What paintings did Karl Bryullov paint? The most famous paintings of Bryullov, for which he was nicknamed “Charlemagne”

Bryullov Karl Pavlovich, Russian artist. Bryullov was born into a Russified German family of a sculptor-carver and miniature painter in St. Petersburg on December 12 (23), 1799. In 1809–1821 he studied at the Academy of Arts, in particular with the historical painter Andrei Ivanovich Ivanov. In 1821, Karl Bryullov was awarded the gold medal of the Academy for the painting: The Appearance of Three Angels to Abraham at the Oak of Mamre and the right to continue studying painting in Italy at public expense. In 1823–1835, Bryullov worked in Italy, experiencing the deep influence of ancient as well as Italian Renaissance-Baroque art. Bryullov’s Italian paintings are imbued with sensual eroticism (Italian Noon, 1827, Russian Museum, St. Petersburg; Bathsheba, 1832, Tretyakov Gallery); During this period, his gift as a draftsman was finally formed.

Bryullov also acts as a master of secular portraiture, transforming his images into worlds of radiant, “heavenly” beauty (Horsewoman or equestrian portrait by G. and A. Paccini, 1832, Tretyakov Gallery). Striving for larger historical themes, in 1830, having visited the excavation site of an ancient Roman city destroyed by the eruption of Vesuvius, Bryullov began work on the painting The Last Day of Pompeii. The multi-figure tragic canvas becomes one of the “disaster paintings” characteristic of romanticism.

The painting The Last Day of Pompeii by Bryullov (completed in 1833 and kept in the Russian Museum) creates a sensation both in Russia (where A.S. Pushkin, N.V. Gogol, A.I. Herzen and other writers enthusiastically write about it) and abroad, where this work of the painter is hailed as the first great international success of the Russian school of painting. The artist returned to his homeland in 1835 as a living classic. Having visited Greece and Turkey along the way, Bryullov created a whole series of poetic images of the Eastern Mediterranean. Turning to Russian history at the suggestion of Emperor Nicholas I, Bryullov painted The Siege of Pskov by Stefan Batory (1836–1843, Tretyakov Gallery), failing, however, to achieve (despite a number of striking pictorial finds in the sketches) the epic integrity of his Italian masterpiece. Upon his return to Russia, an important area of ​​Bryullov’s creativity began to include monumental design projects, where he managed to organically combine the talents of a decorator and a playwright (sketches for paintings at the Pulkovo Observatory, 1839–1845; sketches and sketches of angels and saints for St. Isaac’s Cathedral.

Bryullov appears as a complete master of his images in portraits. Even in commissioned pieces (like the portrait of Countess Yulia Samoilova leaving a ball with Paccini’s adopted daughter, circa 1842, Russian Museum), the enchanting splendor of color and mise-en-scène looks primarily like a triumph of art. The images of people of art are even more relaxed, psychologically soulful in color and chiaroscuro (poet N.V. Kukolnik, 1836; sculptor I.P. Vitali, 1837; fabulist I.A. Krylov, 1839; writer and critic A.N. Strugovshchikov , 1840; all works in the Tretyakov Gallery), including the famous melancholic self-portrait (1848, ibid.). Increasingly weakened by illness, from 1849 Bryullov lived on the island of Madeira, and from 1850 - in Italy. Karl Bryullov died on June 23, 1852 in the town of Mandziana, near Rome.

Even those who are infinitely far from art know Karl Pavlovich Bryullov’s painting “The Last Day of Pompeii,” and it is an honor for any museum to have at least one of his drawings in their collections. All Bryullov’s paintings are an amazing journey through the pages of the life of the great master. We remember how the paintings that earned the artist worldwide fame were created...

It so happened that when a twenty-year-old youth found himself in a country that is rightly called “the cradle of modern civilization,” Karl Pavlovich Bryullov became so attached to Italy that he found his last rest in one of the cemeteries in Rome.

Many of the famous painter’s paintings reflect Italian motifs. Suffice it to recall “A Girl Picking Grapes in the Vicinity of Naples” (1827) or “Italian Afternoon” (1827).

"Italian Afternoon"

The future painter grew up in a creative family - his father Pavel Brullo was an academician of ornamental sculpture, and all seven children in the family were involved in art in one way or another. But it was the weak and sickly Karl who had the happiest fate. At the age of 10, Karl was accepted into the St. Petersburg Academy of Arts, within whose walls he spent 12 years.

In 1822 he earned a pensioner's scholarship for four years for himself and his brother Alexander. Before leaving for Italy, they added the letter “B” to their family name and became the Bryullovs.

Italy captivated the young artist; he became interested in genre scenes from the life of local residents. In 1827, he asked a short, stocky young Italian woman to be his model for a small sketch.

