Nikolay Soloviev as a Criticm of Chernyshevsky’s Aesthetic Theory

Dissertation of Nikolay Chernyshevsky “The Aesthetic Relationship of Art to Reality” (1855) is one of the most controversial works in the history of humanitarian sciences. Even during the author’s life, it was estimated ambiguous (and also sharply negative). Among the early responses to this work, a prominent place is occupied by the critical cycle of Nikolay Ivanovich Solovyov (1831–1874) “The Art Issue” (1865). The critic analyzes Chernyshevsky’s concepts of the beautiful, the sublime, the tragic and comes to the conclusion that his definitions are untenable. Solovyov also finds little solidity in Chernyshevsky’s judgments about certain kinds of art, noting this tendency to emphasize the imperfection of artistic works in comparison with nature. Solovyov’s main conclusions are as follows: Chernyshevsky’s “theory of reproduction” is an attempt to revive the theory of imitation of nature, while the appearance of novelty is created by pointing to “real direction of thoughts” of the author Chernyshevsky very vaguely characterizes the beautiful; grossly simplifies the tasks of art (“reproduction”); discredits the creative imagination and the artist’s craving for the ideal; seeks to lower the high status of art in the range of human interests. Solovyov’s analysis is distinguished by consistency, respect for the convictions of his opponent, as well as his own view of the issues raised by Chernyshevsky. In “The Art Issue” and other articles Solovyov defended his belief that Chernyshevsky’s “theory of reproduction” was the prototype of the utilitarian and nihilistic views on art in journalism of the 1860s. This article presents for the first time a detailed analysis of Nikolay Solovyov’ s views on art in comparison with Chernyshevsky’s aesthetic theory.