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The artist short story of the romantic era as seen by the press: The example of 'the Painter' [1839] by Vladimir Fedorovič Odoevskij
Abstract
This paper offers an analysis of the 'artist story' 'The Painter', written by the Romantic Vladimir Odoevskij in 1839: this short story is usually interpreted as are all the genre of the Romantic and post-Romantic 'artist stories' and considered as a demonstration that it is impossible to realize superior artistic values in the ordinary world. This paper applies to Odoevskij's short story a new way of reading such well-known texts, using the frame constructed in collaboration between social sciences and literary criticism in the studies of other European literature: such a method suggests that for many years the interpretation of theses texts has proceeded from the material support on which these works were read by the modern public, but that returning to the original conditions of publication helps reading them anew. In this perspective, it becomes possible to consider the 'artist story' composed by Odoevskij, not as a form of disillusion towards Romantic ideals, but as the only way to perpetuate them and make them public.
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The journal L'Artiste, founded in 1831, is perhaps the richest single source of contemporary commentary on artists, exhibitions, and trends from the Romantic era to the end of the nineteenth century. It published so much more, and more varied, art criticism than any other journal of the 1830s and 1840s that it has come to seem like the first art periodical. But in fact, at least one other journal—the Journal des artistes, founded in 1827—can legitimately claim priority. Like L'Artiste, it defined its subject matter as painting and sculpture, with attention to literature, music, theater, and architecture.
This article introduces a new methodology in literary history : a poetics of media that builds on and differentiates itself from existing scholarship in history of the book and of media. After reviewing theoretical considerations found in previous books in this field (the works of Donald McKenzie, Roger Chartier, Gérard Genette) and locating this project's specificity relative to them, the article enumerates three possible fields of investigation for a historically informed, poetics of material media : the editorial statement, the management of the editorial field by writers, and the media imaginary.