Picture of a girl and a vine. Why does a woman dream about grapes? Dream interpretation grapes

The grapes from a dream are a very ambiguous symbol. It can be a harbinger of either a romantic adventure or big profits, or severe fright or health problems. Modern dream books will help you figure out why you dream about grapes.

Dream Interpretation: Why does a woman dream about grapes?

In Miller's dream book, grapes that someone treats to a sleeping woman are a symbol of a new acquaintance. The girl will meet you on her own life path a very interesting person and will initiate the acquaintance herself. If it is a woman who feeds someone berries, in reality this will bring her sadness. Perhaps she will give her success or even her heart to another person.

IN Eastern dream book unripe fruits foretell a representative of the fair sex making a profit, for which she will have to work long and hard. But in a dream, harvesting grapes means big money. Especially if the clusters are very large and appetizing.

Did you have to mash the grapes to make wine? The girl was very tired from everyday activities and worries. She urgently needs quality rest before health problems begin.

Seeing green, black, white grapes in a dream

Interpretation largely depends on the color of the fruit.

• If snow-white berries appear in a woman’s dream, you need to pay attention to the state of your body. First of all, visit a cardiologist. Possible heart problems.
• If you dream Green grapes- the girl will face serious disappointment, because of which she will cry bitterly. Eating berries of this color indicates that the young lady has become an energy vampire for someone.
• If you dream of black grapes, there will be major material losses. And trying very large dark clusters means great fear.

Why do you dream about picking berries?

One dreams about picking ripe blue large grapes on the eve of making a big profit. Finally, a woman will be able to afford many material pleasures that she has dreamed of for so long.

Karl Bryullov’s painting “A Girl Picking Grapes in the Vicinity of Naples” was painted in 1827 during the artist’s stay in Italy in order to improve his skills. This painting is based on a scene from Everyday life Italian girls. While picking grapes, the girl in the center seemed to be frozen in a dance: turning around, slightly leaning back, standing on her tiptoes, grabbing the pole supporting the grapevine with one hand, and with the other hand she plucks a ripe bunch.
Her elegance and grace, apparently, inspired the artist, and he masterfully managed to convey her charm.
The second girl with a tambourine, lying on the stone step, is no less attractive. With her head resting on a large green pumpkin, she playfully and flirtatiously looks at the viewer, as if inviting her to take part in the harvest. There is not a shadow of fatigue on her face, although she lay down to rest... Perhaps not from work, but from the sweltering summer heat.
Near a peeling brick wall, the artist captured a little boy in a shirt with a large bottle of grape wine. There is a harnessed donkey in the background.
A stream of water from a source adds movement to the picture.

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Painting by Karl Bryullov A girl picking grapes in the vicinity of Naples: description, biography of the artist, customer reviews, other works of the author. Large catalog of paintings by Karl Bryullov on the website of the BigArtShop online store.

The BigArtShop online store presents a large catalog of paintings by artist Karl Bryullov. You can choose and buy your favorite reproductions of paintings by Karl Bryullov on natural canvas.

Karl Bryullov was born in a Russified German family. His father was a sculptor-carver and miniature painter. From the age of 10, for 12 years, Karl studied at the Academy of Arts. At the end of the class historical genre under the leadership of Andrei Ivanovich Ivanov in 1821 for the painting “The Appearance of Three Angels to Abraham at the Oak of Mamre” he was awarded a gold medal and received the right to travel abroad at public expense.

In 1823-1835 Bryullov worked in Italy.

His most significant work during this period was the painting “The Last Day of Pompeii,” written by Bryullov over three years and completed in 1833. The impressions received from visiting the excavation site of an ancient Roman city formed the basis of a work that created a sensation in artistic circles both in Russia and abroad.

Bryullov returns to his homeland as a living classic. Later he was engaged in monumental design projects, where he showed himself as a decorator and playwright. He created sketches of the paintings of the Pulkovo Observatory, studies and sketches of angels and saints for St. Isaac's Cathedral.