The film "Italian Afternoon" was received coldly and hostilely in Russia

From it the painting “Italian Afternoon” was subsequently born, which became a companion piece to “Italian Morning” painted 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.

“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 left for Italy, in Milan she entered the local high society, surrounded herself with artists and patronized the arts.

Countess Samoilova won the artist's heart forever

Bryullov was captivated by her Mediterranean beauty, grace, intelligence and independence. For many years she remained for him an artistic ideal, a close friend and lady of his 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.

Bryullov began work on the new painting at the request of philanthropist Anatoly Demidov and did not even suspect that the painting 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 creativity

It is known that the canvas depicts part of the Street of Tombs, which the artist painted while standing 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. The artist chose a horseback ride as the subject: Giovanina rides up on horseback to her adoptive mother’s house, at the entrance of which her younger sister Amalicia, dressed in a pink dress and green shoes, enthusiastically greets her.

It is known that Amalicia Samoilova was adopted by her father, the Italian composer Giovanni Pacini. Jovanina, it seems, was not her sister - there is no clear version of her origin.

The artist called his work “Giovanina on a Horse.” In the corner on the right, a shaggy dog ​​is depicted, on the collar of which is the name of the customer of the canvas - “Samoylova”.

The inscription is an inscription, but one way or another, art historians have proven that the beautiful horsewoman is not Yulia Pavlovna at all. Later works by Karl Pavlovich “Portrait of Countess Yu.P. Samoilova leaving the ball with her adopted daughter Amalicia”, as well as “Portrait of Yu.P. Samoilova with her pupil Jovanina and the little black boy" are direct evidence that the countess is only indirectly related to the girl and girl depicted in the picture.

Beautiful creatures are her pupils Giovanina and Amazilia Pacini. It is known that Amazilia, a little girl watching her older friend with delight, was the daughter of an Italian composer who was a friend of Yulia Pavlovna.

Little is known about the main character of the masterpiece. One of the versions is as follows: Giovanina’s real name is Carmine Bertolotti and she was the daughter of Clementina Perry, who in turn was the sister of Samoilova’s second husband. It is also known that in Italy there are engravings from this painting, which are considered a portrait of the famous singer Malibaran, sister of Pauline Viardot. This is how “Santa Barbara” turned out.

Singer Malibaran

Whoever the beautiful “Horsewoman” is - Giovanina, Carmine or a relative of Pauline Viardot - in the picture there is a beautiful, young and brave girl. The nobility of her face and the pride of her posture indicate that it doesn’t matter what title she bore during her life, but “blue” blood certainly flowed in her veins.

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. He was inspired to try out a new genre 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

Alexandre Benois called Bathsheba, painted in 1832, “voluptuous and brilliant in color.” Bryullov worked on it for several years and almost despaired, realizing that the biblical story did not work out - once he even threw a 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 to Chopin's student Emilia Timm, a new meeting with Countess Samoilova and new canvases awaited him.

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 a small town near Rome. He is buried in the Cemetery of Monte Testaccio, a Roman cemetery for non-Catholic foreigners.

Karl Pavlovich Bryullov(12/23/1799, St. Petersburg - 06/23/1852, Manziana, Italy) - Russian artist, painter, monumentalist, watercolorist, representative of academic art.

Biography of Karl Bryullov.

Karl Bryullov was born into a family in which almost every member had the ability to paint. He and his four brothers became remarkable artists, but the fame that befell Karl overshadowed the successes of his brothers. As a child, he was often ill, was weak and frail, but from a very early age he was drawn to drawing, he made noticeable progress, and at the age of 10 he was accepted into the St. Petersburg Academy of Arts.

After graduating from the academy with a large number of medals and encouragements, he refuses to remain within its walls and receive benefits and earns his living by painting commissioned portraits. After painting the paintings “Oedipus and Antigone” and “The Repentance of Polyneices”, magnificent in their composition, Bryullov gets the opportunity to study the art of Italy, earning a retirement trip for a period of four years.

In Italy, the young artist absorbs impressions and completely devotes himself to studying the painting of the past. Having masterfully completed a copy of the famous painting, he simply amazes the audience with his professionalism. The intense work knocked him off his feet, causing painful attacks of fever, but the artist could no longer stop - during the years spent in Italy, Karl Bryullov wrote a large number of works of the most diverse styles and genres. The most noticeable of them are, and, of course,.

The painting “The Last Day of Pompeii” became the pinnacle of the artist’s creativity, talent and skill. She gathered many spellbound spectators in Rome, Milan, Paris, and St. Petersburg. The painting was presented to Nicholas I.

After painting his greatest work, Karl Bryullov experiences some kind of spiritual emptiness. Many of the paintings that he began during that period remain unfinished. In the end, he goes on a journey through Greece and Asia Minor. There he creates soulful, soft works “The ruins of the Temple of Zeus in Olympia”, “Morning in the Greek village of Miraka” and others. Unfortunately for the artist, he was unable to complete this journey; the tsar’s strict message forces him to return to Russia.

