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 A.M.GORKY INSTITUTE OF WORLD LITERATURE
OF THE RUSSIAN ACADEMY OF SCIENCES

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ISSN 2619-0311 (Print)
ISSN 2712-8512 (Online)

The Reception of Dostoevsky’s Novel Crime and Punishment in Illustration

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  • Author: Galina N. Boeva
  • Information about the author:

    DSc in Philology, Associate Professor, Professor, Department of Advertising and Public Relations, Institute of Business Communications, St. Petersburg State University of Industrial Technology and Design, B. Morskaya St., 18, 191186 St. Petersburg, Russia.

    https://orcid.org/0000-0002-6021-3687

    E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.
  • For citation:

    Boeva, G.N. “The Reception of Dostoevsky’s Novel Crime and Punishment in Illustration.” Dostoevsky and World Culture. Philological journal, no. 2 (34), 2026, pp. 113–138. (In Russ.) https://doi.org/10.22455/2619-0311-2026-2-113-138
  • Published: 25 June 2026
  • Issue: 2026 no. 2 (34)
  • Department: POETICS. CONTEXT
  • Pages: 113-138
  • DOI: Visit Website
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    https://elibrary.ru/TCKLXG
  • UDK: 821.161.1.0+655.533
  • BBK: 83.3(2Рос=Рус)+85.8стд1-415.75
  • Publication Type: Research Article
  • Keywords: F.M. Dostoevsky, Crime and Punishment, illustration, graphics, painting, literature, reception, intermediate
  • Abstract: Abstract: The article traces the history of the illustration of Dostoevsky's novel Crime and Punishment in connection with Dostoevsky scholarship and the tradition of Russian book illustration. The inconsistency between the visual and literarycritical interpretation of the novel by contemporaries is revealed: the first illustrators (P. Fedotov, P. Boklevsky, M. Klodt) perceived it in the context of the natural school, ignoring the metaphysical level of the work and remaining bound to a purely narrative approach. Attempts to use new stylistic means in order to more adequately capture the artistic world of the novel are made in the impressionist works of I. Grabar and the black-and-white graphic works of M. Dobuzhinsky. As Dostoevsky's legacy was mastered by religious and philosophical thought (N. Berdyaev, V. Rozanov, Vyach. Ivanov, etc.), the reception of the novel among artists became increasingly diverse. The article records the main stages of the visual rendering of the novel in connection with the dynamics of the sociocultural situation and the possibilities of a new artistic language (E. Neizvestny, M. Shemyakin, etc.) up to the present day. It is shown that at the first stages of illustrating the text, the transfer of semantic motifs prevails, namely the representation of plot and narrative elements, and as the writer's artistic world is better understood and his poetics more deeply explored, the translation of constructive principles from prose into graphic and painterly form becomes prevalent.

References


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