Bryullov also left a lot in his legacy famous portraits people of art (many of them are stored in Tretyakov Gallery).

Due to health reasons, Karl Bryullov spends the last three years of his life on the island of Madeira and in Italy, the country that helped him become famous. The artist’s last masterpiece was a portrait of his old friend, archaeologist Michelangelo Lanci, created in 1851.

The texture of the canvas, high-quality paints and large-format printing allow our reproductions of Karl Bryullov to be as good as the original. The canvas will be stretched on a special stretcher, after which the painting can be framed in the baguette of your choice.

Today, December 23, marks the 215th anniversary of the birth of Karl Pavlovich Bryullov. His painting “The Last Day of Pompeii” is known even to those who are infinitely far from art, and having at least one of his drawings in their collections is an honor for any museum. St. Petersburg is lucky - the State Russian Museum alone houses about 50 works by Karl Bryullov. A few more can be seen in the Hermitage.

On the artist's birthday, the site tells the stories behind five of his most famous paintings.

"Italian Afternoon"

Italy captivated the young artist; he became interested in genre scenes from everyday life local residents. In 1827, he asked a short, stocky young Italian woman to be his model for a small sketch. From it the painting “ Italian noon”, which became a pair of “Italian Morning” written four years earlier. At the same time, similar in color “Festival of the Grape Harvest” and “Girl Picking Grapes in the Vicinity of Naples” were written.

The film "Italian Afternoon" was received coldly and hostilely in Russia. Photo: Commons.wikimedia.org

“Midday” became the reason for Bryullov’s break with the Imperial Society for the Encouragement of Arts - at an exhibition in St. Petersburg, the picture caused a scandal, and critics called the model disproportionate. “I decided to look for that supposed variety in those forms of simple nature that we encounter more often and often even like better than the strict beauty of statues,” the author answered the critics.

“Portrait of Countess Yu. P. Samoilova leaving the ball with her pupil Amatsilia Pacini”

(State Russian Museum)

Bryullov met Countess Yulia Pavlovna Samoilova in 1827 at a party. The daughter of General Palen and Maria Skavronskaya, that year she separated from her husband, the emperor's aide-de-camp Count Nikolai Samoilov, with whom she lived together for only two years. After the breakup, Yulia Pavlovna went to Italy, and in Milan she entered the local high society, surrounded herself with artists and patronized the arts.

Countess Samoilova won the artist's heart forever. Photo: Commons.wikimedia.org

Bryullov was captivated by her Mediterranean beauty, grace, intelligence and independence. Long years she stayed for him artistic ideal, close friend and lady of my heart.

Over the course of several decades, he painted more than one portrait of her. On the canvas of 1842, her beauty appears in all its splendor against the backdrop of lush carnival interiors. And her colorful outfit seems to remind us of Italy, dear to the artist’s heart, where, by the way, the countess’s distant ancestors were from.

"The last day of Pompeii"

(State Russian Museum)

Fascinated by Samoilova, Bryullov in 1830 invited her to go together to inspect the ruins of Pompeii and Herculaneum. Archeology was in fashion then, because in 1828 another eruption of Vesuvius occurred. Working on new picture Bryullov began at the request of philanthropist Anatoly Demidov and did not even suspect that the picture would become the peak of his career. The creation of the masterpiece took three years. During this time, Bryullov studied a lot of literature about the ancient catastrophe and visited excavations, where he made a number of landscape sketches.

“The Last Day of Pompeii” became the pinnacle of Karl Bryullov’s work. Photo: Commons.wikimedia.org It is known that the canvas depicts part of the Street of Tombs, which the artist painted with his back to the city gates. There are dozens, if not hundreds of sketches left with figures of people whom he tried to portray as emotionally as possible. In the left corner he wrote himself - an artist rescuing drawing supplies. Also in the painting, Countess Yulia Samoilova is “mentioned” three times: a woman with a jug on her head in the left part of the canvas, a woman who fell to her death on the pavement in the center of the canvas, and a mother attracting her daughters to her in the left corner.

