Vizual’nyj obraz v rannej lirike B. Pasternaka i živopisi moderna (Stichotvorenije “Margarita” i kartiny M.Vrubelja “Utro”, “Siren’”)

This article examines the relationship between the visual imagery of Boris Pasternak's early lyric poetry and the aesthetics of Russian Art Nouveau, focusing on the poem "Margarita" (1919) and Mikhail Vrubel's paintings "Lilac" (1900, 1901), "Morning" (1897). While prior scholarship has largely situated Pasternak's poetics within the frameworks of Impressionism, Cubism, and Cubo-Futurism, the authors propose a broader contextualization within the modern style of the turn of the XXth Century. Particular attention is given to Vrubel's work, whose art shaped the cultural milieu in which Pasternak developed as a poet. The analysis reveals structural parallels between the organization of pictorial space in Vrubel's paintings and the imagery of "Margarita," both characterized by a blurring of boundaries between the human figure and the natural world, an interpenetration of figure and environment, and a tendency toward a unified, fluid imaginative space. The authors further identify a shared chromatic palette consistent with the aesthetic principles of modern. The study concludes that the typological affinity between Pasternak's early lyric poetry and Vrubel's painting stems both from the artist's possible direct influence and from shared aesthetic orientations characteristic of the modern era.