But in Russia, where he has not been for 13 years, Karl Bryullov feels like a stranger. Ardent love and the subsequent unsuccessful marriage with Emilia Timm, the daughter of the burgomaster, left the artist with pain and bitter memories. Then he decides for himself that “my wife is an artist,” and plunges headlong into work.

Hard work worsens the artist’s already poor health. In 1849, on the advice of doctors, Bryullov left Russia for the island of Madeira, where, however, the treatment did not bring noticeable results. And in 1852 the artist’s heart stopped forever.

(1799 – 1852)

Perhaps there is no other Russian artist who during his lifetime received so much fame and worship, and from students and beginning artists - adoration, almost deification. Almost every story about Karl Bryullov begins with similar statements.

This glory was well deserved and achieved primarily by the grandiose painting “The Last Day of Pompeii.” By the standards of its time, Pompeii corresponded to the prevailing ideas of a “comprehensive genius”: a huge picture depicting a genuine historical event, using real ancient surroundings, with knowledge of the very place where the event took place.

The living style of modernity, romanticism, is combined with the eternal beauty of the classics. Another thing is that not even ten years had passed after Bryullov’s death, when it was discovered that on the paths along which Russian art was moving, as an example, Bryullov’s lessons turned out to be unnecessary.

But these lessons were well learned by academicism, to whom the Great Charles taught the ability to intercept the artistic achievements and discoveries of modern times, to combine modernity and “eternal” beauty.

In the minds of the second half of the 19th century, Bryullov found himself firmly united with academicism, which played the role of an eternal opponent and even an enemy of “everything advanced.”

Returning directly to the work of Karl Bryullov, let us once again emphasize its most characteristic feature - the harmonious coexistence of the features of the academic school, and the features of romanticism, and the desire for historical truth. Many contemporaries, and even more descendants, reproached Bryullov for allegedly making some kind of compromise. In fact, it was the conscious artistic vision of the great master: Bryullov understood his path in art this way and not otherwise.

But all these thoughts give way to simple facts - Karl Bryullov was an artist, as they say, “from God,” perhaps the greatest genius in Russian art, a painter of colossal, unsurpassed power and skill.

Whatever he took on, be it historical paintings, portraits or watercolors, all of his works undoubtedly became works of art in the literal sense of these words.

Karl Pavlovich Bryullov (before 1822 - Bryullo) was born on December 12 (23), 1799 in St. Petersburg in the family of academician of ornamental sculpture P.I. Bryullo. His ancestors came from France. Brother of the architect and artist A.P. Bryullov.

He studied at the Imperial Academy of Arts (1809-1821) in the class of historical and portrait painting with A.I. Ivanov and A.E. Egorov. During his studies he received all possible academic awards. In 1821, for the painting “The Appearance of Three Angels to Abraham at the Oak of Mamre” (Russian Museum), he was awarded a large gold medal and received a 1st degree certificate for the title of class artist.

In 1822, Karl Bryullov, together with his brother, was sent to Italy as a pensioner of the OPH. On the way I visited Dresden and Munich. In 1823-1835 he lived in Italy. In 1834 he traveled to Paris, where his painting “The Last Day of Pompeii” (Russian Museum) was exhibited. In the same year he was elected an honorary free member of the Imperial Academy of Arts.

In 1835 he was summoned by Emperor Nicholas I to Russia and traveled through Greece and Turkey. From Constantinople he went to Odessa, from there to Moscow, where he stayed from January to May 1836.

From 1836 to 1849 he lived and worked in St. Petersburg. He taught at the Academy of Arts, among his students were A.A. Agin, T.G. Shevchenko, F.A. Moller, A.V. Tyranov, A.N. Mokritsky, G.K. Mikhailov and others.

In 1836 Bryullov received the title of professor of the 2nd degree, bypassing the title of “appointed” to academician and academician, in 1846 - professor of the 1st degree. Karl Bryullov is an honorary member of the Academy of Arts in Milan, Florence, Bologna, Parma, and the Academy of St. Luke in Rome. Honorary member of the IChO (since 1844).

In 1849 he left St. Petersburg for the island of Madeira for health reasons. Along the way I visited Poland, Belgium, England, and Portugal. Traveled around Spain. In the spring of 1850 he moved to Italy. He died on June 23, 1852 in Manziana near Rome.

1. Bryullov Karl “Self-portrait” 1816 Cardboard, watercolor, whitewash 14.5x9 State Tretyakov Gallery 2. Bryullov Karl “Self-portrait in the uniform of a student of the Academy of Arts” 1813-1816 Paper, Italian pencil 21.8x16.9 State Tretyakov Gallery