The canvas was exhibited in Rome, where it received rave reviews from critics, after which it was transported to the Louvre in Paris. This work became the first painting by the artist to arouse such interest abroad. In 1834, the painting “The Last Day of Pompeii” received a gold medal in Paris and was sent to St. Petersburg. Alexander Turgenev said that she was the glory of Russia and Italy. And Alexander Pushkin wrote the lines “Idols fall! A people driven by fear...” Nicholas I honored the artist with a personal audience and awarded Charles a laurel wreath, after which he was called “Charlemagne.” After the opening of the Russian Museum in 1895, the painting moved there.

"Rider"

(Tretyakov Gallery)

In 1832, Countess Yulia Samoilova asked her dear friend to paint a portrait of her pupil Giovanni Pacini. As a subject, the artist chose a horse ride: Giovanina rides up on horseback to her adoptive mother’s house, at the entrance of which she is enthusiastically greeted by a woman dressed in pink dress and her green shoes younger sister Amalicia. It is known that Samoilova adopted Amalitsiya from her father Italian composer Giovanni Pacini. Jovanina, it seems, was not her sister - there is no clear version of her origin.

In the painting “Horsewoman” Bryullov depicted two students of Samoilova. Photo: Commons.wikimedia.org

The artist called his work “Giovanin on a Horse.” In the corner there is a picture of a shaggy dog, on the collar of which is the name of the customer of the canvas - “Samoylova”. In 1832, the painting was exhibited in Milan, in the Brera Gallery, after which it remained in the countess’s collection, which was sold in 1872, shortly before the death of the bankrupt Samoilova. In 1896, “The Horsewoman” was purchased for the gallery of P. M. Tretyakov.

"Bathsheba"

(Tretyakov Gallery)

“One evening, David, getting out of bed, was walking on the roof of the king’s house and saw a woman bathing from the roof; and that woman was very beautiful. And David sent to find out who this woman was? And they said to him, “This is Bathsheba, the daughter of Eliam, the wife of Uriah the Hittite,” the Bible says.

Before Bryullov, Russian painters almost did not turn to the nude, and female models were not even staged within the walls of the Academy of Arts. Experience new genre he was inspired by the Pompeian paintings he saw during his trips to Italy. “Bathsheba” is dedicated to the biblical story in which King David sent the beauty’s husband to his death in order to take possession of her.

"Bathsheba" became one of the first works with nudes in Russian painting. Photo: Commons.wikimedia.org

Alexandre Benois called Bathsheba, painted in 1832, “voluptuous and brilliant in color.” Bryullov worked on it for several years and almost despaired when he realized that biblical story it didn’t work out - once he even threw his boot into the picture. The painting was bought in unfinished form by a patron of the arts, who later donated it to the Tretyakov Gallery. So she was left with unidentified translucent hands.

In 1835, Karl Bryullov returned to Russia to take up the position of professor at the Academy of Arts. An unhappy and short marriage awaited him with Chopin’s student Emilia Timm, new meeting with Countess Samoilova and new canvases. In 1847, he suffered from a severe cold and fell ill, and in 1849, at the insistence of doctors, he left for the island of Madeira. The treatment did not help, and in 1852 the artist died in small town near Rome. He is buried in the Cemetery of Monte Testaccio, a Roman cemetery for non-Catholic foreigners.

During its relatively short creative life artist Karl Pavlovich Bryullov created many paintings, among which there are several recognized masterpieces world painting. Among them, “Italian Afternoon” occupies a special place. Bryullov painted it in 1827, and it is this painting that is most often mentioned as best work, belonging to his brush.

