Samuil Alyanski, the owner and founder of the Alkonost publishing house (1918–1923), as early as 1918 had decided to issue a journal called Dreamers’ Notes, meant to bring together the Symbolist writers remaining in Russia after the October Revolution, primarily Aleksandr Blok, Vyacheslav Ivanov, and Andrei Bely. Despite the generally accepted view based on the memoirs of Alyanski, Andrei Bely played a leading role in the creation of the journal including the design of the cover commissioned by Alyanski from the famous Modernist artist Aleksandr Golovin. This article analyzes the sketches that Andrei Bely proposed as an idea for the journal cover as well as establishing their connection with the writer’s visionary drawings from the period of life when he was close to Rudolf Steiner and with book graphics from the period of his collaboration with the publishing house Alkonost. At first cursory glance, there is little in common between the cover of Dreamers’ Notes drawn by Golovin in the Modernist style and the sketches of Andrei Bely who was trying to make the journal а platform for Anthroposophy. However, as demonstrated in the article, all of Bely’s ideas were utilized by Golovin in creating his own artistic masterpiece.

中文翻译：

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安德烈·贝利（Andrey Bely）作为艺术家面对亚历山大·戈洛文（Aleksandr Golovin）：《梦想家》杂志的封面是如何制作的

早在 1918 年，Alkonost 出版社 (1918-1923) 的所有者和创始人 Samuil Alyanski 就决定发行一本名为Dreamers' Notes 的期刊，旨在将十月革命后留在俄罗斯的象征主义作家聚集在一起，主要是亚历山大·布洛克、维亚切斯拉夫·伊万诺夫和安德烈·别雷。尽管普遍接受的观点基于 Alyanski 的回忆录，但 Andrei Bely 在期刊的创作中发挥了主导作用，包括由著名的现代主义艺术家 Aleksandr Golovin 委托 Alyanski 设计的封面。本文分析了 Andrei Bely 提出的作为期刊封面创意的草图，并将其与作者在他与鲁道夫·施泰纳 (Rudolf Steiner) 亲近期间的富有远见的绘画以及与他合作时期的书籍图形建立联系。出版社 Alkonost。乍一看，《梦想家笔记》的封面几乎没有什么共同之处由 Golovin 以现代主义风格绘制，以及 Andrei Bely 的草图，他试图使该杂志成为人智学的平台。然而，正如文章中所展示的，戈洛文利用 Bely 的所有想法创作了自己的艺术杰作。