The visual quote as a way of iconographic play with the reader of an illustrated Russian magazine at the turn of the 20th century

The aim of this article is to examine examples of visual citation in Russian illustrated periodicals from the second half of the nineteenth century to the early twentieth century. Drawing on terminology developed by N. V. Zlydneva, the article explores the types of horizontal, vertical, and mixed citation, which involve different techniques for incorporating external material into an existing visual text. The research methodology is based on the image history approach pioneered by G. Usener and A. Warburg. To identify examples of visual quotation, a continuous review of 25 satirical and humorous magazines, as well as newspapers from prerevolutionary Russia, was conducted. In addition, selected European magazines and Soviet-era periodicals were consulted. The analysis revealed that the most common primary source for visual citation was works of Russian painters such as V. M. Vasnetsov, I. E. Repin, and V. V. Vereshchagin. The second most frequent category consisted of allusions to sculpture. Caricaturists also drew upon popular prints, graphic works, architectural structures, and related media. Vertical citation, which almost completely replicates the original, proved to be the least common type in periodicals, while mixed citation was the most prevalent. To enhance the recognizability and impact of their drawings, artists could incorporate both visual and verbal references to the pre-text. Precedent texts - such as ancient and biblical narratives, popular literary characters (like Don Quixote), and others - could also form the basis for an iconographic citation. Iconographic quotation significantly enriched the visual component of Russian illustrated periodicals, especially satirical and humorous ones. This technique allowed artists to engage with intertemporal meanings, contributing to reader enlightenment and fostering a sense of connection to global culture. The visual quote functioned as a unique device to draw the reader into the depths of the magazine pages, appealing to their erudition and provoking them through iconographic play. Furthermore, the iconographic quote often provided an excellent opportunity for Aesopian language, which explains why visual quotations in the domestic press appear most frequently during revolutionary periods and wartime. The author declares no conflicts of interests.

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