Petersburg in the January of that year, he met the young, as yet little-known poet Nikolai Gumilev, not long returned from Paris – the Sorbonne – and travels which had taken him to the wilds of Africa. The conversation turned to the desirability of starting up a new periodical which would replace Zolotoe Runo and Vesy but avoid the factionalism which had marred these journals, modelling itself rather on the eclectic urbanity of Mir Iskusstva. The journal, from the outset, was conceived as giving equal importance to the visual arts and literature.
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- A History of Russian Symbolism , pp. 323 - 336Publisher: Cambridge University PressPrint publication year: 1994