L'étude se penche sur le style du portrait de Voltaire créé pour le frontispice de l'édition russe de la "Pucelle d 'Orléans" (Moscou, Léningrad, Academia, 1935).Les esquisses préparatives permettent de retracer les sources de l'oeuvre du peintre Mikhail Sokolov, qui imagine un Voltaire révolutionnaire, Voltaire philosophe et Voltaire écrivain.
The chapter is dedicated to the problem of correlation of the ideology of Enlightenment and the practical implementation of the ideas of the philosophers in the politics and social life of Prussia and Russia.
The work provides a comparative analysis of representation of the Saint Bartolomew night in some works of Voltaire and Encyclopédie.
The renowned motto by Voltaire ÉCRASEZ L'INFÂME should be translated into Russian in the following way «раздавите бесчестного». However the word «гадина» (which at first glance seems to be a quite typical element of Soviet language) is traditionally used for the translation of the expression. The history of the translation of the motto, as well as the history of misunderstandings linked to the Russian version of the Voltaire slogan are told in the article.
In the Soviet Union of the 1920s, the most prominent avant-garde artists were eager children's book illustrators. Reaching a mass audience of unformed, malleable young people appealed to their commitment to an art manifesto based on the creation of a new kind of person for the revolutionary age. At the same time, the opportunity to work for good pay along with a low risk of censorship were practical attractions. The Constructivist artists drew considerable attention in the West for their brilliant creativity in using geometric designs, machine-age forms, and an architectural sense of space in their approach to the visual arts. Rejecting easel painting as a passe bourgeois preoccupation, they turned to designing and mythologizing objects of everyday use. In a major reassessment of their work, Evgeny Steiner forcefully demonstrates that the Constructivists were as committed to implementing Utopia - regardless of the human cost - as their establishment counterparts. Basing his work almost completely on primary sources - Russian picture books from the Russian State Library, private collections, and publishers' archives - Evgeny Steiner tells his story in deft prose with a wry sense of humor. The solidness of his sources, the range of his interests, and the depth of his understanding of Russian life combine to make this an unusually perceptive book on a fascinating cultural issue that combines the visual arts, literature, and politics.