Hermitage collection of Rembrandt as a transmedia resource of Russian culture

In Russian poetry, Rembrandt's perception for a long time was not an interpretation of particular works, but conclusions from observing collections that existed in Russia. This oughts to opposition of the stage expressive art of the Italian masters and Rembrandt, in which Russian poets and intellectuals have seen the genius of introspection. The romantic concept of nature, refracted in different types of art, required to perceive not the plots of Rembrandt, but general impressions of the effects of his manner, and therefore collections in Hermitage determined course of the plots of poetic works. Poetry, claiming to discover the secret of human nature and the unpredictability of actions, turned to such reminiscences between works within the collections. Obscure plots of the works of Lermontov, Dobrolyubov, Bryusov, Pasternak, Poplavsky become understandable if we see transmedia ecfrasis as description of not individual works, but general impressions of visiting the gallery, which should explain how introspection is possible, different from the plot introspection with its predetermined patterns. Thus, Rembrandt was in Russia an example of imitation of the internal nature, which differs from the external role, which allows updating the mimetic theory and combining the intuitions of the great artist with the peculiarities of understanding internal life in Russian culture.