Author's biography: early years

Before moving on to Karl Pavlovich Bryullov’s “Italian Afternoon,” it is worth devoting some time to the biography and work of the author himself. So, Karl Bryullov was born in 1799 in St. Petersburg. WITH early years he studied painting and helped his father, academician Pavel Bryullov, carry out various orders. In particular, it is known that he participated in the painting of the Kronstadt Church. At the age of ten, the boy was enrolled in the Imperial Academy of Arts, from which he graduated in 1821. Moreover, it is known that he received a gold medal for his works in the class For brilliantly executed final work Bryullov was entitled to a trip to Italy at the expense of the treasury, but the President of the Academy, A. Olenin, demanded that the young man postpone his foreign internship for three years. Then Bryullov, who could not find common language with his new mentor A. Ermolaev, refused the trip and left the Academy.

Italian trip

Despite all the difficulties, the trip abroad still took place. The fact is that at that time in St. Petersburg there was a Society for the Encouragement of Artists, whose members were wealthy patrons of the arts. They invited the aspiring painter to paint several paintings, and in return they paid for his trip to Italy, which he went on in 1822 with his brother Alexander Bryullov. On the way, the young people visited Riga, several cities in Germany, including Berlin and Dresden, as well as Venice, Verona and Bologna. The final destination of the journey was Rome, where the artist arrived in 1823. There he began work on a custom canvas, which was a copy of one of the famous frescoes Rafael Santi.

Karl Bryullov, “Italian Afternoon”: history of creation

Finding yourself in Rome, among the masterpieces ancient art and the works of Renaissance masters, the artist experienced a real creative upsurge. However, he was keenly interested in the vibrant life of the Italian capital and its environs, which did not even remotely resemble the measured life of St. Petersburg residents. The artist did not remain indifferent to the southern beauty of Roman women. All these impressions inspired him to create the painting “Italian Morning”. It was a resounding success and was presented by the Society for the Encouragement of Artists to the wife of Nicholas the First. Soon the painter received an order to create another similar painting from the emperor himself. It became “Italian Afternoon”. Bryullov did a brilliant job with this work, creating a real masterpiece. It is interesting that some time after painting the canvas, the artist met the Countess, who became his muse, whose appearance was somewhat reminiscent of the girl depicted in this painting.

Karl Bryullov, “Italian Afternoon”: description

As already mentioned, this canvas was created as if in tandem with an already painted painting, which also depicts a southern beauty. However, this canvas is different from the previous one. “Italian Afternoon” (Bryullov created it at the age of 28) depicts a more mature beauty, while in the painting painted earlier, we see a very young girl, almost a teenager, who washes her face with cool water from a fountain at dawn. To emphasize that the Italian woman was experiencing her heyday, the artist placed in her hand a lush bunch of grapes, filled with juice, as luxurious as she herself. By the way, if you look closely, you can see the master’s initials, in the form Latin letters“SV” on a shirt that barely covers the beauty’s snow-white breasts. It is difficult to say to which class the woman portrayed by Karl Bryullov belongs. “Italian Afternoon” is generally full of mysteries. For example, it is not known who the girl was who posed for the artist. Perhaps she was a peasant woman from the Roman suburbs, but the whiteness of her skin suggests that this person is unlikely to be accustomed to spending her days working in the vineyards under the scorching rays of the sun.

The further fate of the canvas

It’s hard to believe, but Bryullov’s painting “Italian Afternoon”, after it was exhibited in St. Petersburg, caused a wave of indignation and received a lot of unflattering reviews. The fact is that the model seemed too simple and devoid of grace to critics. In addition, art lovers pointed out that the appearance of the depicted girl was far from the ancient canons of beauty, which was considered unacceptable in the era of late classicism.

Thus, the public rejected “Italian Afternoon”. Bryullov was upset. Moreover, he had to sever his ties with patrons of the arts who had been supplying him with orders for years. If only he had known then that just a few decades later, reproductions and copies of this painting would decorate the walls of private homes and public institutions around the world.

Where can you see

Today, art lovers all over the world know that main masterpiece, which was created by Karl Bryullov, “Italian Afternoon” (description presented above). To see this magnificent painting, you need to go to the Russian Museum, which is located in St. Petersburg at 4 Inzhenernaya Street. In addition, the Tretyakov Gallery in Moscow houses a small copy of this painting, also by the artist.